The Seeds the Seeds / a Web of Sound Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

The Seeds the Seeds / a Web of Sound Mp3, Flac, Wma The Seeds The Seeds / A Web Of Sound mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Seeds / A Web Of Sound Country: US Released: 1987 Style: Garage Rock, Psychedelic Rock MP3 version RAR size: 1547 mb FLAC version RAR size: 1258 mb WMA version RAR size: 1755 mb Rating: 4.7 Votes: 879 Other Formats: ASF WMA XM AHX DXD VOX FLAC Tracklist 1 Can't Seem To Make You Mine 3:01 2 No Escape 2:13 3 Evil Hoodoo 5:15 4 Girl I Want You 2:22 5 Pushin' Too Hard 2:35 6 Try To Understand 2:51 7 Nobody Spoil My Fun 3:51 8 It's A Hard Life 2:37 9 You Can't Be Trusted 2:08 10 Excuse, Excuse 2:18 11 Fallin' In Love 2:45 12 Mr. Farmer 2:50 13 Pictures And Designs 2:41 14 Tripmaker 2:44 15 I Tell Myself 2:58 16 A Faded Picture 5:16 17 Rollin' Machine 2:29 18 Just Let Go 4:17 19 Up In Her Room 14:27 Companies, etc. Recorded At – RCA Victor Studios, Hollywood Recorded At – Columbia Studios, Hollywood Credits Arranged By – The Seeds, Vinnie Fanelli (tracks: 6) Drums – Rick Andridge Engineer – Chuck Britz, Dave Hassinger, Lanky Linsrot*, Mike Durrough, Rafael Valentin* Engineer [Re-mixing] – Doc Siegel, Mike Durrough, Stan Ross Guitar – Jan Savage Lead Vocals, Harmonica, Bass, Artwork By [Cover] – Sky Saxon Liner Notes – Marcus Tybalt Organ, Piano – Daryl Hooper Photography By – Ray Leong Producer – Marcus Tybalt, Sky Saxon Slide Guitar [Bottleneck] – Cooker Written-By – Hooper* (tracks: 3, 13, 14, 16, 18), Savage* (tracks: 2, 18), Lawrence* (tracks: 2), Tybalt* (tracks: 14, 15), Saxon* (tracks: 1 to 13, 16 to 19) Notes Re-issue of the two first LPs: The Seeds : tracks 1-11 (missing the -third- track 'Lose Your Mind' from this album) A Web Of Sound : tracks 12-19 ℗ 1987 GNP Crescendo Records. Digitally mastered analog recording. Recorded at Western, United and Universal Associated and at RCA Victor and Columbia Studios, Hollywood. Barcode and Other Identifiers Barcode: 0 5282-42023-2 Other versions Category Artist Title (Format) Label Category Country Year The Seeds / A Web Of GNPD 2023 The Seeds GNP Crescendo GNPD 2023 US Unknown Sound (CD, Comp, RE) The Seeds / A Web Of GNPD 2023 The Seeds GNP Crescendo GNPD 2023 US Unknown Sound (CD, Comp, RE) The Seeds & A Web Of DIAB 8039 The Seeds Edsel Records DIAB 8039 UK 2001 Sound (CD, Comp, RE) The Seeds / A Web Of GNPD 2023 The Seeds GNP Crescendo GNPD 2023 US Unknown Sound (CD, Comp, RE) The Seeds & A Web Of DIAB 8039 The Seeds Edsel Records DIAB 8039 UK 2001 Sound (CD, Comp, RE) Related Music albums to The Seeds / A Web Of Sound by The Seeds The Main Ingredient - Black Seeds The Seeds - Can't Seem To Make You Mine Lightning Seeds - The Lightning Seeds Nick Cave & The Bad Seeds - Live Seeds The Seeds - The Seeds The Seeds - Mr. Farmer The Seeds - Fallin' Off The Edge The Seeds - A Web Of Sound Seeds, The - Travel With You The Seeds - Can't Seem To Make You Mine/Mr Farmer.
