Search Results: New Wave from Royal Books, Inc.

New York: Max's Kansas City, 1977. Original flyer for a performance by Alex Chilton at the legendary Max's Kansas City on Thursday, April 21, 1977, squarely in the midst of Chilton's No Wave tenure in Manhattan. Located at 213 Park Avenue South in New York City, Max's Kansas City served as a gathering place for musicians, poets, artists, and politicians in the 1960s and 1970s. In its earliest days, Max's was the choice hangout for artists of the New York School, whose presence attracted an additional layer of jet set due to its location in the city. It was also a favorite hangout of Andy Warhol and his entourage, who dominated the back room. Members of the glam rock scene also held residence, including David Bowie, Iggy Pop, Lou Reed, and Alice Cooper. The Velvet Underground played there regularly, followed in time by Patti Smith, the New York Dolls, and the earliest bands in the New York punk scene. Max's closed at the end of 1974 as popularity among the art and glam crowd was in decline. Ed… Read More

Unknown: Unknown, 1968. Draft script for the 1968 film. A pitch black comedy about a man sentenced to death who survives his hanging, leading to a two-hour debate among his executioners over how best to handle the situation. Loosely based on a 1958 crime and execution, and a rare (for its time) discussion of the discrimination faced by ethnic Koreans in Japanese society. Black titled wrappers. Title page present, rubber-stamped copy No. 035. Approximately 130 leaves, with last page of text numbered h-8. Mimeograph duplication, rectos and versos. Pages Near Fine, wrapper Near Fine, with perfect binding. Criterion Collection 798. Rosenbaum 1000. Vogel, Film as a Subversive Art.

London: Contemporary, 1969. Two vintage reference photographs from the UK release of the 1969 Japanese film. Printed mimeo snipes affixed to the verso. A young woman with a passion for stealing books is caught by a bookstore clerk, and soon begins the two begin an erotic relationship. Set and shot on location in Tokyo's Shinjuku District. 10 x 8 inches. Near Fine. Vogel, Film as a Subversive Art.

Paris: Les Films Marceau, 1968. Three Draft scripts for the 1969 film by three different screenwriters. From the estate of film producer Elliott Kastner, whose best known credits include "The Long Goodbye" (Robert Altman, 1973), "The Missouri Breaks" (Arthur Penn, 1976), and "Heat" (Michael Mann, 1996). The first script is an undated draft script by screenwriter George Bluestone, who previously adapted Winston Graham's 1967 novel "The Walking Stick," for the 1968 Eric Till film, with copied annotations throughout, striking, adding, and adjusting dialogue. The second is a Second draft script, dated 1st April, 1968, by novelist, playwright and screenwriter Derek Marlow, with copied annotations striking scenes or pages on nearly every page. Marlow said in an interview that he was asked by director Tony Richardson which book he'd like to adapt for a screenplay, and Marlow suggested Nabakov's "Laughter in the Dark." Two or three months afterward Marlow received a call from Richardson asking him to… Read More

Manchester: Factory Records, 1985. Vintage two-sided promotional sticker for the 1985 album. Verso notes the release of the album, the first single "The Perfect Kiss," and the Jonathan Demme-directed video for the same. The third studio album by New Order, and the first time the band would fully embrace the use of synthesizers and other electronic elements, moving beyond their post-punk origins. The front of the sticker mirrors the typography and layout used for the cassette release, created by legendary Factory Records designer Peter Saville. 3 x 8 inches. Backing unpeeled and fully intact. Fine. Robertson, Factory Records: The Complete Graphic Album.

N.p.: N.p., 1969. Vintage oversize borderless color reference photograph from the 1969 film. A German college graduate and an American expatriate hitchhike from Paris to Ibiza, where the bliss of island life quickly gives way to heroin addiction and hedonism. Soundtrack by Pink Floyd. Set and shot on location in Paris and Ibiza. 9.25 x 11.75 inches. Very Good plus, with light wear at the corners. BFI 1040.

New York: Sire Records, 1978. Vintage jigsaw puzzle released by Sire Records to promote the 1978 album. Featuring the iconic album cover art, conceived by David Byrne and executed by artist Jimmy De Sana. The sophomore release from the Talking Heads, and the first of three releases produced by Brian Eno, transforming the relatively obscure but critically acclaimed band to national notoriety, largely due to the success of the record's only single, a cover of Al Green's 1974 song, "Take Me to the River." 12.25 x 12.25 inches. As New in publisher's shrinkwrap.

