Pop & Rock News

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!

+++ UNRELEASED GARAGE ROCK FROM 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, the band has 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 which 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.

This strictly limited 7INCH single (250 copies) gives you a foretaste of the full length album entitled "Can't Get Enough Of It" which will be released on 26th October 2018. The album will contain the full length versions of both tunes.

'Yesterday Was Forever' is Kate Nash's fourth album and the first since her self-released 2013 LP 'Girl Talk', which she put out in a blaze of glory after being dumped by her record label via text.

Nash's history involves a helluva lot of highs and lows, as the youngest, loudest, sharpest new British ingenue back in 2007, she was launched as a major label product. A BRIT school graduate, she started writing pop aged 14. Those songs

went on to inform her #1 record and Brit-Award gleaning debut 'Made Of Bricks'. She sold-out huge gigs. It was a whirlwind; not one that always felt comfortable. At 20, she rebelled, changing tack on album two. Channeling

Kathleen Hanna and riot grrrl punk, she made the far less commercial album 'My Best Friend Is You' (2010), while also having her high-profile relationship be subjected to intense media scrutiny, it was ultimately a career shifting time.

Now aged 30, Nash finds herself in a great place, she's rediscovered her love for pop, launched a stellar acting career, (currently starring in the female wrestling series 'GLOW' - Series 2 has been nominated for 10 Emmys) and

found communities of intersectional activists and progressive new voices to get involved in.

-legendary Nyc Garage Band Available This Side Of The Pond !
The Vipers Were The First 'garage' Band In Nyc, Formed In 1981 By Ex-fleshtones Producer Paul M. Martin And Occasional Fleshtones Sax Man Jon Weiss. Having Played Gigs With The Ramones, Alex Chilton, The Fleshtones, Cramps, Chesterfield Kings, Fuzztones And Many Others, The Vipers Toured The Us And Canada Continually From 1983-1987, Calling The Peppermint Lounge In Nyc 'home'. Other Legendary Gigs At C.b.g.b., The Ritz, Irving Plaza And The Vipers' Own Thursday Night Cave Stomps At The Infamous Dive Cemented The Vipers As One Of New York's Premier Bands Of The Time. Two Songs From Outta The Nest!, 'tears (only Dry)' And 'cheated And Lied' Appeared On The Rhino Records Cd Boxed Set 'children Of Nuggets' In 2005. The Vipers Were Featured In Issue 80 Of Shindig! Magazine In May. Outta The Nest! Is Now The First In A Series Of Vipers Releases To Ever Be Available In The Uk And Ireland.

On their very first shot, Count Five, one of America's most exciting mid-60s garage rock groups, hit the bulls-eye. And, fittingly, on Double Shot Records, a hot new label that was also making its debut. For both, it was a giant hit, "Psychotic Reaction," a driving, pulsating sound that zoomed to the top of the charts. To the five youngsters from San Jose, CA, "over-night" success came after 18 months of rehearsals, experimentations and unique innovations. Thanks to a tip from popular disk jockey Brian Lord, Double-Shot Records signed Count Five to a long-term contract in the summer of '66. The instant success of "Psychotic Reaction" prompted the release of this album of the same name, their one and only full-length studio record, which also includes covers of The Who's "My Generation" and "Out In The Street." 180g vinyl reissue with Stoughton jacket packaging.

In The Red is proud to announce this brand new 7-inch EP from Cleveland, Ohio's Archie & the Bunkers. The band consists of teenage brothers Emmett (drums/vocals) and Cullen O'Conner (organ/vocals) who have been pounding out their stripped-down brand of crazed rock 'n' roll since 2014. Their live shows have to be seen to be believed. Anyone who has seen them live or is familiar with their previous releases on Smog Veil, Dirty Water and Norton knows these guys are the real deal and they aren't messing around.
In The Red HQ are of the firm belief that The Damned are one of the greatest rock n'roll bands of all time. It turns out Archie & the Bunkers share this feeling and have been known to cover the Damned frequently and have performed entire sets of their music. They even jammed with the band on their last US tour, having a better memory of how some of their early material went than the men who wrote it! Therefore ITR is happy that the band have agreed to cover some of their favorite Damned selections, doing
them in their own frantic, bare bones style. Recorded by Jim Diamond in Detroit, the results here are glorious!

Arndales Hail From The Three Counties (hertfordshire, Bedfordshire, Buckinghamshire) Area Of England, A Hinterland Bolted On To North London. Members Of The Band Have Also Performed With Country Teasers, Art Brut, Collapsed Lung, Thrilled Skinny And Others. They Describe Their Music As Three Counties Ug-rock.' On Their New Album They Have Taken Inspiration From The Rich World Of Retail Jargon. The Main Source Of Lyrical Inspiration Was A Shared Google Doc Where Friends Could Deposit The Latest Nuggets Of Retail Gobbledygook They'd Heard At Work. Opening Track Prestige Pricing' Is Named After The Practice Of Deliberately Inflating The Price Of A Product To Indicate It's Prestigious Status. Dark Store'
Takes Its Name From The Customer-free Supermarkets Used
To Fulfill Online Shopping Orders. Album Closer Theme From A Big 10-8 Place' Is A Cover Of The Negativland Song, Transferring The Narrative From The Bay Area To Mid Bedfordshire, England.

