Taut and tough Wray from his heyday! One of the original heavy metal heroes, Link Wray basically invented power chord riffing—both Jimmy Page and Pete Townshend have credited their interest in becoming axe gods to him—and his recordings are a monument to the relentless influence of his unique razor-blade extended guitar sound. “Slinky,” from 1959, was the his third Epic Records single, a mysterious, stinging riff that builds into a frenzied solo, then coolly resolves…the perfect soundtrack for a gang of leather-jacketed teenagers looking for trouble on a warm city night! “Rendezvous” suggests gentler side of Wray, beginning as a mellow midtempo cha-cha, but ultimately evolving into a snarling stroll with a killer guitar solo. Backed on both sides by the sympathetic swagger of Wray’s brothers Doug and Vernon, these two recordings show a key personality in the development of rock ’n’ roll, at a time when record labels continually wanted to soften him and make him safe, continuing to follow his metal muse and lay down recordings that would inspire thousands of rock, punk and surf guitarists for decades to come. Features a reproduction of the ultra-rare original picture sleeve, and promotional labels—get this Wray today!
The Standells are one of the most successful of all garage rock bands, with their signature song "Dirty Water" having been a huge nationwide hit in the sultry summer of 1966! True fathers of punk rock, they were touring later that year to support the success of their hit record when they were professionally captured on tape opening up for the Beach Boys at a University of Michigan performance as they served up a raucous, raw live helping of their most famous record—now featured on this limited edition that puts you as close to a mid-’60s frat fuzz party as you can get! “Dirty Water” is a tireless anthem, a song for the hip-and-happening whose legacy shines in this rare recording. Also includes “Twitchin’,” a previously unissued 1963 instrumental from the group’s earliest days, predating their first record. Plus, recollections about both recordings from original member Larry Tamblyn, housed in a picture sleeve featuring rare photos that evokes the look and feel of 1966. Live and raw energy from the legendary Standells—on clear vinyl!
When the Beach Boys fired their manager-father Murry Wilson in 1964, he recruited a young group — the Sunrays — to mentor as he had his own children. The ’Rays took on sun, fun and girls in songs like “I Live For the Sun” and “Andrea”—heavily influenced by Brian Wilson's rich, intricate production work for the Beach Boys—which became huge regional hits. As a thank you, the Sunrays wrote and recorded “Our Leader” for Murry, a heartfelt tribute to one of rock music’s most storied personalities. Presented to Wilson on Christmas Eve 1965, the track is as polished and produced as any of the group’s released records, and even features the mixed time signatures and a cappella sections that Brian would explore in depth the following year with Smile! Plus, “Won't You Tell Me” is the classic lost recording from the Wilson circle, a demo for a song Murry had written for his sons, featuring members of the Sunrays and the Wrecking Crew—along with assistance from Dennis Wilson—emulating the Beach Boys sound and achieving something as complex and moving as anything on the group's greatest album of the period, Sunflower. Neither track was originally issued, and both appear here on vinyl for the first time. Also features rare photos and an insert with notes by original Sunrays member Rick Henn. The sunny and soulful sounds of the Sunrays!
The 1966 debut by the Minneapolis-based Litter! “Action Woman” and “A Legal Matter” are stomping, searing ’60s sides—an unstoppable collection of snotty vocals and fuzzy guitar lines. The Litter become a determined collective mind on these performances, and the result is a coupling that stands side-by-side with other iconic recordings of the era, like “Sweet Young Thing” and “You're Gonna Miss Me.” Even the tambourine and maracas have loud and clear attitude that few other records can match! The original Scotty 45 is a cornerstone of any serious 1960s record collection, and now is reproduced in this lovingly created edition that features a Scotty Records-styled sleeve with a rare vintage group photo and notes by TeenBeat Mayhem! author Mike Markesich. “Action Woman” is a flawless hallmark performance, and “A Legal Matter” takes the Who’s music from the Mod clubs into the suburban garage with jet fuel-powered tempo and aggression. With in-the-studio presence and clarity taken from the original masters, this is the sound of garage rock maturing into psychedelia—prime, postured and pulsating!
