GRATEFUL DEAD: Dick’s Picks Vol. 29

• Two Shows Taken from the Scintillating Spring '77 Tour in Support of Forthcoming Terrapin Station Album

• Includes Hidden Bonus Tracks from October'77

• Largest Dick's Picks Volume in the Series at 6 CDs

• Recorded by Betty Cantor-Jackson


GRATEFUL DEAD: Dick’s Picks Vol. 29—5/19/77 Fox Theatre Atlanta, GA 5/21/77 Lakeland Civic Center Arena Lakeland, FL (6-CD Set)

Start talking tours to any Deadhead you know and just say “Spring ‘77”—chances are a big smile will steal across his or her face. That’s because of all the road trips in the Dead’s long history, arguably the one that saw the most consistently high level of playing was the Spring ’77 tour the band undertook in support of its forthcoming Terrapin Station album. And that’s why, out of the 36 volumes in the Dick’s Picks series, only one, this one, is a 6-CD set (there isn’t even a 5-CD set)! Inside are two complete shows minus one encore (from the Florida show), plus some equally fantastic, unlisted bonus tracks from a 10/11/77 show in Norman, Oklahoma, all impeccably recorded by Betty Cantor-Jackson. Highest among the many highlights from the Fox Theatre show are the version of Sugaree and the incredible segue from Playing in the Band to Uncle John’s Band (also don’t miss the unbilled, primal version of Not Fade Away). But the Lakeland show just may take the cake—two medleys, a breathtaking Scarlet Begonias/Fire on the Mountain and a jaw-dropping Estimated Prophet/He’s Gone/Drums/The Other One/Comes a Time/St. Stephen/Not Fade Away/St. Stephen/One More Saturday Night, are the icing. Comes with original slipcased packaging—never before available in stores!

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The Electric Prunes

• First-Ever Legitimate Collection of Their Wondrously Adventuresome Singles

• Presented in Original Mono Mixes, Which Were Markedly Different from Album Versions

• Liner Notes Include Track Commentary by Band Members

• Photos of Band and Singles Included

• Features "I Had Too Much to Dream (Last Night)" and "Get Me to the World on Time"


THE ELECTRIC PRUNES: The Complete Reprise Singles. CD

Though the Electric Prunes were responsible for some of the boldest and most experimental pop of the late ‘60s, they always were, more than just about any band of their ilk, a singles-oriented act, at least in their earliest incarnation. In fact, according to vocalist James Lowe, the engineers at American Recording, where many of their early singles were recorded, used to transmit the single mixes to a radio in a car parked outside the studio to make sure the songs sounded good in the medium through which most people would hear them. As a result, the Prunes singles were punchier than their album counterparts, and were, above all, mono—yet to date, no legitimate collection has ever compiled these singles, many of which have never been on CD in their original mix. Now, for the first time, Real Gone Music has assembled all 23 of their original single sides for Reprise, which span several band line-ups and several legendary producers (Dave Hassinger, David Axelrod) with very different visions, yet remain of remarkably consistent high quality.

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The Tubes

 Two Charting Albums from One of the Most Original and Provocative Acts of the '70s

• Now Issued on CD for the First Time in the U.S.

• New Liner Notes by Gene Sculatti Feature Fresh Quotes from Drummer Prairie Prince

• Includes Such Tubes Classics as "Don't Touch Me There," "Slipped My Disco," "God-Bird-Change," and "Cathy's Clone"

• Original Inner-Sleeve Art Included


The Tubes: Young & Rich/Now (2-CD Set)

The fact that these two albums, their second and third releases, have been out of print for years—and Now never even issued on CD in this country—is eloquent testimony to the fact that the Tubes are one of the most underrated bands of the ‘70s (though not underrated by all—used CD copies of these albums go for staggering figures online). This was a band that blended disparate strands of Album-Oriented Rock into a vision all their own. Salacious Zappa-like satire? Check. Over the top theatricality a la Alice Cooper? Check. BOC-like hard rock? Check. Even avant-garde, Beefheart-ian atonality cropped up in unexpected places. Yet underneath all the pomp and circumstance this San Francisco group was still just a bar band, and it was these radically different stylistic directions that held back these records from widespread commercial success even as they rewarded those listeners that hung on for the ride. Whether live, with the various personas adopted by Fee Waybill, or in the studio, the Tubes approached each song as a conceptual art piece; such songs as  “Don’t Touch Me There,” “Slipped My Disco,” “Cathy’s Clone” and “God-Bird-Change” attest that they damn well pulled it off.