N.p.: N.p., 1969. Collection of three vintage oversize borderless reference photographs from the 1969 film. A German college graduate and an American expatriate hitchhike from Paris to Ibiza, where the bliss of island life quickly gives way to heroin addiction and hedonism. Soundtrack by Pink Floyd. Set and shot on location in Paris and Ibiza. 11.5 x 9 inches. Very Good plus, with light wear at the corners. BFI 1040.

Burbank, CA: Sire Records PRO 696 / Warner Brothers, 1977. First Edition. First Edition. Early promotional compilation of notable "New Wave" bands of the late 1970s, including Talking Heads and Richard Hell. Includes two 33-1/3RPM, 7-inch EP vinyl records. Released during the height of the New Wave movement (1977-1982). By the time this album was produced, New Wave had replaced "punk" as the definition for underground music, notably in the United Kingdom. Sire Records chairman Seymour Stein actually launched a "Don't Call It Punk" campaign with direct intent to jump start the New Wave movement. This promotional compilation is an example of some of Stein's propaganda related to that campaign, in conjunction with EMI, Ltd (Australia). Tracks included on Side 1, record 1: "All This and More" and "Sonic Reducer" (Dead Boys); Side 2: "Uh-Oh, Love Comes to Town" and "Don't Worry About the Government" (Talking Heads). Tracks on Side 1, record 2: "(I'm) Stranded" and "Erotic Neurotic" (The Saints); Side… Read More

New York: St. Martin's Press, 1983. First American Edition, preceded by the UK edition published the same year by Omnibus Press. Heavily photo-illustrated throughout, in both black and white and color. Scarce. Comprehensive biographical dictionary of late seventies and early eighties rock, punk, punk-post, and new waves acts. Written by two Australian music journalists, centered primarily on the UK scene, including numerous ska, reggae, and R&B influenced acts, as well was essays on the Japanese and Australian post-punk scene. Very Good plus in oversized perfect-bound wrappers.

N.p.: ZE Records, 1979. Vintage two-color Contortions poster, a "tour blank," with space at the lower margin on which a venue could add performance date information. The tour was launched to promote the band's debut album, "Buy," released in 1979 on ZE Records. One of the most important and influential musicians of New York's No Wave scene in the late 1970s, James Chance formed the Contortions, later James Chance and the Contortions, in 1977. After being included on the Brian Eno produced 1978 compilation "No New York," they were signed to ZE Records and released two albums nearly simultaneously, "Buy," effectively the Contortions debut, and "Off White," a bizarre soul/disco variant of the band under the moniker James White and the Blacks. Chance continued recording under both monikers, as well as James Chance and Pill Factory and James White's Flaming Demonics through the 1980s. 16 x 20 inches, folded, as issued. Very Good plus, with some light creasing and cello tape remnants on corners.

N.p.: N.p., 1988. Vintage Siouxsie and the Banshees UK tour poster in support of the 1988 album "Peepshow," 1988, featuring the first six UK dates for the "Peepshow" tour (omitting a September 9 performance at Cornwall Coliseum). The widely acclaimed ninth studio album by the iconic London post-punk band, produced by long time Banshee studio alumni Mike Hedges, was the first album the band recorded as a quintet, and the first to feature multi-instrumentalist Martin McCarrick and guitarist Jon Klein. A notable return to a pop sound, the release featured unpredictable and intricate orchestrations, and was a major breakthrough in the US, featuring the singles "Peek-a-Boo," "The Killing Jar," and "The Last Beat of My Heart." 25 x 35.25 inches. Near Fine, with a faint diagonal crease to the bottom right corner and a tiny closed tear to the far left margin.

Stockholm: Svenska Dagbladet, 1983. Vintage borderless photograph of Elvis Costello performing with The Attractions in Stockholm, Sweden on November 22, 1983. Printed label of Svenska Dagbladet affixed to the verso, along with a date stamp reading 83-11-23. The show was part of Costello's "Clocking In Across Europe" tour, promoting the release of his 1983 album "Punch the Clock." 9.5 x 7 inches. About Fine.