Recommended publications
  • The Seeds Evil Hoodoo Mp3, Flac, Wma
    The Seeds Evil Hoodoo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Evil Hoodoo Country: UK Released: 2011 Style: Garage Rock, Punk, Psychedelic Rock MP3 version RAR size: 1615 mb FLAC version RAR size: 1208 mb WMA version RAR size: 1920 mb Rating: 4.9 Votes: 361 Other Formats: AHX MP2 AHX AAC ASF MOD MP4 Tracklist Hide Credits Evil Hoodoo (Full Length) A 13:53 Written-By – Daryl Hooper, Sky Saxon Satisfy You (Undubbed) B1 2:03 Written-By – Jan Savage, Sky Saxon Out Of The Question (Version 1, Take 1) B2 3:00 Written-By – Russ Serpent, Sky Saxon Companies, etc. Designed At – 9thPlanet Design Mastered At – Sound Mastering Phonographic Copyright (p) – GNP Crescendo Records, Inc Copyright (c) – Ace Records Ltd. Licensed To – Ace Records Ltd. Marketed By – Ace Distributed By – Ace Lacquer Cut At – SST Brüggemann GmbH Pressed By – MPO Published By – Neil Music Credits Arranged By – The Seeds Bass – Harvey Sharpe (tracks: A, B2), John Paul Manasia (tracks: B1) Compiled By, Research [Archive Research] – Alec Palao Design – Neil Dell Drums – Rick Andridge Executive-Producer – Neil Norman Guitar – Jan Savage Lacquer Cut By – SST Lead Vocals – Sky Saxon Mastered By – Nick Robbins Organ, Piano – Daryl Hooper Producer – Gene Norman (tracks: B1), Jimmie Maddin (tracks: B2), Marcus Tybalt (tracks: A) Notes Record Store Day 2011 release limited to 1000. Barcode and Other Identifiers Barcode (Printed): 0 29667 00717 7 Barcode (String): 029667007177 Label Code: LC 09797 Matrix / Runout (Side A runout, etched): LTDEP010 A SST MPO Matrix / Runout (Side B runout, etched): LTDEP 010 B SST MPO Related Music albums to Evil Hoodoo by The Seeds The Seeds - You're Pushing Too Hard Sky Saxon And The Seeds - Red Planet The Seeds - A Faded Picture The Seeds - A Web Of Sound Saxon - Sky "Sunlight" Saxon & The Original Seeds - Takes & Glories The Seeds Featuring Sky Saxon - You're Pushing Too Hard / Out Of The Question The Seeds - The Seeds Jorge Saxon aka DJ George - Saxon - Rock The Nations The Seeds - Future The Seeds Featuring Sky Saxon - Pushin' Too Hard.
    [Show full text]
  • The Sixties Counterculture and Public Space, 1964--1967
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 "Everybody get together": The sixties counterculture and public space, 1964--1967 Jill Katherine Silos University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Silos, Jill Katherine, ""Everybody get together": The sixties counterculture and public space, 1964--1967" (2003). Doctoral Dissertations. 170. https://scholars.unh.edu/dissertation/170 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
    [Show full text]
  • Blitz - the Rock and Roll Magazine
    blitz - the rock and roll magazine for thinking people wednesday about me ELECTRIC PRUNES INTERVIEW BlitzMagazine United States Blitz Magazine was founded in 1975. Editor/Publisher Michael McDowell moved operations to Los Angeles, California in 1980. Please check the How To Reach Us link for current contact information. View my complete profile previous posts BITS AND PIECES - NEWS ABOUT YOUR FAVORITE ARTISTS... THE SHAPE OF THINGS TO COME (REISSUES AND ANTHOLOG... THE SHAPE OF THINGS TO COME (NEW RELEASES) By Mich... NEVER HAD IT BETTER: In the past year and a half, Electric Prunes co-founder HOW TO REACH US and front man, James Lowe (pictured above, earlier this year) has weathered the passing of bandmate and bassist Mark Tulin, as well as his own quadruple bypass surgery, and is now preparing for the next phase of the legendary first generation garage band's career with the release of a new Electric Prunes live CD, recorded in Stockholm. Lowe discusses this and more with Blitz Editor/Publisher Michael McDowell below (Click on above image to enlarge). REWIRED: THE ELECTRIC PRUNES’ JAMES LOWE DISCUSSES HIS JOURNEY FROM TRAGEDY TO TRIUMPH “Since the death of our bass player and co-founder of the band, Mark Tulin last year, we have been in a shambles. I guess you don't expect anyone to die. But Mark was so full of life and such an important part of the band, it was as if one of the legs had been sawed off a three legged stool. We miss Mark daily. The band must go on, and we know that is what Mark would have wanted.” So said Electric Prunes front man, James Lowe in a statement on the fourteenth of May.