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Sam Samudio Sam, Hard and Heavy. CD

  • After Sam the Sham & the Pharaohs Folded in the Late ‘60s, Lead Singer and Front Man Domingo “Sam” Samudio Recorded This Collector’s Dream of a Solo Album in 1971 for Atlantic Records

  • Produced by the Legendary Jerry Wexler and Tom Dowd

  • Includes Such Hallowed Sidemen as Duane Allman, The Sweet Inspirations, The Memphis Horns, and The Dixie Flyers Led by Jim Dickinson

  • A Little Hard Rock, a Little Tex-Mex, a Little Blues, and Always Rockin’

  • Won a Grammy for Samudio’s Hilarious, Stream-of- Consciousness Liner Notes, Reproduced Here

  • Also Includes Additional Liner notes by Richie Unterberger 


SAM SAMUDIO: Sam, Hard and Heavy CD

After the late-‘60s collapse of Sam the Sham & the Pharaohs, the band’s front man and lead singer Domingo “Sam” Samudio signed a solo deal with Atlantic and recorded this 1971 slice of collector nirvana. Why nirvana? Well, aside from Sam’s estimable vocal and songwriting contributions, the album boasted contributions from, oh, about a half-dozen different flat-out legends, including producers Tom Dowd and Jerry Wexler and sidemen the Dixie Flyers (led by Jim Dickinson), the Memphis Horns, the Sweet Inspirations, and some session guitarist named Duane Allman! Sam’s born-to-be-wild pose on the front cover tips you off to the sound; this album updated the Pharoahs’ frat-boy garage raunch with a nod towards hard rock (“Relativity” and “Don’t Put Me On”), while also harkening back to his Tex-Mex (“Don’t Put Me On”) and blues (“Key to the Highway”) roots. Little wonder, then, that vinyl copies of this record—which makes its CD debut here—fetch a pretty penny when and if you can find it. The album also won a Grammy for Sam’s hilarious, stream-of-consciousness liner notes (“Thank the monkey”), which we’ve reproduced here along with new notes by Richie Unterberger. We’ve also added a bonus single side, Sam’s version of “Me and Bobby McGee” featuring Duane Allman on dobro--don’t miss this one!

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  • Both Records Maynard Ferguson Recorded for the Cameo Label in 1963

  • Two of the Most Collectible Albums in the Maynard Ferguson Catalog on One CD, Recorded Between His Stints for the Roulette and Mainstream Labels

  • Features His Great Roulette Band of Lanny Morgan, Willie Maiden, Frank Vicari, Mike Abene, Ronnie Cuber and Arranger Don Sebesky

  • Includes a Bonus Track from the New Sounds Sessions

  • Remastered Straight from the Original Tapes

  • New Liner Notes

  • Maynard’s Complete Cameo Recordings 


Maynard Ferguson: The New Sounds of Maynard Ferguson/Come Blow Your Horn—the Complete Cameo Recordings. CD

Released through Real Gone by arrangement with ABKCO Records, this twofer features two of the most collectible albums in the entire Maynard Ferguson catalog, the two records he recorded in 1963 for the Cameo label in between his stints at the Roulette and Mainstream labels. Maynard still has his great Roulette band of Lanny Morgan, Willie Maiden, Frank Vicari, Mike Abene, Ronnie Cuber and master arranger Don Sebesky et al. with him on these recordings. Sourced from the original master tapes, this marks the first time these rare gems will be legitimately released on CD. Both albums feature driving big band arrangements of both standards and originals, and we have unearthed an unreleased bonus track from the New Sounds sessions, a take on the classic The Song Is You, exclusively for this reissue. Remastered straight from the original tapes with new liner notes—Maynard’s complete Cameo recordings!

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Grateful Dead: Dick’s Picks 25


  • The Legendary Series of Peak Live Shows, Carefully Culled Straight from the Band's Vaults
  • Dick's Picks 25 Was Recorded by Owsley "Bear" Stanley and Betty Cantor-Jackson, Offering Some of the Best Fidelity in the Series

  • Features a Rare Cover of "Werewolves of London"

    ORDER  NOW! 

GRATEFUL DEAD: Dick’s Picks 25—May 10, 1978 New Haven, CT May 11, 1978 Springfield, MA (4-CD Set) 

This pair of Grateful Dead shows, taken from an extended East Coast run in the Spring of 1978, not only were among the best of the year, but—with the loving touch of Bear and Betty Cantor-Jackson at the controls—rank as one of the most beautifully recorded entries in the Dick’s Picks series. Both concerts—which appear here minus just two and three songs, respectively—find the group in exceptionally lyrical form on ballads like “Loser,” “Stella Blue,” “Looks Like Rain” and “They Love Each Other.” Also not to be missed is a superlative, slowed-down version of “Friend of the Devil” and the rare performance of Warren Zevon’s “Werewolves of London” as an encore (the band only played it about a dozen times live). Full of diamonds for Deadheads.


