Glossy Mistakes present a reissue of Tito’s Quetzalcóatl, originally released in 1977. Proto-electronics psychedelic Mexican holy grail. Inspired by Vangelis, Tomita, or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today, Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP. Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This album could be considered as a rarity. But if you listen hard enough, you find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Remastered in Amsterdam by Wouter Brandenburg. Comes with insert; edition of 600.
Magic Box presents a reissue of Pirana’s self-titled album, originally released in 1971. Pirana’s heavily percussive brand of progressive rock was a huge hit with audiences in Australia in the early ’70s. Although often compared to Santana, they brought their own biting style to a superb selection of original material, with Tony Hamilton’s superb lead guitar to the fore. Their classic debut album was originally released in early 1971, and is reissued here in its original gatefold sleeve, together with background notes and rare images.
Magic Box presents a reissue of Tea & Symphony’s An Asylum For The Musically Insane. This quirky Birmingham trio’s debut album was originally released in September 1969. Spanning psych, folk, blues, and pop, with a range of trippy effects, it was produced by the great Gus Dudgeon (David Bowie, Elton John) and is one of the best-loved British underground recordings of its time. It makes its long-overdue return to vinyl here, together with an insert containing notes and rare images. “Maybe My Mind” features Egg.
Late 60s/Early 70s Trans-European Folky Funky & Pop-Sike Tunes.
As suggested by the subtitle itself, this psychedelique dance floor in between late Sixties and early Seventies presents a great selection of Funky grooves, usually with at least slightly Progressive touch to it, with just an occasional detour towards the Folky or Pop-sike side of the matter.
These kind of a bit more conventional entries also happen to be the best ones as well, featuring Tony Ritchie’s fuzzy blue-eyed soul stomper Could You Really Live Without Her (released on Miki Dallon’s Youngblood label), along with the pair of Gene Latter’s The Old Iron Bell, or thee more progressively funky side of things, Roundhouse’s Alchemy Is Good For You and Electra Combo’s Uber Feur are both as groovily catchy as it gets within the genre, and the same goes for the Britsike-gone-danceabe-proggy post-Velvet Fogg combo The Ghost’s I’ve Got To Get To Know You and finally the Italian 1972 radio hit single Mister E. Jones by Nuova Idea gets pretty catchy as well, in spite of the just as progressive overtone. Also included is an incredibly surprising cover of The (pre-Creation) Mark Four’s single side Work All Day, as done by the German band Tony Hendrik, sticking to the tune’s initial pop-artish mod vibe.
The most difficult project we’ve done to date, this compilation features some of the most obscure Zamrock bands to ever record. None of these bands went on to release albums, some have remained in obscurity even within collectors circles in Zambia. There were only released on 7″ singles like the snotty, proto-punk ‘Watchout’, a number from the post-Amanaz Drive Unit, a group consisting of Amanaz members and legendary bassist Ricky Banda. Blistering fuzz guitars like the 3 1/2 minute solo on Hulk Raiders ‘Mans World’ that can go toe to toe with any guitar solo released during the period. ‘Shoot’ from Mother Breed, a band who went on to record a series of singles which we will be releasing as a full length album in the future, and others like; Mabanga Band, The Ghost Band, Heroes Band, Osauka Band and The Real Savages. The first in a series of compilations featuring obscure Zambian groups that will cover Rock, Disco, Folk and Afrobeat. Highly recommended for fans of the genre.
Some albums are certainly a kind of holy grail for music lovers and collectors of a certain genre, style and era. FAR OUT with their eponymous debut and unfortunately also farewell album from 1973 have created such a sacred gem. Original copies in good condition change hands for up to 2000 USD and there are certainly a few not so official reprints on vinyl and CD out on the market which do not even come close to do justice to the greatness of the old original black gold. But here we go with the first ever official vinyl reissue taken directly from the original mastertapes supplied by Nippon Columbia.
EVERLAND MUSIC did a brilliant job as usual with their reissue. The coverart with a white glove hanging on a washing line to dry comes on an awesome heavy gatefold sleeve. Including 2 inserts with live photos from back in the day when the band was going wild on stage.