In 1998, things were going south for friends Jay Reatard, Eric Oblivian, and King Louie Bankston. In between broken relationships, shattered homes, dissolving bands, and feeling low down, a collaboration was proposed. Jay and Eric trekked down from Memphis with some songs and ideas for songs, listening to Funkadelic and bad Killed By Death-styled punk songs for the six hours to see Louie in New Orleans. One day was spent learning songs, one day recording songs. Eventually they played one show in Normal, IL, opening up for Guitar Wolf. The result of this recording was a blast of punk, garage punk, and psychedelic mayhem. Indeed, the hours listening to Funkadelic did pay off. Jay stole some lyrics and some heavy fuzz solo style from George Clinton and the gang. Eric stole a couple songs from Japanese punk legends Friction and Texaco Leather Man, and tried to mention his favorite sumo wrestler Konishiki whenever possible. Fittingly, when Jay and Eric returned to Memphis, Jay found all his belongings—clothes, guitars, amplifiers—out on his front lawn, as his mom had returned to their house and kicked him out while he was away. Bad Times, indeed! A release on Sympathy For The Record Industry combined tracks from this session and from their one live show, and has become a cherished collector's item going for top dollar on the secondhand market. This edition restores the original tracks from the recording session—Eric's Wrong Way To Love' and Jay's Lick On My Leather,' eliminating two live tracks. A new track order provides a punchy new way to experience the music as well, and the music has been carelessly remastered from a dub of the original cassette. Behold the final product—this is how the Bad Times was meant to be heard!

This Is First Full Length Offering From The Brian Jonestown Massacre For 2018 , A Second, Self Titled, Album Will Be Coming Out In September. This Is The 17th Full Length Release From The Band & The Style Is Less Experimental & More Of A Retracing Back To The Traditional Sound Of The Band .recorded Between 2017 & 2018 , This 9 Track Album Will Please Old & New Fans Alike . The Band Have Announced Tours Of The Usa , Canada , Australasia & Will Be Announcing Tours Through Europe Later This Year.

New album. Limited Edition of 250 copies. Garage-Pop kings!

Holly Golightly (real name) started her musical career as a founder member of all girl garage band Thee Headcoatees, a Billy Childish /Thee Headcoats splinter group in 1991. She spent four years as a Headcoatee before breaking away to release her debut record, The Good Things, in 1995. Where the Headcoatees sound was a blend of girl group sounds and three-chord garage-rock with all the original songs coming from the pen of Billy Childish, Holly's solo sound is more a blend of pre-rock electric blues, folk rock, and less frantic rock 'n' roll. Apart from the wide range of covers of such artists as Willie Dixon, Ike Turner, Lee Hazelwood, Wreckless Eric, and Bill Withers, Golightly also writes most of her own material. Holly Golightly is definitely the most interesting and diverse artist to come out of the Billy Childish school and is certainly one of the better singer/songwriters of the post-grunge era who gets better with every album. Since her debut in 1995, Golightly has been very prolific, releasing a string of classic long play records and loads of singles for a wide variety of labels as well as touring extensively in America, Australia & Europe. This double vinyl LP, (or single CD newly packaged in a digipack) compiles Holly's first twelve 7' singles, A & B-sides. It includes the bluesy 'No Big Thing' with its bar-room piano and harmonica backing, the dirty guitar-driven 'Til I Get, the shuffling brushed drums and double bass of 'Come The Day, the haunting vocal and bottleneck guitar of 'Stain' and finishes with a brilliant up-tempo cover of Pavement's 'Box Elder'.

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....

Welcome to Whale City. 2018.

A thrill' Lauren Laverne, BBC 6 Music

At the point where personal hygiene ends and Kraut-garage begins lies Warmduscher' the Quietus

The offspring of a match made in hell between Fat White Family and Paranoid London' Louder Than War

Warmduscher are playing by their own rules' Clash Magazine

Let Warmduscher be your guide. Clams Baker: the man with the golden tongue. Fast-talking, no nonsense networker. The 'legitimate' front to the great rock 'n' roll swindle. No time for fact checking. No need for building regulations. Heading straight to the top. Consequence be damned. Lightnin' Jack Everett is his man on point. The rhythm. The brains. The brawn. Let's make lots of money. The Saulcano, Mr Salt Fingers Lovecraft and The Witherer operate in the shadows. The cogs. The machine. The bootleggers.


* South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood

* Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as a rock opera so vast in magnitude that - were in not for my being strapped naked to a chair in a garage - could send a man hurtling towards the outer perimeters of uncharted space'

* Features the hits-to-be 'Big Wilma', 'Standing On The Corner' and 'I Got Friends'

* Get a taste for Whale City in this video, as Lightnin' Jack goes in search of the elusive Big Wilma

* A formidable live prospect, the band will be on tour throughout 2018 - all announced dates below

* Early support from Lauren Laverne at 6 Music plus a Marc Riley live session on March 6th

* Vinyl edition includes a set of postcards featuring artwork by David Ruddeforth

* In the words of Clams Baker, Whale City is a playground for the people that have stepped above and beyond their comfort zone.' What are you waiting for

UK promo will be handled in house by Thea Hudson-Davies.

The Olivers from Fort Wayne, Indiana evolved out of the Serfmen, a very popular band in the region, that had already released two nowadays rare 45's on their own Nemfres label. When the Serfmen signed with Dino Enterprises, an Indianabased agency in 1966, original member Greg Church left the band and was replaced by Billy Franze from another local group, The Unexpected. The Band then moved in a more British invasion direction for their music and outfit and changed name to "The Olivers". The line-up at the time consisted of Jay Penndorf (guitar, vocals), Chuck Hamrick (drums), Carl Aldrich (keyboards, vocals) and Billy Franze (bass, vocals). The group's sole 7" release, "I Saw What You Did" b/w "Beeker Street" was recorded at Cap Studios in Portage, MI and was released with a Picture Sleeve later that year on the local Phalanx Label. The single got picked up by RCA Records for nationwide release and is rated today as one of the best and most exciting double sided major label garage 45s of the 1960s. Break-A-Way has re-issued the 45 with its original front sleeve and a newly designed backcover feat a short band history and unseen pictures.