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'nice & greasy' is an appropriate title for this album. Not only was the familiar progressive rock sound in place, the soulful and funky vocals of Chris Farlowe continued to influence their sound as it did on 'Made in England.' It was indeed absolutely nice n' greasy, albeit maturely.

Crane's hammond b-3 organ was ever present and always influential in the final outcome of each song, with this album being no exception to that rule.

'Voodoo in You' is a shining opportunity for new guitar player Johnny Mandala to show his wares and he really seizes the moment by giving Crane some great biting chords to wrap his spirited keyboard playing around. 'take one toke' leads off side two in a big way. It's the best track on the album, combining the strengths of each band member effectively and mightily without any compromise. Crane was never one to negotiate his music in any way, and this final effort for this line up gave their fans another classic Atomic Rooster LP to covet and cherish for the years to come.

The Visit was recorded in 1970 in LA and it redefined the existing borders of the psychedelic movement, resulting in obscure and complex songs with mind blowing instrumentation and depth. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years. Another significant collectable from the California rock scene that will interest many.

This top notch Dutch band from The Hague had their pinnacle during the early Seventies when they delivered some out standing 24 carat symphonic rock albums. EARTH & FIRE was fonde by the twin brothers Chris (guitar) and Gerad (keyboards) Koerts in '68. Soon bass player Han Ziech, drummer Kees Kalis and singer Lisette moine

Debut and sole album from this Newcastle hard prog rock trio. Originally released in 1971 this album has become a real rarity and collector's item. They had a good reputation as a live act and wrote some strong material on their album, with the continuous track "The House"/"Sun In A Bottle" the highlight, alongside a cover version of The Beatles "And I Love Her". Geoff Sharkey had earlier played in Sammy.

If Jade Warrior's second album has any overwhelming flaw, it is that its predecessor traveled so far off the conventional beaten tracks of early-'70s prog that anything less than absolute reinvention could only be regarded as a rerun of past glories. To write off Released as little more than a slapdash shadow of Jade Warrior, however, is to overlook the leaps and bounds that the band did make. The opening "Eyes On You" journeys in on a positively spiky guitar and horn duel, while Glyn Havard's vocals have taken on tones that are far-removed from the Jethro Tull-shaped nuances with which they were once most readily compared. Staggering, too, are the almost bluesy guitar work-outs that leap unexpectedly in and out of the mix, overwhelming all but the most ferocious elements elsewhere in the arsenal -- judging only by the crescendo that closes it, "Three Horned Dragon King" could not have been better named. Similarly, "Water Curtain Cave" is as much a melting of souls as it is a gentle song, while other numbers tackle light jazz and classical prog without once vacating the band's accustomed framework of brilliance. Again, there is little here that Jade Warrior itself did not predict, but the unerring delivery of those predictions is a marvel in itself.

Issued in ultra-limited quantity in 1970-and now changing hands for sums more familiar to Nasdaq-this album is an other-worldly blend of sweet female blotter acid harmonies, hypnotic farfisa and high-octane fuzz guitar histrionics Cut by Kevin Gray and pressed at Third Man!

The title track, along with "Love City," "Plastic Jim," "Into My Own Thing" and especially "Dynamite!" signaled a perfect alliance between Sly's multi-influence, far-reaching musical vision and the burgeoning hippie ballroom community, already spreading like lawn daisies throughout the land. Never before had juicily syncopated beats dovetailed so perfectly with distortion-laced rock guitar.

Underground, psychedelic, electric jazz-rock / improv sound with mellow folk-rock moves and homemade / basement atmosphere. Mostly instrumental with some cut-up vocal sounds and effects. A mix of self-penned songs and amazing cover versions of classics like 'Summertime', 'Scarborough Fair' or 'A Taste Of Honey' turned into hip, extended jams not so far away from the sound of the pioneering psychedelic ballroom bands from San Francisco. Electric & acoustic guitars, bass, drums, flute...Recommended if you like similar private psych-jazz obscurities like Elysian Spring.

Named after an old Detroit blues LP, Hasting's Street Opera was formed in Montclair, New Jersey by a group of young friends (Harry Wellott, Gordon Carlisle, Don Hathaway and Chris Nelson) influenced by blues, rock, jazz and the eclectic sounds emanating from freeform / underground FM radio stations: Blues Project, Butterfield Blues Band, Miles Davies, Pharaoh Sanders, Jethro Tull...

Initially born as a blues band, HSO eventually evolved into a true improvisation collective unit. 'Slippery When Wet' was recorded in 1969 at Don's house using a portable recorder operated by their math teacher, the famous old-time music preserver Charles Faurot. It was a vanity pressing of less than 100 copies, housed in hand-made covers which were distributed among friends and family.

For this, the first ever reissue, original band member and visual artist Gordon Carlisle has designed a new vintage styled cover based on old photos of the band.

Previously unreleased recordings, 1968/1970, by British quintessential psychedelic / progressive band MANDRAKE PADDLE STEAMER / MANDRAKE, culled from the band's archive of reel tapes and acetates.