Now for the most important part, the music. There are certainly not too many wild moments here since both long tracks „Too many people“ and „Nihonjin“ have a melancholic, dreamy approach with a desperately howling and sighing lead guitar that spouts some utterly intense melodies. These two tracks are epics in the pure sense of the word. They start both with a rather gentle part which develops into a journey of sound that bring either vast landscapes of enchanting beauty untouched by modern human life or quite dramatic scenes to your mind’s eye. The lead guitarist often uses some strange instrument which is a kind of electric sitar to add the atmosphere of eastern mystic. So while falling into a state of deep trance while letting the music rush through my ears into my brain my spirit that has left my body embarks on a trip from the smokey volcanic hills around Pompeji to the icy permafrost wastelands of the Northeastern lands and arrives somewhere in the East Asian jungle on a gold plated pyramid of an unspeakable age where laughing demons dance around mystic fireplaces. Yes, this is the real journey to the center of your mind and despite having no really abstract freak out parts, tricky instrumental runs and twisted rhythm figures this music will capture your whole existence for the next 38 minutes. The end of „Nihonjin“, the second tune, shows an ambient like section with synthesizer background, echoing atonal sitar, a brightly squeaking flute, organ carpet and some percussions. This is indeed a rather extreme part, due to the pointed tone of the flute but quite soon the music stops and leaves the listener back in reality. This second track later on got a kind of reappearance on the FAR EAST FAMILY album „Nipponjin“, also retitled as „Nipponjin“. Mastermind behind both acts is multi instrumentalist Fumio Miyashita, so there is no wonder. The later version has more space rock elements and electronic sounds than the original FAR OUT tune and is a little bit shorter all in all. But I digress.
This is the real thing for those who still miss the melodies and atmosphere of the late 60s and very early 70s when people had a dream of a peaceful world and who enjoy early German cosmic kraut rock like AMON DÜÜL II, ORGANISATION (later to become KRAFTWERK), the debut album by TANGERINE DREAM and more obscure stuff but also international bands like PINK FLOYD, GONG, TWINK and HAWKWIND just as an East Asian version. A real gem and finally available with the real sound and package again.
Hot on the heels of their critically acclaimed third album, “Blessed is the Boogie”, Australian rockers Datura4 have hit the motorway running for another sonic journey through burning boogie, dirty blues and rock & roll soundscapes on follow-up opus “West Coast Highway Cosmic”. “West Coast Highway Cosmic” sees Datura4 stretch out and experiment with their sound built up over 4 albums since their debut release “Demon Blues” in 2015. Dig it! Garagey but not grungey, power-poppy but not cheesy, muddy but not sludgy, blues-respecting but not formulaic, trippy but not spacey, Datura4 is carving out their own niche.
The very best of Penny Wise/Amsterdam and Peter Bewley.
In the history of the Nederbeat genre the band Penny Wise is simply legendary. Their story begins in 1967. Former members Donald and Martin van Os grow up in the western part of Amsterdam. Their first group, So What, plays a lot in the Amsterdam beat clubs, sometimes opening up for Dutch major Beat groups such as The Motions and The Golden Earrings. So What’s manager André Heilbron works as a roadie for Amsterdam’s #1 group The Outsiders and then the group comes under the wings of the famous impresario John B. van Setten. “Silver Girl” and “Jackie’s S.S.S.” appear on their first single. Penny Wise presents itself – both in sound and fashion – as a very exuberant British mod group. “Silver Girl” is nowadays rated among connoisseurs as one of the best and most exciting examples of Dutch 60’s Freakbeat.
“Lily Come Near Me” is in a much more poppier vein – a very strong composition with great melodies and splendid vocals, one of the band’s hallmarks. Penny Wise’s final 45, “Leave Me Alone”, another lite-psych pop masterpiece, and its flipside “In The Fields With Me”, a quirky Kinks/Ray Davies style pop follows. By the end of 1969 they change their name in Amsterdam. The idea to name themselves after their hometown was “inspired” by the American group Chicago. Amsterdam’s debut 45, the Freakbeat “Blue Steel 45” and the atmospheric laid-back “Indian Pipe” is out in 1970 and gets a lot of airplay. Another song from their catalogue compiled hereby is the melodic West-Coast styled “Lucy Lucy”.