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GRATEFUL DEAD: Dick’s Picks Vol. 31

  • The Legendary Series of Grateful Dead Live Recordings, Originally Unavailable in Stores

  • Dick’s Picks Vol. 31 Presents the Wall of Sound Tour at Its Zenith

  • Includes Two Epic Versions of “Playing in the Band”

  • Features Highlights from Three Consecutive Nights of Shows

  • Dick’s Picks Vol. 25 Was Recorded by Bear and Betty Cantor-Jackson and Is Among the Highest-Fidelity Volumes in the Series

  • Features Exceptionally Lyrical Performances of “Loser,” “Stella Blue,” “Looks Like Rain,” and “They Love Each Other”

  • Also Includes a Great, Slowed-Down Version of “Friend of the Devil” and a Rare Performance of “Werewolves in London”

  • Two Complete Shows Less Five Songs 


Grateful Dead: Dick’s Picks Vol. 31—8/4-5 Philadelphia Civic Center, Philadelphia, PA 8/6/74, Roosevelt Stadium, Jersey City, NJ (4-CD Set)

This Dick’s Picks volume captures the Dead right in the thick of the legendary 1974 Wall of Sound tour and only two months away from leaving the road for a year-and-a-half hiatus. The Wall of Sound was, of course, the massive sound system designed by Owsley “Bear” Stanley that was so meticulously constructed that, for example, each string of Phil Lesh’s bass had its own speaker (and was so daunting to transport and assemble that it was dismantled after the tour). The result was a crystal-clear sound that to this day stirs controversy among the band’s fans. It certainly complemented and even encouraged the band’s continued move away from the country-rock of Workingman’s Dead towards a jazz fusion sound best expressed by the two epic versions of Playing in the Band found here. As opposed to most Dick’s Picks collections, this four-disc set offers highlights from three consecutive nights of shows rather than presenting shows in their entirety; the result is that each disc stands on its own as a musical statement. Highly rated by aficionados, and possibly the best Wall of Sound set of shows available, in HDCD sound to boot. Never before available in stores. 

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  • Perhaps No Singer-Songwriter Has Ever Bared His or Her Soul Quite Like Loudon Wainwright III

  • His First Two Albums, Cut for Atlanticin1970and1971, Respectively, Tackled Such Subjects as Lust, Suicide, and Fear of Parenthood Head On

  • Belying Their Serious Subject Matter, They Are Also Among the Funniest Singer-Songwriter Records Ever Made

  • Both Records Appear on The Atlantic Recordings Along with a Bonus Track

  • Originally Released as a Limited Edition That Sold Out Immediately

  • Back in Print by Popular Demand



    Loudon Wainwright III: Loudon Wainwright III/Album II—The Atlantic Recordings. CD

    No singer-songwriter has ever stared at himself in the mirror with quite the intense honesty displayed by Loudon Wainwright III throughout his career, but his first two albums, cut for Atlantic in 1970 and 1971, respectively, really bare the soul to a degree perhaps only rivaled by John Lennon’s first solo album with the Plastic Ono Band. Lust, suicidal feelings, fear of parenthood; all are grist for Loudon’s songwriting mill—with such fearless introspection, little wonder he later became an acclaimed actor. But if this all sounds like a tedious wallow, it’s not, for Wainwright is also probably the funniest singer-songwriter ever (Sample rhyming couplet: “And a baby can spot your shtick/All the coochy coochy coo is a lot of poo poo when you spread it on that thick”). This Real Gone release finally brings to retail the original limited edition Rhino Handmade set that was only available online, and then only for a heartbeat before it sold out, complete with bonus track (“Drinking Song”). These 24 tracks represent Loudon’s complete Atlantic recordings…indispensable stuff!

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  • Featured in the 2015 Film Straight Outta Compton,The D.O.C. (a.k.a. Tracy Lynn Curry) Was a Major Figure in West Coast and Gangsta Rap

  • The D.O.C. Was a Behind-the-ScenesContributortoSome of the Greatest Rap Albums of All Time Including Dr. Dre’s The Chronic, NWA’s Straight Outta Compton, Eazy-E’s Eazy-Duz-It, and Snoop Dogg’s Doggystyle

  • Produced by Dr.Dre, His 1989 Debut Album No One Can Do It Better Also Belongs on the Short List of Greatest Rap Albums

  • However, There Has Never Been an Updated Version of the Original CD Release

  • This Expanded Edition Presents a Remastered Edition of the Original Album Plus Seven Impossible-to-Find 12” Mixes

  • Notes by Aaron Kannowski Include Quotes from The D.O.C.