Brussels: Sound and Vision, 1986. Vintage Siouxsie and the Banshees Belgian concert poster, for a performance at Forest National, Vorst, on April 22, 1986, in support of (and one day after the release of) their 1986 album "Tinderbox," with a small "Belgique / Brussels" stamp at the bottom left. Siouxsie and the Banshees' seventh studio album, released April 21, 1986, was the first with new guitarist John Valentine Carruthers, and has been since widely hailed as one of the band's best albums, as well as one of the best albums of 1986, and features the enduring hit single "Cities in Dust." The "Tinderbox Tour," which began a year before the album's release and six months before the October 1985 release of "Cities in Dust," included the band's longest tour of the UK, as well as stops throughout Europe, North America, and South America, and ended on December 5, 1986 in Buenos Aires. 39.5 x 27.5 inches. Some faint rubbing at the right edge, else Near Fine.

Forest, Brussels: Dietvorst, 1985. Vintage tour poster for a performance at Forest National in Belgium on November 26, 1985, in support of the 1985 album "The Head on the Door." The Cure's sixth studio album, featuring the hit singles "In Between Days" and "Close to Me." The album was the band's first significant international success, and was named best album of 1985 by "Melody Maker." The Head Tour, as the tour in support of the album was known, began on September 8, 1985, in the UK, before heading to North America and Europe. The concert at Forest National, as advertised here, was the opening performance for the European leg. 27.5 X 39.5 inches. Near Fine, with light edgewear.

Deinze, Belgium: Konsertforum, 1984. Vintage Eurythmics Belgian tour poster for a performance at Brielpoort, Deinze, on February 25, 1984, in support of their 1983 album "Touch." In January 1983, the New Wave synth pop duo of Annie Lennox and Dave Stewart, Eurythmics, released their second album "Sweet Dreams (Are Made of This)," with the wildly successful title track, which quickly catapulted the band into international stardom. The band quickly recorded a follow-up album, "Touch," released in November 1983, which became the their first number one hit in the UK, and released three hit singles from the album, "Who's That Girl?," "Right by Your Side," and "Here Comes the Rain Again." The ensuing "Touch Tour" lasted eleven months for 92 performances, beginning in the UK on October 31, 1983, with stops in Australia and New Zealand, Europe, North America, and Japan, ending on September 3, 1984. 27.5 x 39.5 inches. Some light edgewear, else Near Fine.

N.p.: N.p., 1983. Vintage setlist from an unidentified X show, circa 1983, featuring 24 tracks on two leaves, each a Xerographic duplication in vocalist-bassist John Doe's hand, and bound in the center with a piece of black gaffer tape. Represented on the setlist are tracks from the band's first four albums, the last of which, "More Fun in the New World," was released in 1983. One of the most influential and longest running bands to come out of the Los Angeles punk scene of the late 1970s. Formed in 1977, X's sound traversed not only punk, but rockabilly, country, blues, rock, folk, and funk. After two hiatuses and a couple of lineup changes in the 1980s and 1990s, the core members of the band reunited in 2008 and continue to tour today. X was the subject of the documentary "X: The Unheard Music" (1986), and also appeared in two seminal 1980s music documentaries-Penelope Spheeris' "The Decline of Western Civilization" (1981), and Derek Burbridge's "Urgh! A Music War" (1982). 8.5 x 20.5 inches.… Read More

New York: Chrysalis Records, 1978. Original pressbook for the tour supporting Blondie's third album, "Parallel Lines," released by Chrysalist Records in 1978. A record that saw Blondie at the peak of its powers, containing the lion's share of the band's most famous singles, including "Hanging on the Telephone," "One Way or Another," and "Heart of Glass." Along with Talking Heads, Blondie was probably the most successful act to bring the spirit of the CBGBs scene to a much wider audience, helping to invent a danceable sound that included elements of punk, and virtually defined popular new wave. Self-wrappers, saddle stapled. 20 pages. 9 x 12 inches. Fine. Rolling Stone 500. NME 100. Blender 100.

N.p.: N.p., 1978. Two vintage promotional bumper stickers for Devo's 1978 debut album. Each sticker printed with one part of the album's title: "Q: Are We Not Men?" and "A: We Are Devo!" Each sticker 9 x 1.5 inches. Backing unpeeled. Near Fine with a touch of rubbing.

N.p.: N.p., 1980. Three vintage matte-finish borderless photographs of Elvis Costello onstage, circa 1980s. Stamp of photographer Jean-Louis Rancurel on the versos. 7 x 9.5 inches. Near Fine.