Former member Peter van Asten leaves the band early 1971. Under the pseudonym of Peter Bewley he releases three 45’s of which his first “It’s Allright Bill” b/w “Smile Again”, a beautiful strongly Beatles-inspired pop 2-sider, is his best and most successful one. Peter plays guitar, bass, piano, organ and is doin’ the lead vocals.
It’s 1975 when Amsterdam’s first album is released and the band actually no longer exists. It’s a collection of their Pink Elephant single sides complemented with four songs recorded earlier.
As a tribute to our beloved Amsterdam city we chose Alessandra Monoriti’s colorful illustration for the cover which perfectly fits in the music compiled in this record. Lovers of Nederbeat, Dutch-Baroque-Pop and lite Pop-Psych will surely fill this record between their genre’s faves. Thanks to Dutch music export Erik Meinen this selection is now available again with such a rich and detailed liner notes insert. It was about time these songs would be rediscovered and newly presented in all their splendor. We sure hope you’ll like them as much as we do!
Music known as “Jesus rock” or “Jesus psych,” the synthesis of the Christian philosophy combined with heavy rock or psychedelic music, first saw light of day in the late 1960’s and was immediately pressed on vinyl. It didn’t dent popular consciousness and was met with almost zero popularity in its infancy. Over the years, astute collectors and music lovers began to realize that some of these records, almost all of which had been privately pressed in very small quantities with little to no promotion, contained some of the heaviest, catchiest, guitar-driven psych rock ever released.
Many of us feel that these early greatly talented, creative and innovative Jesus rock artists, which, sadly, have been mostly overlooked and remain stlll relatively unknown, deserve to be heard. They broke the traditional mold of what Christian music should sound like and need to be known and recognized along with the well-known rock artists and bands of the era. This album presents twelve cuts of some of the best and sometimes heaviest obscure Jesus psych rock ever. Several tracks are from ultra-rare albums that are well-known to vinyl collectors, while others are from albums so obscure that only a few copies are known to exist. Enjoy your fuzz-drenched trip through “Electric Holyland”!
Uzelli Kaset was established in 1971 by Muammer and Yavuz Uzelli in Frankfurt, Germany. Their music resonated not only with the longing that Gastarbeiter (guest workers) felt for the homelands and families they had left behind and the melancholy brought by their difficult living and working conditions in Germany, but also with the joy that welled up at village weddings on their days off, and the long car or train journeys home. Reaching the remotest corners of Germany as well as Turkey, Uzelli Kaset was soon more than just a music company; it became a companion to Turkish workers living far from home. Not counting the handful of 8-track tapes and 14 LPs released in the early days, the catalog consisted entirely of cassettes.
When they opened their Istanbul office in 1977, Uzelli moved beyond production and became successful in the areas of reproduction, distribution and marketing. Taking the catalogs of other production companies under its umbrella, it continued its rapid growth.
The 90s became the CD decade, and because Uzelli Kaset had not released its catalog in CD format, hundreds of albums remained unavailable to an entire new generation. Because the albums had not been released in LP form either, musical explorers ran into the same problem. Remaining active and serving in various areas of the music industry, Uzelli carefully preserved its visual, audio and document archives, ensuring their survival to the present day.
After an immense amount of work, this catalog, which had long awaited discovery by new generations, was finally released in digital format. For record collectors seeking the spirit of those times, we also began offering this special selection of compilation albums in vinyl format. As we created this series, our goal was to guide listeners toward new discoveries, and open new pages for music lovers to explore. Leaving our rich, multifaceted catalog to genuine musicians, curators and artists, our desire became to approach the recordings of that period from a different perspective.
We are overjoyed to know that our continuing meticulous work will bear fruits whose taste and aroma have been long forgotten.