  • 75 Minutes of Historic Hip-Hop 


    The D.O.C.: No One Can Do It Better (Expanded Edition). CD

    With the 2015 release of the film Straight Outta Compton, we at Real Gone Music figured it was about time somebody revisited one of the landmark albums of West Coast rap, The D.O.C.’s No One Can Do It Better. The D.O.C. a.k.a. Tracy Lynn Curry was a behind-the-scenes contributor to some of the biggest and most hallowed rap releases ever, including Dr. Dre’s The Chronic, NWA’s Straight Outta Compton, Eazy-E’s Eazy-Duz-It, and Snoop Dogg’s Doggystyle, and his Dr. Dre-produced debut record lived up to the braggadocio of its title by going platinum, spawning the #1 rap singles “It’s Funky Enough” and “The D.O.C. & The Doctor,” and being hailed by critics nationwide as one of the greatest hip-hop albums ever recorded. However, there has never been an updated reissue of the original 1989 CD, which, like most releases of the early CD era, doesn’t really do the music sonic justice.

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  • Air Supply’s Russell Hitchcock and Graham Russell Ruled the ‘80s Charts with Hits Like “Lost in Love,” “All Out of Love,” “Every Woman in the World,” “The One That You Love,” “Here I Am (Just When I Thought I Was over You,” “Sweet Dreams,” “Even the Nights Are Better,” and “Making Love Out of Nothing at All”

  • The Columbia & Arista Years—The Definitive Collection Is Their Biggest Collection Ever

  • 30 Tracks Including Every Hit

  • Also Includes Fan Favorites Like Their First Single for Columbia, “Love and Other Bruises,” and “I Can Wait Forever” from Ghostbusters

  • Liner Notes by Joe Marchese

  • Contains Added Photos and Album Shots

  • Remastered by Sean Brennan at Battery Studios in New York

  • Pop Perfection in Every Track 


    Air Supply: The Columbia & Arista Years—The Definitive Collection (2-CD Set)

    Here they are…the ones that you love. ALL of the hits that the Australian duo of Russell Hitchcock and Graham Russell scored during their sterling, 40-year career, plus a whole lot more—their biggest collection ever! Air Supply simply ruled the ‘80s charts with Top Five hits like “Lost in Love,” “All Out of Love,” “Every Woman in the World,” “The One That You Love,” “Here I Am (Just When I Thought I Was over You,” “Sweet Dreams,” “Even the Nights Are Better,” and “Making Love Out of Nothing at All,” and they’re all here, newly remastered by Sean Brennan at Battery Studios to make their indelible pop melodies soar even more than before. But this two-CD, 30-track set contains a lot more for Air Supply fans to savor, like their first single for Columbia, “Love and Other Bruises,” and the David Foster-produced “I Can Wait Forever” from the Ghostbusters soundtrack. Liner notes by Joe Marchese follow the duo’s meteoric rise to the top of the charts, and the package includes art from their albums and added photos. Supreme popcraft in every track!

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    PETULA CLARK Natural Love—The Scotti Brothers Recordings. CD

  • Petula Clark is One of the Most Internationally Revered and Versatile Vocalists in Pop Music History

  • In the Early ‘80s, She Returned to the American Music Scene After a Brief Hiatus by Recording for the Scotti Brothers Label

  • Her First Single for the Label,“NaturalLove,” Became a Pop and Country Hit

  • Natural Love—The Scotti Brothers Recordings Collects for the First Time All the Recordings Petula Made for the Scotti Brothers Label

  • Includes Several Petula Originals Plus a Version of “Edelweiss” from The Sound of Music,
    in which she was appearing on stage in London at the time

  • Liner Notes by The Second Disc’s Joe Marchese

  • Period Photos

  • Remastered by Mike Milchner at SonicVision

  • A Missing Piece of Petula’s Distinguished Discography 


    Petula Clark: Natural Love—The Scotti Brothers Recordings. CD

    After achieving tremendous success as an international music star in the 1960s and 1970s, Petula Clark began a new phase of her American music career when, after a short hiatus from the States, she was approached by Scotti Brothers Records to return to the recording studio. Label owner Tony Scotti was a fan of Petula's work, and knew that she was capable of singing a variety of styles, including country-flavored tunes. Scotti’s instincts proved dead-on; the slick and twangy toe-tapper “Natural Love,” Petula's debut release for Scotti Brothers, not only brought her back to the Billboard Hot 100 and Adult Contemporary charts but also to the Top 20 Country Singles list in 1981.