    [Show full text]
  • Dont Over Thirty
    28 DON’T TRUST ANYONE OVER THIRTY 29 Artists Statement grounds offering a range of interpretations of collec- tive identities and related histories. In a wider com- A C E N T R A L thought behind the video com- parison this might visualize the different layers of the pilation stored inside the Minority Logbox is to archive representation of minorities—sometimes indicating multiple notions of the other and to further commu- how a minority and the term itself is utilized, but also nicate them during screenings in transition; while the capitalized (even symbolically) by various interests. archive travels through neighboring societies—where This concern is certainly more valid for some produc- the dominant culture in one place is a minority in tions than for others. Since the early days of cinema another location just beyond the border. A large part on to documentary and ethnographic film, marginal- of the project’s route crosses a region where displace- ized groups have been the focus of investigation and ment and forced migration have created an utterly familiarization. Rather than being given the chance DoNt reallocated configuration of marginal communities. It to portray themselves, minorities have routinely been is an opportunity to (through the use of related visual depicted by others. documents) interconnect groups, that have always This selection is an attempt to extend the most been apart from the dominant culture. But it is also an commonly determined descriptions of the idea of impetus to reveal contrasts in different locations due minorities into various further meanings of marginal- to historical status and attributes connected to locally ization, including national, ethnic, and gender-related �TrUSt diverse developments.
    [Show full text]
  • The Complete Poetry of James Hearst
    The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring.
    [Show full text]
  • Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
    Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.
    [Show full text]
  • In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock
    11 In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock Lester Bangs All the shit they play on the radio today-it lacks the true meaning of rock, which is sex, subversion, and style. Rock 'n' roll is pagan and primitive and very jungle, and that's how it should be. The moment it stops being those things, it's dead. -Sex Pistols manager Malcolm McClaren (Kohut and Kohut 1994, 18) The kids want misery and death. They want threatening noises because that shakes you out of your apathy. -John Lydon of the Sex Pistols (Kohut and Kohut 1994, 101) Lester Bangs is the most celebrated critic in the history of rock. A wild man and visionary armed with a pugnacious attitude and original writing style, which he claimed was based on the sound and language of rock and roll itself (Bangs 1987, ix), he was an early champion of punk rock. According to Bangs, punk means rock "in its most basic, primitive form," and it has thus been around from the beginnings of rock 'n' roll. Here he expounds upon what he sees as the true meaning of not only punk, but of rock itself, delivering a manifesto for both: the essence is passion. Rock must be first and foremost "a raw wail from the bottom of the guts." Punk rock was hardly invented by the Ramones in Qyeens, NY, in 1974-5, any more than it was by the Sex Pistols in London a year or so later. You have to go back to the New York Dolls.