During the legendary Forst years, Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door now and again. Here he experimented, practiced, allowed his imagination to flow, at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. For the first time ever, this Roedelius audio sketchbook had been digitalized and available to the public in 2014 on a limited three-LP box set called Roedelius Tape Archive 1973-1978. The recordings offer a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, studies in rhythm are also preserved on these magnetic tapes. Since the box set has been sold out for a long time, Bureau B decided to release the essence of those three LPs on a one-disc compilation: Roedelius Tape Archive Essence 1973-1978.
“This is the second volume of our series collecting the odds & sods of the immortal Nudge Squidfish. Nudge is one of the singular figures to emerge from the Columbus sub-underground rock scene of the 1970s. He was a member of The True Believers (along with Mike Rep & Tommy Jay). He cut a single for the New Age label in ’82, and couple of odd solo LPs while he was living in Nashville later in the ’80s. He was a member of V-3 (along with Jim Shepard) after that. He also released a bonkers full-length cassette on Old Age that was subsequently vinylized by Columbus Discount. More recently, he has become a highly regarded disseminator of UFO videos (Google it). The first volume of this series, You Can’t Have Aliens Without The Squid (FTR 321LP, 2017), was met with gasps of amazement and other tomfoolery. Robot Wars, featuring material recorded between 1974 and 2017, covers even wider stylistic ground than Aliens, and is certain to provoke as many questions as there are answers. The material here is performed by Nudge solo, Root Cellar (a band with Charles Cicirella on smutty vocals), Jayfish (Nudge + Tommy Jay), and V-3. And while Nudge (left to his own devices) has shown signs of being a pop artist, the music here does not hew to that notion. From fine, straight bar blues readymades to spaced-up electro doo-dads to neo-Nig Heistian raunch polemicism, to guitar bursts worthy of Crazy Horse, Robot Wars presents many the faces of the Squid. And yeah, it includes his pop side, but the breadth and balance are kinda staggering. Roll on, Big N!” –Byron Coley, 2020 Edition of 200.
Asteroid B-612’s Forced Into A Corner is released for its very first time on vinyl. This is the second album of legendary Australian band, and it is the killer predecessor to their cult album Not Meant For This World! (BANG 134LP). Originally recorded and released in Melbourne, Australia in 1994, this album was produced by Dave Thomas from Bored! So… you can assume it is a monster piece of sonic hazard and guitar army sound mixing Detroit’s wildest with Australian classics. This album was originally released only on CD and only in Australia. It’s remastered here in order to deliver the most brutal sound of this band. A total must for all fans worldwide of MC5, Stooges, Dark Carnival, Sonic’s Rendezvous Band, Radio Birdman, The New Christs, Bored!, Hellacopters, etc.
Rare and unissued Pacific Northwest floor fillers! While soul music might not be the first thing that comes to mind when you think of the music of the Pacific Northwest, Salem Oregon’s Garland Records was churning out high quality hip shakers along with their reels of garage & psych.
Contained here is some super deep ‘Northwestern Soul,’ including three cuts making their inaugural spins 50 years after they were put to tape.
Arbouretum’s mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they’ve perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics. Let It All In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann’s melodies and solos remain a central focus bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time.
One of the best albums released on NOVA, “Aardvark” features such outstanding pieces as the evocative ‘Once Upon A Hill’, ‘Many Things To Do’ and the powerful album closing track; ‘Put That In Your Pipe And Smoke It’.
This Esoteric Recordings reissue has been remastered from the original master tapes and features a booklet with fully restored artwork and new essay.
The first album by Acrimony (from 1994) for the first time ever on vinyl! Remixed and mastered in 2019 from original studio files by James Plotkin. Includes new artwork from JimBob Isaac (Taint/Hark). Acrimony’s influences were varied, from ’70s rock to trance techno, but their riffs were undeniably heavy, with lyrics exploring the isolation of their hometown and the same kind of disaffection that once launched Black Sabbath to the outer reaches of doom from a blues rock beginning.
The Collectors represents the Canadian psychedelic movement. This self-titled album is one of the true forgotten gems from 1968. The superb song-writing and intelligent use of unusual chord progressions are just brilliant on this record. Comes on 180 gram vinyl.