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    The first 100 customers to buy the CD from us get an autographed BOOKLET from Edgar Winter. First-come, first-served, only one autographed copy per customers order allowed.
    • Keyboardist/Saxophonist/Composer Edgar Winter First Gained Notice as a Sideman on Brother Johnny Winter’s Second Winter Album

    • After Signing to Epic Records, He Became One of the Biggest Stars of the ‘70s, with Eight Charting Albums Including the #3 They Only Come Out at Night

    • The Definitive Collection Is Edgar’s Largest Retrospective to Date

    • 30 Tracks Reflecting His Unique Mixture of Blues, Jazz, Soul, Rock, and Funk

    • Includes Such Key Tracks as “Frankenstein,” “Give It Everything You Got,” “Free Ride,” “Keep Playin’ That Rock ’n’ Roll,” “Easy Street,” and More

    • Features Tracks from All 11 of His Epic/Blue Sky Albums Including Those Cut with Edgar Winter’s White Trash, The Edgar Winter Group and with Johnny Winter

    • Boasts Such Musicians as Rick Derringer, Ronnie Montrose, Dan Hartman, and Johnny Winter

    • Bill Kopp’s Liner Notes Feature Exclusive Quotes from an Extensive Interview with Edgar Winter

    • Remastered by Darren Salmieri at Battery Studios in New York

    • Some of the Best Blues-Rock of the ‘70s 

      ORDER NOW!

      Edgar Winter: The Definitive Collection. (2-CD Set)

      After gaining notice as a sideman on his brother Johnny’s Second Winter album, keyboardist/saxophonist/composer Edgar Winter signed to Epic Records and quickly became one of the biggest stars of the ‘70s, releasing eight charting albums during the decade including the #3 smash They Only Come Out at Night. But aside from his commercial success, what makes Edgar Winter such an intriguing artist—and worthy of a 2-CD, 30-track retrospective, his biggest ever—is that he never stayed in one stylistic rut. Elements of blues, jazz, soul, and funk swirl within his music, sometimes even in the same song (e.g. “Frankenstein”), and the level of musicianship—with such sidemen/band members as Rick Derringer, Ronnie Montrose, Dan Hartman, and, of course, brother Johnny Winter—is never less than top shelf. This 30-track collection hits all the high points in chronological order, offering such hits and album tracks as “Give It Everything You Got,” “Keep Playin’ That Rock ‘n’ Roll,” “Rock & Roll, Hoochie Koo.” “Free Ride,” “Frankenstein,” “River’s Risin’,” “Easy Steet,” and more, and pulls tracks from all 11 of the albums he recorded for Epic and Blue Sky featuring all of the various aggregations (Edgar Winter’s White Trash, The Edgar Winter Group, and his Together album with Johnny) that he led. Bill Kopp’s liner notes share the fruits of a 2 ½ hour-long interview, and we’ve included copious photos and album shots. Remast

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  • Fairport Convention Has Been the British Folk Rock Band for Almost 50 Years

  • Famous for Hosting the Annual Crop redy Festival

  • Fairport’s 1971 Line-Up of Drummer Dave Mattacks, Guitarist Simon Nicol, Bassist Dave Pegg, and Fiddler Dave Swarbrick Was

    Their Hardest-Rocking Line-Up If Not Their Most Widely Known

  • This UNRELEASED August 1971 Concert Captures the Band in Between Their Underrated Albums Angel Delight and “Babbacombe” Lee

  • The Set List Includes Rare Tracks Like “Mason’s Apron” and “Sir B. McKenzie’s Daughter’s Lament”

  • Also Includes Favorites like “Sir Patrick Spens” and “Matty Groves”

  • Excellent Recording with an Ample Bottom End, Remastered by Mike Milchner at SonicVision

  • Richie Unterberger’s Notes Include Quotes from Simon Nicol and Dave Pegg

  • Added Photos and Memorabilia from Fairport’s Own Collection

  • A Major Addition to Their Vast Discography 


    Fairport Convention: Live in Finland 1971. CD

    Hosts of the annual Cropredy Festival and a mere year shy of their 50th anniversary, Fairport Convention is THE British folk-rock group, and many of the most talented and celebrated musicians in the scene have passed through their ranks. Of their many line-ups, generally it’s the Richard Thompson-Ashley Hutchings-Sandy Denny era that gets the most attention, followed by the return of Denny in the mid-‘70s with husband Trevor Lucas. But if there is one line-up that really doesn’t get its due, it would be the quartet of guitarist Simon Nicol, bassist Dave Pegg, fiddler Dave Swarbrick, and drummer Dave Mattacks that remained after Richard Thompson departed following Full House. Together, the four made two fine, underrated studio albums, Angel Delight and “Babbacombe” Lee, but live—as this unreleased August 1971 concert demonstrates—they were a revelation. Never during any of its eras did Fairport rock harder, and, though the band lacked any lead vocalist of the stature of Denny or Iain Matthews, all four members of the group sang and sang well, which lent their on-stage act extra energy.