Pure late 60s UK psychedelic sound with early prog moves, plenty of Hammond and fuzzed out guitar, powerful vocals... Including such lost gems as the Barrett-Floyd sounding "The World Whistles By", killer psych-rockers like "Pandemonium Shadow Show" or "Doris The Piper", the mellotron fuelled "October Country" and more!

Unlike other 60s British bands who changed their music to 'psychedelic' or 'progressive' with the time, MPS were born "progressive" from day one. Formed in 1967 in Walthamstow (London) by a core of art school students, their members were Brian Engel, Martin Briley, Paula Riordan, Martin Hooker and Barry Nightingale (later replaced by David Potts).

During their short lifespan (1967-1970), MPS supported big names like Pink Floyd, The Nice or Vanilla Fudge. They played at the Isle Of Wight Festival, had a residence at the Star Club in Germany and ran their own club night (Asgard).

Signed to the Parlophone label (though the band was aiming to be part of the more progressive Harvest imprint) they released in 1969 the 'Strange Walking Man' 45, recorded at Abbey Road and now widely considered a lost British psychedelic classic (check Rubbles, Perfumed Garden, etc). Due to lack of promotion and interest from their record label, the 45 went nowhere. After some line-up changes and shortening their name to just Mandrake, the band definitively split in 1970.

'Pandemonium Shadow Show' collects studio recordings registered by Mandrake Paddle Steamer / Mandrake during 1968/1970 at various London studios such as Regent, Orange and other unknown locations. Some of these tracks had been previously included on several bootleg albums with inferior sound quality / wrong titles and others have remained unreleased until now.

*Insert with detailed liner notes by band member Paula Riordan and rare photos / memorabilia.

*Free digital download card

Galveston's premier Psychedelic/Garage band! Here's a compilation (1967-68) featuring a selection of their 45 sides for Toucan and Cobblestone (including the mod-psych classics 'Uncle Kirby' and 'Shaka Shaka Na Na') plus some amazing studio tracks which were never released at the time. Fab Beatlesque / Anglophile psych with great vocal harmonies, jangly and fuzzy guitars, organ...

Formed in Galveston in the mid-60s, the Countdown 5 were one of the leading psychedelic / garage bands from Texas. From sharing stage with legendary Houston groups like Moving Sidewalks, the Clique and 13th Floor Elevators and opening for big names like Paul Revere & The Raiders, they went to running their own label (Toucan) and were also part owners of the renowned Walter Andrus Studio, home to bands like the Elevators and Fever Tree.

'Uncle Kirby' is focused on the psychedelic period of the band (1967-68), including their most psych sounding 45 sides (in original mono mixes) plus unreleased tracks recorded at Andrus Studios which had never been released on vinyl until now.

*Master tape sound.

*4-page insert with liner notes and photos.

Fronted by Texan native Danny Lee Backwell, 'Myth Of A Man'
is Night Beats' fourth studio album and their second for
Heavenly Recordings, following the release of 'Who Sold My
Generation' in 2016.
While Blackwell has always fed off the musical legacy of his
Texas roots - Roky Erickson and the 13th Floor Elevators, The
Red Krayola, The Black Angels and more paving the way for the
napalm-coated psych-rock headtrip of past albums - 'Myth Of A
Man' has him pulling from the surrogate wellspring of Nashville,
Tennessee.
In short, it's an album that holds its own next to the classics,
less of the bloodshot acid trip of 'Sonic Bloom' (2013) and 'Who
Sold My Generation' (2016 here, Blackwell has recalibrated
them, slowed them down just enough and allowed them the
space to breathe and exist as something new. It's the same
book, just a different chapter.
Written during a particularly destructive period of the band, the
album is populated by fallen angels, blood-sucking wanderers
and vindictive lovers - sketches of people the band has surely
come across during their cosmic roving through the
underground - but the character most present is Blackwell
himself. ''Myth Of A Man' can be summed up as a personal
display of vulnerability and guilty conscience,' he explains,
'Destroying the mythos of what it means to live and function in
society.'
With its bold steps forward, 'Myth Of A Man' serves as both a
takedown and reintroduction of the band as we know it - the
strongest evidence that you'll never be able to pin Night Beats
down.
LP pressed on red vinyl.

"This is the soundtrack to being trapped in a mudslide on crystal meth in the middle of the worst thunderstorm you've ever seen. Whereas I don't recommend that you ever put yourself in that situation, I do recommend that you GET THIS RECORD and imagine what it would be like to be that fucked. GREAT STUFF!"

"spacey psych-rock is still alive and fighting, but the Fog is a distinct pedigree. They're dimension-shifting. They're sound is both muddy and translucent, but never stagnant. The band members play not as themselves, but as a presence, generating one continuous sound surge that vibrates through the decades, alluding time. You need gills to breathe their oxygen, it's that thick."