Epizootic’s sole album is very rare one and in good shape a very expensive album if you are looking for an original one. Longhair is proud to present the first official re-release of this album, first issued in 1976 by Epizootic as a private pressing. Their music could be described as raw hard rock with psychedelic flavours, dominated by organ and guitar. Breaks and tempo changes within the titles are responsible for a diversified album. In his book ‘Scented Garden Of The Mind’ Dag Erik Asbjornsen declares: Epizootic made one of the most obscure Swedish heavy rock albums, in a joyful style reminiscent of Fuzzy Duck and early Atomic Rooster. The album has been re-remastered from an early CD self-release by the band and gains a better sounding. On the insert, keyboarder Lars Liljegren tells the band’s story and some never before seen photos show the band in their glorious days. Don’t miss the limited edition of this extremely rare album. Recommended.
Los Angeles-based Fraction’s heavy psych classic Moon Blood was originally released on the Angelus record label in 1971. Only 200 copies were pressed, so originals are currently worth a small fortune. Fraction, with vocalist Jim Beach, bearing an uncanny vocal resemblance to Jim Morrison (although he was singing on Sunset Strip long before Morrison took to the stage), were often compared favorably with The Doors, although their quasi-religious message would probably not have found favor with the recently-departed Morrison. Indeed, this rather fine record was once famously described as the album The Doors probably wished they’d made! Underpinned by guitarist Don Swanson’s superb Ritchie Blackmore-style guitar work, this is an album full of beautiful psychedelia, acid and hard rock, at once emblematic of the era, but not dated by its association. The five original compositions are consistently of the highest quality and the contribution of Beach’s now legendary vocals places a stamp of originality on the recording that endures from beginning to end. Monstrously heavy, howling, epic psych that is basically a must-own. A truly excellent album. Featuring the original die-cut cover with colored cellophane, and pressed on 180 gram vinyl.
No-bullshit underground free-rock and proto-punk dosage featuring a multi-piece line up of GRs! This acetate slab of defiant mixture makes the magic happens like an hallucinatory disenchantment incorporated into some ultra vindictive power… Infectious, scary, brutal, elegiac, freakish and wickedly stylish, GR’s fifth solo album ‘The GR Record Head’ pushes the boundaries straight up to cook your synapses. Once again, the album comes out outside of the standards, with no other backing than GR himself on all instruments plugged into overheated tubes, then a few dusty razor-like moving coil transducers, a mixing board built like a Panzer and an analog 4 track reel to reel recorder from another age. GuitaRazing, frenzied riffing and cranked soloing vagabondage on corroded strings, mesmeric tone, acid rave ups, rhythms like catapults, motorik plus deconstructive free forms, opaque vocals full of venom and fuelled by raw lines & metrics… Now pair all that with the craft of fixing sounds onto an early ’80s 1/4 inch reel tape and you got an idea of what The GR Record Head is all about.
The mother of all fuckers in actual D.I.Y./low-fi rock’n’roll.
Limited edition of 300 copies on white vinyl. An Opaque Dynamo (FR) and Cardinal Fuzz (UK) co-production.
Denmark’s finest hard-psychedelic band will now get their first official reissue on vinyl. Hair (no connections to the musical) released their one and only album in 1970 on EMI/Columbia and despite the fact that this was major-label release, the LP still remains as one of the rarest artifacts out of Denmark.
The listener will be rewarded with an effective combination of guitar dominated hard-psychedelic songwriting and strong melodic influences, culminating in their awesome masterpiece ‘Dream Song’. This 2LP-Set includes the original album and all six songs from their singles plus a previously unreleased (on vinyl) song as extensive bonus material. The album and single tracks have all been remastered from the master tapes.
US IMPORT. An exact repro vinyl reissue of the sole album by this Bay Area acid-/psychrock band, originally issued by Mercury in 1968. A classic delivery of guitar dominated psychedelia, recommended to fans of Hendrix, Cream, Quicksilver Messenger Service, Tripsichord Music Box, Frumious Bandersnatch, etc.