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    Charles BukowskI Reads His Poetry Reads His Poetry LP (LIMITED RED WINE VINYL EDITION)

  • Quintessential Bukowski, Taken from a September 14, 1972 Poetry Reading

  • Features Observations and Vignettes Drawn from Life’s Darker Side

  • Original Album Art from 1980 Takoma Pressing

  • “Red Wine” Vinyl Pressing Limited to 300 Copies

  • Indie Account Exclusive


    AVAILABLE June 3, 2016 Indie Record Store Exclusive, Please visit local Record Store near you to purchase.

    Charles Bukowski: Reads His Poetry (Limited “Red Wine” Vinyl Edition). LP

    This is Charles Bukowski. Well, let me just sit here and drink beer. Thus begins the September 14, 1972 poetry reading from which this 1980 release on John Fahey s Takoma label is drawn. This is quintessential Bukowski, from the rude n crude drawing that adorns the front cover to the belches that punctuate the poems. As for the work itself, it s not really what you d commonly conceive of as poetry, but rather observations and vignettes drawn from life s darker side, focusing on perversions, poverty, drunkenness, gambling, and bodily functions. But Bukowski s bemused air and self-deprecating humor blunt the shock value of the words and emphasize the universality of the themes. I want you to hate me, he says to the audience, but it s hopeless he is one of us.

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  • Featuring Rock’s First Great Guitar Tandem in Mike Bloomfield and Elvin Bishop, The Paul Butterfield Blues Band Were Quite Possibly the Best Live Band Around in 1966

  • Before The Beatles' Revolver, Before The Byrds’ Fifth Dimension, Their Album East-West Brought Eastern Modalities and Lengthy Improvisations into Blues-Based Rock, Setting the Stage for the Psychedelic Revolution to Come

  • This Legendary Bootleg Captures the Band Two Months Before the Release of East-West and Includes Material from That Album

  • Also Includes Songs from Their Debut Record and Other Compositions That Showed Up in Later Butterfield Albums As Well As a Pair of Songs That They Never Commercially Recorded

  • “Work Song” and “I Got a Mind to Give Up Living” Feature Jaw-Dropping Solos from Mike Bloomfield That Point the Way Towards a Whole New Way of Rock Guitar Playing

  • Liner Notes by Chris Morris Include Quotes from the Band’s Elvin Bishop and Mark Naftalin

  • Includes Rare Photos and Memorabilia

  • Mastered by Mike Milchner at SonicVision

  • Recorded 50 Years Ago and Never Before Legitimately Released

  • Amazing Ensemble Playing from One of Rock’s Truly Great Groups 


    The Paul Butterfield Blues Band: Got a Mind to Give Up Living—Live. CD

    If the Summer of 1967 was the Summer of Love, the Summer of 1966 set the stage for the musical revolution that was to come. Albums released during the season, like The Beatles’ Revolver and The Byrds’ Fifth Dimension, brilliantly blended the burgeoning influence of Eastern exoticism into the rock music format, and the term “psychedelia” entered the common lexicon to stay. But beating them all to the punch was a multi-racial blues band that cut its teeth in Chicago, far from the hippie havens of London, Los Angeles and San Francisco. Issued in July 1966, The Paul Butterfield Blues Band’s East-West took blues-rock to places only free jazz had dared to tread, offering lengthy, modal improvisational passages that sparked the West Coast rock revolution, and, in Mike Bloomfield and Elvin Bishop, fully unleashing the first great guitar tandem in rock history. Now, Real Gone Music is very proud to release, for the first time in legitimate fashion, a legendary bootleg that captures this singular sextet on the brink of the stylistic breakthrough that would shake the rock ‘n’ roll world to its core: recorded live at Boston’s Unicorn Coffee House 50 years ago in May 1966, two months before the release of East-West, Got a Mind to Give Up Living—Live 1966 reaffirms that The Paul Butterfield Blues Band was simply untouchable live, capable of turning on a dime from slow-burning blues tunes to up-tempo rave-ups.