"Like other hard-psych-revisionists, these guys seem to have learned some of their guitar and vocal moves in a post-Dinosaur universe, but we were never too big on yappy emotive vocals anyway (unless it was Stackwaddy). Dark Fog manages to conjure up a good wad of psychedelic guitar overload." Byron Coley

"A future underground classic like they made in the good old days, you know you want some." (Simon Lewis/Terrascope)

"Literal comparisons music duo with Hawkwind, Amon Düül II, Spacemen 3, My Bloody Valentine, Flaming Lips, Dinosaur Jr., Acid Mothers Temple, Dead Meadow, Pharaoh Overlord, etc., Abused by foreign writers, was not taken seriously. DARK FOG successfully absorb all of the above and more, and from himself tricked out something different - in any frame does not fit. Just and still is - to relate to the music of another phenomenon of the "new musical aesthetics (psychedelic)." Inquiring students, researchers recommend!"

Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

LP2 - Crawl EP b/w Covers EP

2 years after releasing Life of Crime, Kevin Strickland and Jim Kimball had left to form Mule. Many people thought this marked the end of the band; not the case. Todd Swalla (of Necros) stepped in on drums and Kevin Ries on bass. Over the new slightly toned down direction, the sound of the band somehow seemed even more extreme.

- Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)

In 2016 Dead Meadow's Jason Simon ventured north to San Francisco to take part in the Family Folk Explosion: a Last Waltz-style concert series hosted by Trans Van Santos and what the SF Weekly has called "his band of Merry Pranksters." Simon picked a handful of songs to perform with the Trans Van Santos band, leaning heavily on unrecorded material and selections from his last solo album. When he arrived in San Francisco for rehearsals he was immediately taken with the band's much jazzier interpretations of his songs; a particular revelation coming from the loose and idiosyncratic swing of San Francisco drummer and Spirit Jazz elder Dave Mihaly (known for his work with Jolie Holland and his own group; Dave Mihaly & The Shimmering Leaves Ensemble).
Of all the songs that Jason Simon brought to the table that evening, none were more important to the future NorCal/SoCal collaboration between these two sonic tribes than 'Past the Western Wall;" a song Simon felt necessitated a Free Jazz approach that had proven difficult to capture. Not so in San Francisco, where the song became the lengthy and searching centerpiece of the set. Behind Dave Mihaly's inspired work on the trap kit, Jason Simon's exploration of Indian motifs on lead guitar, and the Bob Weir-like rhythmic accompaniment of Trans Van Santos, the song found its wings, stretching freely in the open landscape of the songs middle section. Clocking in at nearly fifteen minutes, 'Past the Western Wall" was the clear highlight of a show that featured more than a few bright moments. The next morning Jason Simon drove back to Los Angeles with a copy of Dave Mihaly's most recent album and an invitation to join Trans Van Santos at the TVS2 sessions in Joshua Tree, California the next month.
Jason Simon listened to the Dave Mihaly album on the drive back to Los Angeles and then he listened to it again, and again. The next month in Joshua Tree he presented Trans Van Santos with a proposition to record an album featuring material from the three songwriters. They pow-wowed and smoked the peace pipe and formulated a plan: the album was to be recorded in both San Francisco and Los Angeles, in the northern reaches of Old Mexico, and feature contributions from members of their respective solo projects. Songs would be recorded live over a couple of sessions with very few overdubs. 'Western Wall" would be the foundation that the album would be built upon. Jason Simon would produce and steer the ship through the process and toward completion. This album is the fruit of that cross genre and multigenerational collaboration out on the edges of West. Welcome to Old Mexico.

Strap yourself in and get ready for Snakes Don't Belong In Alaska. Somewhere between The Cosmic Dead flying and The Myrrors High Evolutionary Transcendance - Snakes Don't belong In Alaska have it in fucking spades my friends and as an introduction to them we have packed 2 of their releases pressed onto vinyl and packed as a double LP - Mountain Rituals and Ancient Alien Temple Ritual.
MUCH MUCH MUCH MORE TO COME IN 2019.

Newcastle collective Snakes Don't Belong In Alaska have been slowly but steadily making a name for themselves on the UK psych circuit, hosting numerous international touring acts and putting out some radical self-released (and highly limited) recordings under their own Infinity Mirror imprint. This however is the band's first widely available release - an absolutely monumental tome of heavy, droning kosmische freakout that blows away all preconceived ideas of what this group is capable of. Drawing on an aural temple map leading straight from Ash Ra to Acid Mothers, "Mountain Rituals" climbs from a deep earth drone into the sort of mind-warping guitar bliss that will leave you scrambling for the repeat button over and over again.

Thundering Blues/ Garage / Rockabilly bopper here re-issued for the first time on the original label before the Checker re-release.

Killer Garage rocker !

Hague & White are Sheffield musicians Chris Hague (guitars, pianos and backing vocals) and Joel White (lead vocals, Hammond organ, Wurlitzer and Rhodes pianos - who also happens to be the cousin of the bard of Sheffield, Richard Hawley) who, between them, have worked with artists including Pulp, Moloko and Finlay Quaye. The band is completed by legendary drummer and percussionist, former Weller sticksman, Steve White. These three very talented musicians have created a self-assured, sophisticated and breathtaking debut album.