    [Show full text]
  • The Seeds Raw & Alive in Concert at Merlin's Music
    The Seeds Raw & Alive In Concert At Merlin's Music Box mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Raw & Alive In Concert At Merlin's Music Box Country: US Released: 1968 Style: Psychedelic Rock, Garage Rock MP3 version RAR size: 1708 mb FLAC version RAR size: 1850 mb WMA version RAR size: 1324 mb Rating: 4.7 Votes: 897 Other Formats: WMA AUD XM MPC AIFF ADX MMF Tracklist Hide Credits Introduction By "Humble" Harv A1 0:20 Voice – Harvey Miller Mr. Farmer A2 3:50 Written-By – Sky Saxon No Escape A3 2:25 Written-By – Savage*, Saxon* Satisfy You A4 2:00 Written-By – Savage*, Saxon* Night Time Girl A5 2:30 Written-By – The Seeds Up In Her Room A6 9:45 Written-By – Sky Saxon Gypsy Plays His Drums B1 4:30 Written-By – Hooper*, Saxon* Can't Seem To Make You Mine B2 2:30 Written-By – Sky Saxon Mumble And Bumble B3 2:25 Written-By – Sky Saxon Forest Outside Your Door B4 2:40 Written-By – Hooper*, Saxon* 900 Million People Daily All Making Love B5 4:50 Written-By – The Seeds Pushin' Too Hard B6 2:40 Written-By – Sky Saxon Companies, etc. Record Company – Gene Norman Presents Produced For – Future Productions Copyright (c) – GNP Published By – Neil Music Inc. Published By – Purple Bottle Music Published By – Pure Heart Music Credits Arranged By – Hooper*, Saxon* Engineer – Chuck Britz, Joe Sidore Liner Notes – Sky* Notes This version: Cover -> label logo at bottom right hand corner. Labels -> Unboxed red labels. Tracklisting aligned to the middle.
    [Show full text]
  • THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
    THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s.
    [Show full text]
  • Record Dreams Catalog
    RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores.
    [Show full text]
  • Catalogue a ‐ Z
    Catalogue A ‐ Z A ? MARK AND MYSTERIANS "Same" LP CAMEO 1966 € 60 (US Garage‐Original Canada Pressing VG++++/VG+) 007 & SCENE " Landscapes" LP Detour € 12 (UK mod‐beat ' 70/ ' 80) 1‐2‐5 “Same” LP Misty lane € 13 (Garage punk dall’Olanda) 13th FLOOR ELEVATORS "Easter every Where" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "Graeckle Debacle" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "The Psychedelic Sound Of…" CD Spalax € 15,00 ('60 US Psych) 13th FLOOR ELEVATORS "Unlock the Secret" CD Spalx € 15,00 ('66 US Psych) 20/20 "Giving It All" 7" LINE 1979 € 15 (US Power Pop) 27 DEVILS JOKING "The Sucking Effect" LP RAVE 1991 € 10 (US Garage VG/M‐) 3 NORMAL BEATLES "We Name Is Justice" DLP BUBACK € 23 (Beat from Germany) 39 CLOCKS "Cold Steel To The Heart " LP WHAT'S SO FUNNY ABOUT 1985 € 35 (Psychedelic Wave from Germany) 39 CLOCKS "Subnarcotic" LP WHAT'S SO FUNNY ABOUT 1982 € 35 (Psychedelic Wave from Germany 1988 Reissue) 39 CLOCKS "The Original Psycho Beat" LP WHAT'S SO FUNNY ABOUT 1993 € 20 (Psychedelic Wave from Germany) 3D INVISIBLES "Robot Monster" 7" NEUROTIC BOP 1994 € 5 (US Punk Rock) 3D INVISIBLES "They Won't StayDead" LP NEUROTIC BOP 1989 € 15 (US Punk Rock) 440’S “Gas Grass Or As” 7” Rockin’ Bones € 5 (US Punk) 5 LES “Littering..” 7” HAGCLAND 198? € 5 (Power Pop dal Belgio M‐/M‐) 5.6.7.8.'S "Can't Help It !" CD AUGOGO € 14 (Japan Garage i 7"M‐/M) 5.6.7.8's "Sho‐Jo‐Ji" 7" THIRD MAN € 9 (Garage Punk from Tokyo) 60 FT DOLLS "Afterglow" 7" DOLENT € 3 (Promo Only) 64 SPIDERS "Potty Swat" 7" REGAL SELECT 1989 € 17 (US Punk M‐/M‐) 68 COMEBACK "Do The Rub" 7" BAG OF HAMMERS 1994 € 7 (US Punk Blues) 68 COMEBACK "Flip,Flop,& Fly" 7" GET HIP 1994 € 13 (US Punk Blues) 68 COMEBACK "Great Million Sellers" 7" 1+2 1994 € 8 (US Punk Blues) 68 COMEBACK "High Scool Confidential" 7" PCP I.
    [Show full text]