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  • Composed of Bassist Tim Bogert and Drummer Carmine Appice from Vanilla Fudge, Rusty Day from The Amboy Dukes, and Jim McCarty of The Detroit Wheels, Cactus Was the Hardest-Rocking Supergroup of All Time

  • Their 1970 Debut Record Featured Scorching Versions of “Parchman Farm” and “You Can’t Judge a Book by the Cover,” as Well as Rabid Originals Like “Let Me Swim” and “Oleo”

  • One of the Great Guitar Shredding Albums of All Time Courtesy of Guitarist McCarty

  • First-Ever Vinyl Reissue

  • Original Cover and Label Art

  • Limited Edition of 700 Copies in 180-Gram Black Vinyl 


    CACTUS: Cactus (Limited 180-Gram Vinyl Edition). LP

    Finally back on vinyl where it belongs comes the 1970 debut record from the supercharged supergroup that melted minds and loudspeakers (not necessarily in that order)! We’re talking Cactus, people, with the Vanilla Fudge rhythm section of bassist Tim Bogert and drummer Carmine Appice, Amboy Dukes vocalist Rusty Day, and, oh yes, the AMAZING guitarist Jim McCarty, late of the Detroit Wheels but somehow reincarnated here as the speed freak spawn of Alvin Lee, Jeff Beck, and Jimmy Page. McCarty’s frenetic soloing with an impossibly overdriven tone that Jack White only dreams of matching powers (and we do mean POWERS) incredible versions of “Parchman Farm” and “You Can’t Judge a Book by the Cover” as well as bloozy, boogie-in’ originals like “Let Me Swim” and “Oleo.” Our Real Gone reissue comes in a limited edition (of 700) 180-gram edition that captures every bit of the glorious sonic excess with the original cover art intact (hey, is that cactus giving you the finger?). TURN IT UP!

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  • Julian “Cannonball” Adderley Is One of Jazz’s Most Legendary Figures

  • Adderley First Gained Notice as Part of the Miles Davis Band That Cut Kind of Blue

  • In 1970, Adderley’s Band Recorded a Series of Live Performances That Yielded Three Cult Classic Live Albums: Black Messiah, The Price You Got to Pay to Be Free, and Music, You All

  • The Price You Got to Pay to Be Free and Music, You All Make Their CD Debut (Black Messiah Is a Previous Real Gone Music Release)

  • Both Albums Display Adderley’s Trademark Blend of Rock, Soul, and Jazz, a Unique Spin on Miles Davis’ Electric Fusion Albums Like Bitches Brew

  • Among the Musicians Are Trumpeter Nat Adderley, Keyboardists Joe Zawinul and George Duke, Bassist Walter Booker, Drummer Roy McCurdy, Percussionist Airto Moreira, Guitarist Mike Deasy, and Saxophonist Ernie Watts

  • The Price You Got to Pay to Be Free Was Recorded in Part at the 1970 Monterey Jazz Festival

  • The Price You Got to Pay to Be Free Hit the Charts as the #5 Jazz Album

  • Music, You All Was Recorded During the Same Historic Troubadour Stand That Yielded Black Messiah

  • Music, You All Features Several Spoken-Word Soliloquies from Cannonball Adderley

  • Liner Notes by Bill Kopp

  • Remastered by Mike Milchner at Sonic Vision

  • Essential Modern Jazz Recordings 


    THE CANNONBALL ADDERLEY QUINTET: The Price You Got to Pay to Be Free. CD

     Julian “Cannonball” Adderley first gained notice as the bluesier saxophone voice on Miles Davis’ Kind of Blue (John Coltrane being the other), and in the late ‘60s and early ’70s, he was engaged in an ongoing artistic conversation with Miles, often trading musicians with him and taking the electric innovations of Bitches Brew and filtering them with through his own earthy sensibility. The height of Cannonball’s fusion phase arguably came in 1970, a year that yielded no less than three live albums—all produced by David Axelrod—that have since ascended to cult favorite status.

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    The Beau Brummels Triangle/Bradley’s Barn. CD

  • Best Known for Their Hits “Laugh Laugh” and “Just a Little,” The Beau Brummels Were One of the Most Underrated Bands of the ‘60s

  • The Two Records They Cut for Warner Bros. with Lenny Waronker as Producer, Triangle and Bradley’s Barn, Are Today Hailed as Groundbreaking Alt- Country Precursors

  • Moody and Mysterious, 1967’s Triangle Includes Such Great Ron Elliott Songs as “Magic Hollow” and “Painter of Women”

  • Triangle Also Features Sideman Work by Van Dyke Parks

  • Bradley’s Barn Involved Legendary Nashville Session Men Like Jerry Reed, David Briggs, Norbert Putnam, and Kenneth Buttrey