The Eleventh Hour was recorded at Sheffield's Tesla Studio, produced by Chris and David Glover (with co-production from Joel), and mastered at Abbey Road. It encompasses various styles and moods, touching on the band's love of soul, jazz, funk, psych and garage. With a sound hard to define, the eclecticism of Hague & White has been compared to anything from the sounds of Acid Jazz, to bands such as Elbow and The Last Shadow Puppets.

Psychedelic garage, proto-power pop and psych-funk from Paraguay, 1969-1975!



'Pop Espontáneo' includes a selection of previously unreleased recordings by Joern and Dirk Wenger's duo JODI, registered at their state-of the-art 8-track home studio in Asunción, Paraguay. Living in their own isolated world and free from any commercial pressure, Joern Wenger, a kind of Paraguayan Brian Wilson or R. Stevie Moore, created a particular, ahead of its time sound, using electric guitars, fuzz boxes, Moog, Mellotron, Clavinet, Farfisa...



RIYL: BEATLES, KINKS, SHOES, JAN HAMMER, UNITED STATES OF AMERICA, CLEANERS FROM VENUS, ARIEL PINK, GUIDED BY VOICES, BEAT HAPPENING, TROPICALIA...

In 2016, we unearthed and reissued the first Jodi album, "Pops de Vanguardia", which is probably the first DIY lo-fi garage / psychedelic album from South America, originally released in 1971. Now, we're over the moon with this incredible collection of unreleased recordings which were hidden in Joern Wenger's basement for several decades.

*Superb sound taken from the original master tapes.

*Insert with rare photos and detailed liner notes by Eduardo A. Elizalde Pietruczyk (a.k.a. Bubbling Minds).

*Digital download coupon including the album plus three bonus tracks.

The Craig Brown Band Is Back With A Dizzying New Garage-country 7', Their First Songs Since The Release Of Debut Album The Lucky Ones Forget. Much Has Happened For The Group Since The Album's Release, From Touring With Dwight Yoakam (based Solely On Dwight's Observance Of The Magnetism Of Their Powerful Live Show) To Opening For Jack White At The Huge Little Caesars Arena Concert In Detroit. And Now, This New Single Will Be Accompanying Craig And The Band On Their First Trip Overseas To Europe, Featuring New Bassist And Longtime Liquor Store Co-conspirator Derek 'block' Warren.
'big City Small Town' Is A Little Country Rock Groover That Depicts A Very Familiar Scene For Anyone Who's Lived In A Midsize City; Word Travels Quickly, So Own Who You Are And What You Do 100%. 'tell Me' Is A Charmingly Concise And Heartfelt Appeal For A Little Fulfillment, From Answering Life's Big Questions To Enjoying A Good Song With Someone Who Cares.

In the spring of 1969, 49th Parallel had a hit in with 'Twilight Woman', a lovely song that sounds like a poppier version of what bands like Tomorrow were doing in England. That success led to the release of 49th Parallel's only album. All hyperbole aside, it is easily one of the top Canadian rock albums of the psychedelic era. The album is strong throughout—from the pulsating psychedelia of 'Lazerander Filchy' and the ultra-strange '(The) Magician', the shimmering beauty of 'Twilight Woman', to the quintessential slashing guitars punk edginess of 'Now That I'm a Man' and '(Come On Little Child &) Talk To Me'. Dan Lowe's blazing fuzz guitar work stands out on 'Missouri' and also when matched by organist Jack Velker's brilliant work on 'Eye To Eye', 'Talk To Me' and '(The) People'.

- This LP pressing limited to 300 copies—only 250x copies for sale outside of Canada

- One of the top Canadian rock albums of the psychedelic era

- Comes with color insert with band history and photos

- From the master tapes.

NYC's The Men have made a name for themselves as wayfaring musicians, constantly evolving and eluding their listeners. Before they were genre-hopping through country, post-punk, noise rock, and more, they were applying that experimental nature within the more confined space of punk. Within that genre they were wildly adventurous, playing noise shows, hardcore shows, rock shows, and switching up the instrumentation as they saw fit, while always operating within a general punk ethos. Their first demo was a hand-dubbed and spray-painted run of 32 copies, half of which worked, and their first shows were at New York dives like Tommy's Tavern, Matchless, and Don Pedro (all of which have been shut down).

That hand-dubbed demo kicked off a furious run of creative output from 2008 to 2011, much of which is now collected on the new compilation, Hated. The songs on Hated are pulled from a variety of sources — the debut demo tape, a split with Nomos, a 7", a 12" EP, and a slew of unreleased demos, outtakes, and live recordings.