The space-age guitar sound of Roy Lanham! A guitarist's guitarist, Lanham had no less a player than Merle Travis commenting about listening to his records in admiration—his clean, jazzy lines were a fountain of inspiration for several generations of pickers! After touring heavily in the 1940s with acts like western swing pioneer Hank Penny and early pop idol Gene Austin, Lanham was at his peak in 1959 when he made these recordings, which have never been issued in any form until now! Includes the stunning “My Adobe Hacienda,” a romping original “Lanham Boogie,” and takes on “Carnival In Paris” and “Song of India,” both of which Lanham would later record for other labels, all featuring his gorgeous tone wrapped in vintage (and cool!) tape delay echo! With a small, unobtrusive combo backing Lanham’s tasteful, complex lines, these are not the typically overproduced instrumental recordings of the late ’50s but the genuine sound of a guitar leader and his supporting musicians deftly playing through tunes they clearly knew and loved. Pressed on red wax—a tribute to Roy's famed red Jazzmaster—with new notes by Rich Kienzle, this is an indispensable collection of previously unissued guitar mastery!
Regularly packing regional Midwest venues with their incendiary live shows, The Trashmen's pal Mike Jann rightly concluded that these performances needed to be documented for posterity. Bringing his portable reel-to-reel tape recorder to Minneapolis’ St. Paul’s Whiskey A Go-Go, Jann captured the two previously unreleased performances in August 1966. Before a hometown crowd, The Trashmen threw down the bird dance beat with an authority born of road-hardened chops. No Pro-Tools, no Autotune, no overdubs: just real, writhing rock coming at you at a 1000 miles per hour.
Bursting out of hi-fi speakers like a deranged Yardbird, Adrian Lloyd’s “Lorna” rode a booming Bo Diddley beat through 2:23 of unhinged musical madness. Capturing some of the wildestscreams ever recorded, Lloyd also played a pounding drum solo to drive home the song’s tribal tattoo. The flip side, “Got a Little Woman,” slows the tempo to a menacing minor key surf beat without lowering the intensity at all.
Between May and October 1969, the Velvet Underground—Lou Reed, Sterling Morrison, Moe Tucker and Doug Yule—recorded fourteen songs at the Record Plant in New York City for what would have been the band’s fourth album for MGM/Verve Records. But when the Velvets left the label soon after, the recordings were shelved, and would not be heard by the public for a decade and a half. These songs, from those long-lost sessions, capture the Velvet Underground at a fascinating transitional point between the understated intimacy of their self-titled third album and the focused melodic rock of their next release, Loaded . This never-before-released single isn’t included in the Singles 1966-69 box set and is released here in a distinctive newly-designed sleeve on gold vinyl.
Making his radio debut at age 5, San Antonio native Doug Sahm began a lifelong musical journey that led him through many branches of American roots music. Sourced from the original Mercury session tapes, these tracks honor Sahm’s legacy by carrying his musical alchemy forward into a new century. “You just can’t live in Texas if you don’t have a lot of soul,” Sahm once sang and, truly, he possessed un alma eterna triunfante. TRACK LISTING: Mendocino • ¿Que Sera Mañana? • Nuevo Laredo • La luna Fue Culpable
A relentless perfectionist, Atkins typically took home his session tapes and worked (and reworked) his solos in his home studio until he was satisfied with the results. This audio woodshedding left hours of music in the RCA Victor tape archives, unheard by the public. Until now. This Sundazed Extended Play release unearths three originally unissued recordings from the vaults and a fourth recording that saw release only on a budget album many decades ago.
"Where’s the Beefheart?!,” intrepid record collectors have often asked. Despite being one of the most influential artists of the rock era, Captain Beefheart’s vinyl catalog is often exasperatingly elusive. One of the rarest of them all is the “Abba Zaba/Yellow Brick Road” single, issued by Buddha Records in December 1967. An early blueprint of Beefheart’s singular musical construction, it has long been a “holy grail” for 45 RPM enthusiasts around the world.