  • Includes Such Country-Rock Tunes as “Loneliest Man in Town” and “Long Walking Down to Misery”

  • Richie Unterberger’s Liner Notes Include Quotes from Songwriter Ron Elliott 



    THE BEAU BRUMMELS: Triangle/Bradley’s Barn

    While San Francisco’s Beau Brummels are best known to casual fans for the British Invasion-style hits “Laugh, Laugh” and “Just a Little,” the two albums they cut for Warner Bros. with producer Lenny Waronker, Triangle and Bradley’s Barn, remain their most artistically ambitious and critically acclaimed records, and continue to exert an influence on modern-day rockers well beyond their modest commercial success. The group was at a low point when they recorded Triangle; they were fresh off the debacle of Beau Brummels ’66, the album of covers that was their ill-conceived Warner debut, and the original quintet had shrunk down to a trio of vocalist Sal Valentino, guitarist and principal songwriter Ron Elliott, and bassist Ron Meagher. 

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  • The Staple Singers Straddled the Sacred and Secular Worlds of Like No Group Before or Since

  • The Enormously Influential Guitar Stylings of Roebuck “Pops” Staples, the Deep-Beyond-Their- Years Vocals of Mavis Staples, and the Exalted Harmonies of Pervis and Cleotha Staples Created a Singular Sound That Somehow Managed to Be Earthy and Soaring at the Same Time

  • 1965’s Amen! and 1966’s Why Were Their Second and Third Albums and First Two Studio Recordings for the Epic Label

  • Both Produced by Nashville Legend Billy Sherrill

  • Includes the Hit “Why (Am I Treated So Bad)"

  • Liner Notes by Gene Sculatti

  • Remastered by Mike Piacentini at Battery Studios inNewYork

  • CD Debuts for Both Albums

  • Mavis Staples Is Currently on Tour Promoting Her New Album Livin’ on a High Note Produced by M. Ward, and Will Appear at Coachella and Bonnaroo 



    One could make the argument that no gospel group before or since has so successfully straddled the sacred and secular worlds as has The Staple Singers. The enormously influential blues guitar stylings of Roebuck “Pops” Staples, the astonishing, wise-beyond-their-years lead vocals of Mavis Staples, and the exalted harmonies of Cleotha, Pervis, and (later) Yvonne Staples packed a punch whether singing about salvation or civil rights. Now, Real Gone Music welcomes “God’s greatest hitmakers” into the fold with its release of two classic albums by The Staple Singers, their second and third releases and first two studio records for the Epic label, both produced by Billy Sherrill. 1965’s Amen! features the infectious title track along with Pervis’ doleful recitation on the powerful “Be Careful of the Stones You Throw,” while 1966’s Why actually scored a minor hit with the timely “Why (Am I Treated So Bad),” and highlights Mavis at her deep, moaning best on “Move Along Train.” CD debuts for both records, with annotation by Gene Sculatti and remastering by Mike Piacentini at Battery Studios in New York. Two fantastic records…get ready to move and be moved!


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    GRATEFUL DEAD: Dick’s Picks Vol. 1—Tampa, Florida 12/1/73 (2CD Set)

  • Dick’s Picks Is the Legendary Series of Grateful Dead Live Recordings Drawn from the Band’s Own Vaults

  • Dick’s Picks Vol. 1—Tampa, Florida 12/17/73 Was the First to Be Released in the Series, and Is the Last to Be Reissued by Real Gone Music

  • Includes the Best-Ever Version of “Here Comes Sunshine” and the Rarely-Performed “Nobody’s Fault but Mine”

  • One of the Best Shows (and the Last Show) from Arguably the Dead’s Best Year of Touring (1973) 


    GRATEFUL DEAD: Dick’s Picks Vol. 1—Tampa, Florida 12/1/73


    With this release, we at Real Gone Music conclude our reissue campaign of all 36 volumes of the Dick’s Picks series; we went in reverse order, so we’re ending with the first volume in the series, which you know had to have a special place in compiler Dick Latvala’s heart! And right off the bat you’ll hear why; the version of “Here Comes Sunshine” that leads off disc one is pretty much universally considered the best ever. Throw in a great rendition of the rarely-performed “Nobody’s Fault but Mine” that leads into a stellar 16-minute jam that flirts with a full-fledged “The Other One” but dances spacily away, and a moving “Stella Blue” before the “Around and Around” finale and you have another great night—in fact, the LAST night—from a great year (1973) of touring….and, as such, the perfect way to begin and end the long strange trip that is the Dick’s Picks series. Out of print for years!

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