Diminutive perpetual heartbeat of the Velvets! The unmistakable beat of the Velvet Underground was malleted out on the unconventional kit of Moe Tucker. Her (at times) childlike, fallen angelic voice also shines on some VU fan favorites. Here Moe reinterprets some Velvet gems, sometimes playing all instruments, other times accompanied by the likes of Jonathan Richman, Jad Fair, Kim Gordon and more. In addition to VU faves, we're treated to rough and jubilant covers of her favorite early rock & roll hits, and memorial odes to Sterling Morrison and Andy Warhol, all stuck in a Warholian package with removable sticker and liners by David Fricke!

Strength, beauty, truth: those words perfectly describe Tucker's crucial role in the Velvets' historic fray, across their first three studio albums: 1967's The Velvet Underground and Nico, 1968's White Light/White Heat and the electrifying restraint of The Velvet Underground. 'After Hours' was Tucker's only starring role in the Velvets' original lifetime, but her clockwork drumming and loyalty to those ideals were constants in the noisy and emotionally direct music Tucker made in her second, improbable career as a solo artist: particularly the nine tracks that comprise this unique introduction, selected from a dozen releases across two decades. There are 1980 home-recorded versions of Chuck Berry's 'Around and Around' and the Shirelles' 'Will You Love Me Tomorrow' with Tucker playing all of the instruments, a charming duet with Jonathan Richman of the Modern Lovers on 'I'm Sticking With You,' iconic Velvets songs with instrumental support by Reed and original bassist-viola player John Cale, and the memorial ode 'Andy,' a chant-like eulogy with liquid-jangle guitar named after the pop artist who produced, managed and mentored the Velvets from 1966 to 1968. This collection ends with another memorial: 'Last Night,' written by Tucker and recorded in 1998 as he farewell to Sterling Morrison who died in 1995.

I'm Sticking With You: An Introduction To Moe Tucker presents this vital part of the history and legacy of The Velvet Underground and a portrait of (as Lou Reed described her) 'the driving force, the hardcore heart of the Velvets' mindset.

1966 was a busy year for the Shadows of Knight! Hot on heels of their hit '66 debut album and monster single "Gloria," they released their second long player, Back Door Men, before the year was out. It was another combustible collection of blazing blues covers and smoking originals. While there was still plenty of garage grit, they had already begun evolving stylistically. "The Behemoth" was a fine slice of raga rock while "Three for Love" jangled in a decidedly folk-rock style. Of particular note is their cover of the garage classic "Hey Joe." One of many bands to record the song that year, the Shadows of Knight version took the uptempo road and rendered a distinct rendition, albeit one with a very Byrds-ian chime.

The group's home town of Chicago was well-represented on the album through their foot stomping covers of Willie Dixon's "Spoonful" and Jimmy Reed's "Peepin' & Hidin'." The group even ventured into Top 40 territory with a cover of the Tommy Boyce & Steve Venet song "Tomorrow's Gonna Be Another Day," a track featured on The Monkees' debut LP, also released in 1966. That these seemingly disparate styles blended so cohesively was a tribute to the band's road-hewn sensibility. This was a band used to playing for intense live audiences where they received instant feedback from the dance floor. They knew what it took to move and groove a crowd and that skill transferred seamlessly in the studio

Original copies of Back Door Men became hard-to-find "holy grails" for dedicated collectors, commanding big prices. Now, this garage punk classic is finally available again! Sourced directly from the original Dunwich master tapes for the first time in over three decades, this Sundazed edition delivers stunning sonics for your listening pleasure. Just hang on 'cause it's a wild ride!

The Algebra Mothers/A-Moms were formed by four like-minded misfits/artists/musicians/friends (Gerald Collins, Ralph Valdez, Diana Balton and Kirsten Rogoff) from Detroit's Cass Tech High School. They made their professional debut in 1977 and in 1979 they released the weirdly incredible Strawberry Cheesecake b/w Modern Noise 7' on their own Aftertaste Records (TMR re-issue imminent). They played around Detroit and the country with everyone from Destroy All Monsters and Sonic's Rendezvous Band to Pere Ubu until 1984. Several decades later, Third Man Records contacted head Mothers Gerald Collins (Jeecy and The Jungle) and Ralph Valdez (former WDET Disc Jockey) and discovered they were sitting on at least an album's worth of home studio demos and live recordings. Now we proudly present to you 'A-Moms = Algebra Mothers' LP, 14 never before heard tracks recorded between 1977-1984 in various home studios and clubs. It will be their first release in nearly 40 years and only their second release ever.

Here we have OCS - recorded Live, at The Chapel, San Francisco, CA in December 2017 to be exact. OCS played four shows in California last December, raising funds for charity, and also enabling OCS to play out the tracks from the (then) recently released album "Memory of a Cut off head". Bandleader John Dwyer assembled his ensemble for these shows with players from the album and current Oh Sees members also, including Brigid Dawson, Emily Elkin, Eric Clark, Heather Lockie, Heidi Maureen Alexander, Paul Quattrone, Tim Hellman, and Tomas Dolas.