In an attempt to capitalize on the critical acclaim for the band’s prior album Trout Mask Replica, Buddah issued a promo single of “Plastic Factory” b/w “Where There’s Woman.” The A-side found the Captain’s voice and harmonica battling for supremacy with Ry Cooder’s stinging guitar licks. The B-side, meanwhile, follows him through tempo and time signature changes as he sings his opaque version of a love song. This promo single is so rare that most Beefheart fans have never seen it, let alone owned a copy.
In 1974, as Captain Beefheart recorded his eighth album, Unconditionally Guaranteed, he was eager to reach a wider audience while regaining the critical acclaim of his earlier work. Listening to album’s lead single, “Upon The My-O-My” b/w “I Got Love On My Mind,” it’s hard to believe anyone found this effort lacking. True, the music may be a bit more polished around the edges, but the Captain’s commanding voice rules over all. Long out of print, Sundazed resurrects this overlooked Beefheart morsel in all its original sonic splendor, sourced directly from original stereo master tapes.
Upon being knocked sideways by hearing Link Wray for the first time, one anonymous online enthusiast exclaimed, “What year is this stuff?!? Was this guy sent from the future?” Indeed, even now, Wray’s snarling six-string attack sounds years ahead of its time. Through intrepid detective work, Sundazed unearthed the original Mala mono master tapes for these four sides and pulled them from the brink of extinction. Packaged in a striking picture sleeve created specially for this release, this double single package will be on the want lists of guitar-crazed music lovers everywhere.
Though they were enjoying tremendous international success, life with the Byrds was proving increasingly difficult for Gene Clark in 1965. Thus, in early 1966, Gene flew solo and started recording his solo debut album for Columbia with the Gosdin Brothers on backing vocals. From these sessions, this promotional single was pulled. Sourced from the original analog tapes, bedecked with the Columbia promo labels and packaged in a replica of the promotional picture sleeve, this Sundazed single is destined to take its place among Clark’s most highly desired releases
Remarkably, both “Lyin’ Down the Middle” and “Why Not Your Baby” were issued ONLY as single sides at the time by A&M; they were not included on any original Dillard & Clark album. Proudly presented here from the original A&M mono masters, this re-imagined single reveals Dillard & Clark sailing forefront of the nascent California country-rock movement.
NOW ON COLORED VINYL!
In their relatively short lifespan, the visionary Blues Project—which included fabled guitar master Danny Kalb and legendary keyboardist Al Kooper—pioneered a dynamic fusion of blues, folk-rock, psychedelia and improvisational instrumentals. Featured here is the band’s raw 'nmighty readings of a pair of blues classics, Mose Allison’s “Parchman Farm” and Jimmy Reed’s “Bright Lights, Big City.” Sundazed is proud to present these two tracks for the first time on vinyl, direct from the original Verve Folkways mono masters.
Paul Revere & the Raiders delivered a ton of magnificent flavors during their '59–'72 run as hit-makers, from boogie and rhythm & blues to lush psych-pop. However, the years 1965 and 1966 may well be the group's most beloved era. And two originally unissued numbers from this prime moment are featured here. An August '65 cover of Lee Dorsey’s “Ride Your Pony” is stock Raiders at their most floor-filling. On the flipside, “(You’re a) Bad Girl” is one full summer’s leap (recorded in July ’66), and is a stunning folk-punk romp.
Sundazed is happy to reach back and create a "single that never was." Not only do you get "Alley Oop" in all its Zal-ified glory, you also get the full, unedited version of "Night Owl Blues'" featuring an extra 1:38 of harmonica honking madness. Put this single on your hi-fi and hear why The Lovin' Spoonful were the kings of Greenwich Village!
A psychedelic landmark — live concert recordings by the legendary San Francisco band at its blazing late-sixties peak. Moby Grape, in their prime, were also one of the Bay Area’s — and America’s — best stage bands, like the Beatles and Rolling Stones in one, with a breathtaking triple-guitar attack and stunning vocal harmonies. These recordings are the long-awaited proof.