The shows sold out in a trice, and thankfully one of the San Francisco shows were recorded by Eric Bauer, Dwyer mixed the record and it was passed onto old friends the Austrian Label ROCK IS HELL (Oh Sees fans will note early releases by Thee Oh Sees appeared on Rock is Hell a whiles back).

Initially released (and long sold out) as a silk screened 4 LP set with some incredible artworks by Elzo Durt (he did the art for the Carrion Crawler / The Dream EP ).. Dwyer /Rock is Hell decided to make a more widely available 2LP version. And this is it, released on November 2nd 2018, via Rock is Hell / Forte in the UK / Rock is Hell in Eu and Rock is Hell / Midheaven in the USA..
Theres 500 copies for the UK, no CD, no promos... it's a beautiful artefact / wonderful recording of a great show.

pressing will be
heavy weight black vinyl
offset printed thick cardboard slip-in cover offset printed thick cardboard innersleeves download codes included shrinkwrapped

This is one of the most anticipated as well as unexpected compilations from the global depths of 60s and 70s rock'n'roll: The Persian scene. Let alone coming across with a representative compilation, even solid evidences of such a scene has not been seen until now and has been largely suspected, maybe save for a select few of eager garage and psychedelic record collectors and enthusiasts of worldwide rock, who have been trying to hunt such sounds on the internet and private collectors' circles, usually to no avail. Needless to say, the most important factor in this has been the obvious hideously rare status that Iran's pre-Revolution East-West cross cultural artefacts are in right now. As with almost all Asiatic countries, the Shadows and the Ventures seem to be the true and primal influence in the Iranian music scene of the most part of 60s for the rock sound and attitude to penetrate the country's fledgeling record industry and its swinging public base. In 1964, the legendary Top4 company opened up and started releasing choice chart hits from the worldwide lists, on 4-track EPs, followed soon by MonoGram and other companies. These mixed up records featured a lot of popular songs of the day, spanning the whole European continent i.e. including what's referred to now as 'Euro pop' hits and the 'big brothers', UK and US charts. The day's youth back then was lucky: they could follow the West moment by moment now. The foremost impact of these were to feature and spread British invaders, The Beatles and The Rolling Stones, otherwise available only on radio. Come 1966, 60s was in full swing in Iran too!

Two frustrations determine the beginning of the journey that would settle on this record. First, Héctor Sepúlveda was not satisfied with the result of Fictions, the recent LP published by Vidrios Quebrados. It was barely twelve hours of recording with most of the tracks completed in one shot. The errors were evident and this went against the obsessive perfectionism of the guitarist. Second, the tenor of the songs. Hector would have preferred to include more rude subjects that more accurately represented his recent hallucination: Eric Clapton. One afternoon in late '67 with Eduardo Gatti in Viña del Mar, they listen to John Mayall & The Bluesbreakers, with Clapton on first guitar. The strength and drama of that guitar, its unpublished volume, changed the perspective of the leader of 'Los Vidrios Quebrados'. However, the rest of the group

members did not empathize with a possible change of style. The diaspora is imminent. The pressures to abandon "the hobby of music" to settle down and opt for a respectable and traditional way precipitate the break of the band. Once consummated, Hector decides to head towards Europe. "I had to go to England, there were the sources of everything I liked. Also, we always talked to each other that we would travel to Europe sometime. Then, I was just keeping my word' he declared.

Selling his amplifier and his guitar to Eduardo Gatti, Sepúlveda leaves for Ecuador in March 1968 along with his girlfriend at the time, Consuelo. With just twenty dollars in his pocket, he buys a wooden guitar from a dock in Guayaquil, which will accompany him on

COLLECTION OF RARE AND UNRELEASED MATERIAL OUT THROUGH BECAUSE MUSIC ON 16TH NOVEMBER

'Sounds as if they have stepped out of Quentin Tarantino's dreams.... a 60s-saturated stunner' Uncut

'Garagey, soundtrack-infused psych, a swirl of pounding drums, spoken French, baroque melodies' Mojo

"The Limiñanas always sound effortless and cool' Brooklyn Vegan

French psych duo The Limiñanas will release their new album 'I've Got Trouble In Mind Vol. 2' through Because Music on 16th November. Featuring rare recordings, 7" singles and unrelased material, the collection is the follow up to 2014's album 'I've Got Trouble In Mind'. The duo, were widely acknowledged as one of the highlights at this year's End of the Road Festival, have unveiled a video for 'The Gift'. Taken from their previous album 'Shadow People' and featuring Peter Hook, the song has been remixed by Anton Newcombe of The Brian Jonestown Massacre and can be viewed here:

"We wrote and recorded 'The Gift' at home in Cabestany and then finished it Berlin at Anton Newcombe's studio," explains Marie. "I'm pretty sure you'll recognise Peter Hook's lead bass. He's been one of our heroes for a very long time. The video reflects on high school years in gangs; the mods, the skins, the rockabs and the rudeboys smoking cigarettes while hanging in the schoolyard. 'The Gift' looks at what's happened to two of these people over the years and how they may have missed out on a lifelong love story. The video is directed by Aurélien Richter and features actor and dancer Foulques de Boixo."

One of France's most loved treasures, The Limiñanas are Marie (drums/vocals) and Lionel (guitar, bass, keyboards and vocals). Hailing from Perpignan, the duo straddles the boundary between psych, shoegaze, and yé-yé. With hazy, reverb-laden hooks, combined at times with noisy distortion, and fronted by effortlessly cool vocals, reminiscent of Serge Gainsbourg and Brigitte Bardot, the band is at once timeless and quintessentially French. The Limiñanas, who have produced records in their own garage for the last ten years, released their first rarities collection 'Ive Got Trouble in Mind' through Bill and Lisa Roe's revered 'Trouble In Mind' label in 2014. As with the first installation, 'Vol. 2' features rare and unreleased tracks such as the duo's version of The Kinks' 'Two Sisters' (recorded for a MOJO magazine covermount compilation, produced by Anton Newcombe and remixed by Jim Diamond (White Stripes/The Sonics), a cover of The Lords of the New Church's 'Russian Roulette' and live versions of fan's favourites. 

- A Collection of Girl Garage And Girl Groups from the '60s!
- Strictly limited to 1000 copies only

Prior to Joan Jett, Patti Smith, Courtney Love and other era-defining Women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political without making a 'political' statement. The garage band was a medium that enabled a voice to be heard, an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, mics and amplifiers. Prevailing gender roles would be tested, as rock 'n' roll became someone else's domain the girls!!

The arrival of rock 'n' roll and the teenager not only belonged to the boy next door, it aroused the aspirations and emotions of the girl. Although it's been said that it was rare for a girl group to play on their own records in the mid-1960s, they were not alone. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn't were bold visionaries that believed not only in a new generation's ambitions, but capabilities too. As the rise of a female presence in rock 'n' roll rose through the appearance of figures such as The Vejtables' Jan Errico, the Honeycombs' Honey Lantree, and the fabulous Maureen Tucker (whose deliberately primal technique is such an undervalued part of the Velvet Underground's sound), so too did the rise of all-female bands. Liverpool's Liverbirds and Hull's Mandy and The Girlfriends gave weight to the idea that it was 'normal' and paved the way for likeminded girls to drop the dream boy and pick up the guitar!

Although, the prevailing attitude amongst both major and independent record labels was never going to be inspiring or welcoming, like the wailing blues mamas such as Memphis Minnie or Jessie Mae Hemphill, times were-a-changin' and girls didn't just want to have 'fun'. Emerging groups such as the Pleasure Seekers, White Boots, Ace Of Cups, Bittersweets, and the Luv'd Ones were playing rock 'n' roll on their own terms whilst breaking new ground - whether they were trying to or not. Prepare yourself, as hell hath no fury like....

New Liverpool label, Sentinel, is pleased to annouce the long awaited vinyl debut by one of the key groups on the new Liverpool underground scene. High octane rock'n'roll for the party faithful.
Two track 7 inch single with third track download code. All in screen printed sleeve. Only 300 available.

1. Jocelyn
2. Total Carnage
3. 2nd Gorgeous (download track)

'On the Grass' is Sundays & Cybele's fourth full length record. Rather than a retread of the 60's psych vibe or ethnic tones of
their last LP 'Chaos & Systems', Tsubouchi's signature melancholic sounds are now realized in layers of synthesizer and drone. The result
finds them leaning towards progressive rock and marks the end of Neo-psychedelia. Think 'Dark Side of the Moon' if it were literally
recorded on the moon by a group of marooned astronauts. Down tempo 70's grooves align with spaced out tones to make 'On the Grass' a
rewarding listen, and perhaps the best one we've heard from Sundays & Cybele so far. Sunday's & Cybele (Cybele no Nichiyobi), A four piece psychedelic band formed in Hokkaido, Japan in 2004. Their name is
taken from the notorious French movie. Tsubouchi is the main guy who writes all the music derived from 60's/70's Japanese psych rock.
Listen to this music and feel the beauty of Sunday's & Cybele!

'Rock music in the seventies was changed by three bands —the Sex Pistols, the Ramones and The Saints.' - (Bob Geldof)

THE AINTS! THE CHURCH OF SIMULTANEOUS EXISTENCE

Forty years after the release of one of the great Australian debut albums of all time Ed Kuepper returns with a brand-new band and a brand new contender for the title.

When the heavily lauded, heavily influential first incarnation of The Saints split in 1978, Ed Kuepper, the sonic architect and primary songwriter of the original band and their three albums: the proto-punk classic (I'm) Stranded (1977), the r'n'b infused Eternally Yours (1978) and the brass-laden genre-defying Prehistoric Sounds (1978) left behind a plethora of unreleased material, however, rather than attempt to salvage what could have been Kuepper chose to move on forming the legendary Laughing Clowns performing and recording in Australia and the U.K. from 1979 through 1984 before embarking on an ARIA award winning solo career that has kept him touring and recording steadily since 1985.

Come 2017 though, and the 40th anniversary of The Saints seminal debut Kuepper was persuaded it was time to revisit and celebrate the music of his youth. Recruiting like-minded souls in Sunnyboys bassist Peter Oxley, drummer Paul Larsen Loughhead (The Celibate Rifles / The New Christs), jazz pianist Alister Spence and trumpeter and brass arranger Eamon Dilworth the band performed as The Aints! Play The Saints ('73 - '78) covering Kuepper's tenure with the band and all the classics including This Perfect Day, Know Your Product, Swing For The Crime and (I'm) Stranded to large crowds and a hugely appreciative response. But rather than purely recycle those formative songs Kuepper began to introduce the new-old material to an audience eager to hear what else Kuepper had been sitting on since 1978. A further positive response from the music department of the ABC saw these two iconic Australians join forces and bring to light what is in essence, the long lost fourth album by The (original) Saints.


First pressing of the CD (1000 for UK./EU)version comes with the bonus INSTRUMENTAL VERSIONS (subsequent pressings will be single CD)
First vinyl pressing (500 for UK/EU) will have DL code for album, and instrumental versions also.

After Their Successful Period In The Early Days Of The Grunge Mudhoney Spread Their Wings To The Blues And Garage Rock On Their Album Tomorrow Hit Today. Referring To The Song when Tomorrow Hits' Of Their Self-titled Debut Album. Frontman Mark Arm Still Sings Like He Is Back In Those Early Days And The Instrumental Parts Are Equal As Impressive. As One Of The Few Remaining Seattle Originals They're Hitting The Right Notes. Part Of This Can Be Accounted To The Studio Talents Of Legendary Memphis Producer Jim Dickinson.

The Alternative Rock Band Mudhoney Can Be Seen As One Of The Pioneers From The Grunge Music. They Inspired Countless Other Grunge And Rock Musicians And Will Always Be Linked To The Seattle Music Scene.

+++ UNRELEASED GARAGE ROCK FROM 1967-1969 +++

It does not happen very often anymore that unreleased music from 50 years ago surfaces. And it's even more unlikely that the songs put on tape are such treasures. But that is exactly what we have here. The Morning Reign was a crowd pleasing band that played throughout the Pacific Northwest during the years between 1966 and 1972. Their journey was peppered with lots of travel, whether they were playing gigs in Crescent City or Aspen, and they also made a gaggle of trips to LA to record, or once, to film a TV appearance. Surprisingly, they have released only four 45rpm singles during their existence although they had recorded enough material for an entire album. However, the songs remained in the can.

This is the story of The Morning Reign, a band of young fellas who could have become famous and mentioned in the same breath as The Doors, Eric Burdon & WAR, and all the other music legends of the Garage-Rock era - if their songs had been released back in the day. Dive in and enjoy the sound of Morning Reign, it is truly special. We here at Perfect Toy Records are thrilled to be the label to finally release their work, and we sincerely hope that they will finally receive the worldwide appreciation they so richly deserve.

DETAILED INFORMATION:
In the summer of 1966, before Ric Seaberg would be entering Willamette University In Salem, Oregon, he was slated to attend a new student "campover" orientation that would last for several days. On the very first day he met Gene Heliker, since he had seen him slingin' a guitar around the campground. It took maybe 10 minutes for them to start crooning together and from that day and for the next five years, Gene and Ric would be playing music together.

In time Gene and Ric fell in with Willamette students Craig Chastain and Doug Heatherington. The four formed the nucleus of The Morning Reign, and over the years The Reign experienced several personnel changes, closing 1970 with Gene Heliker on lead guitar and vocals, Doug "Shadow" Heatherington on bass, Craig "Cac" Chastain on rhythm guitar and vocals, Jay Steven "Little Stevie" Tate on drums and vocals, Larry Sieber on organ/keyboards, and Ric Seaberg on guitar and vocals.

They worked hard, attempting to make a go of it. For several years, with nearly non-stop gigging across the Pacific Northwest and California, even venturing as far as Aspen, Colorado, they each collected a paycheck on Monday, written by their leader and banker, Cac. During their last couple years, with the players mentioned above, they lived in Seattle and practiced almost everyday they weren't on the road, learning covers, and writing, arranging and recording original songs.

After having been unreleased for the past 50(!) years, Perfect Toy Records is extremely proud to present these never before heard recordings by Morning Reign to a new audience. We bet you'll love this album and keep listening to it over and over again because you "Can't Get Enough Of It".

Ein ganz besonderes Album:
12 bisher unveröffentlichte Aufnahmen der amerikanischen psychedelischen Garage-Rocker, The Litter von 1970!
- The Litter's Aufnahmen der späten sechziger Jahre, einschließlich des All-Time-Klassikers "Action Woman", wurden als einige der besten Psych-Garage-Rock Singles der Staaten gefeiert und dieses verlorene Album wird mit offenen Armen von Fans des Vintage-Rock begrüßt werden!