Classic Rock Vinyl 227 Items

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

‘O’Seis’ are the core members of the mighty and legendary ‘Os Mutantes’ – namely Rita Lee and brothers Arnaldo and Sérgio Baptista, accompanied here by Raphael Vilardi, Maria ‘Mogguy’ Malheiros and Luiz Pastura. The record features anthemic, heavyweight, psychedelic rock on ‘Suicida’ b/w deeper, tripped-out MPB-folk on ‘Apocalipse’. Both tracks were written by Rita Lee, assisted by Tobe and Vilardi respectively. The term ‘holy grail’ is a little overused these days perhaps, but this definitely is one. Originally pressed and released by the band themselves in 1966, apparently only a handful of copies are known to exist (sources/numbers vary). The record has changed hands for up to a staggering $5000! Ouch.
Official Mr Bongo reissue. Licensed courtesy of Warner Music UK LTD.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

Finnaly we got it, after a long time waiting we were able to reissue this 1969 killer 7" of The Blue Condition, from Waukegan, Illinois. The original wax is a most wanted and a mega rare gem searched by garage punk collectors from all over the world. With "Coming Home" as the main track, a garage punk/freakbeat killer stomper. Fuelled with fuzz and groove. The record come with 2 postcards, linernotes and interview with the band members.

Les Marquis were an Austrian band active in the 1967-1971 period. Their debut single - Fire Horses - released in 1969, is one of the best Garage/Folk-Rock European gems of the late sixties. Limited edition of 400 copies.

Here is Beybonlar Orkestrasi. Ultra rare Turkish heavy psychedelic single by Beybonlar from 1969.

Amazing stuff from the teenagers band that the drummer was only 12 years old when they recorded the tunes Side A is Gelin Ayse (Bride Ayse) which is very sad traditional Turkish folk song that arranged by the psych form Side B is Nenni (Lullaby) that is a traditional tune, but what a traditional tune by the teenagers!!! Enjoy it..!

This EP contains their second & third singles. Both were originally released in 1965 by Parlophone. Produced by Joe Meek.

First ever band-sanctioned reissue of this legendary ‘Pebbles’ garage-psych 45 from 1967. William Penn Fyve aka William Penn & His Pals were a regular presence on the early Bay Area scene, opening for the likes of Jefferson Airplane, Paul Revere & the Raiders and Them. Their line–up included lead singer / organist Gregg Rolie, later of Santana / Journey. In 1966 they recorded their lone single, "Swami" / “Blow My Mind”, for the Thunderbird label. The A-side (written by guitar player Mike Shapiro and famous for being included on “Pebbles-The Acid Gallery”) is early acid-punk with fuzzed-out raga guitars and hilarious lyrics about a guru. The flipside is an energetic garage-punk number with swirling Vox organ and a fuzz rave up á la Yardbirds.

incl. 'flute thing' sampled by Beastie Boys for 'flute loop'

Signed By Simeon

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

New Discos Quilombo release, now time for Grupo 606 out of Cochabamba, Bolivia!!! Formed in 1967, in 1969 they released a great EP and we've now pressed this 7" with the best two songs out of that record. A true fine example of the "Nueva Onda Boliviana" sound, with a killer cover of the Blues Magoos' "Gotta Get Away" and the self-penned "No, no puede ser", kind of beat number with taquirari influence.

1969 album from the Morgan Blue Town stable, a classic psychedelic prog album. Album features Mike Bobak, Andy Jons & Wil Malone. Now on Limited Edition 180 gram Pearl Colored Vinyl.

180 gram vinyl

After briefly replacing Eric Clapton in John Mayall’s Bluesbreakers, guitarist/bassist Geoff Krivit formed Doctor K’s Blue Band with pianist Richard Kay and singer/harmonica player Mick Hasse, the lineup completed by bassist Harold Vickers, slide guitarist Roger Rolt and future Steve Hillage drummer Eric Peachey. Their self-titled debut had top-notch renditions of blues classics such as ‘I Can’t Lose,’ ‘Key To The Highway’ and ‘Pet Cream Man,’ as well as spirited originals such as ‘Strobe Lemming’s Lament’ and the piano stomp ‘Crippled Clarence,’ but the album failed to break through. Grab a copy of this rarity to be blown away!

One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ("Dom Quixote") has the same focus on stylistic cut-and-paste as their debut LP's first track ("Panis et Circenses"). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite "A Quick One While He's Away" -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ("Nao Va Se Perder por Ai") and ("Dois Mil e Um") come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including "Magica" and a slap-happy stomp called "Rita Lee," there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here

Before joining Dick Cuthell in jazz fusion act Trifle, keyboardist Alan Fealdman and drummer Chico Greenwood formed Jasper with bassist Jon Taylor, guitarist Steve Radford and singer/harmonica player, Nick Payne. On sole LP Liberation, released by Spark in 1969, Jasper skirts psychedelia, proto-prog and blues rock, the unusual hybrid a fluid sound that’s difficult to place. Along with unusual arrangements of ‘Baby Please Don’t Go,’ ‘St Louis Blues’ and Donovan’s ‘Cuttin’ Out,’ there are baroque motifs of the title track, repeated at varying intervals. For fans of multidimensional prog and cutting edge blues-rock.

Leeds-born folk-rocker John Trevor Midgely, alias Beau, was known for his deft twelve-string guitar work, his poignant voice and distinctive song-writing, which brought him onto the roster of John Peel’s Dandelion label in 1969. His self-titled debut album is arguably his best and includes the outstanding single ‘1917 Revolution,’ said to have inspired America’s smash, ‘Horse With No Name,’ the LP ably demonstrating that all the artist needed was his voice, his guitar, and his individual approach to song writing, the work bearing his haunting hallmarks throughout. In short, an unjustly obscure release that is ripe for current reappraisal. Including 2 Bonus Tracks

Before Uriah Heep there was Fat Toe, and before Fat Toe there was The Gods, who recorded this risqué hard prog album, Orgasm, as Head Machine. Singer/keyboardist/guitarist Ken Hensley takes centre stage under the alias Ken Leslie, his lyrics alluding to the undeniable allure of human coitus and aspects of its management, the climax eventually coming in audible groans, though the guitar really drives most of the songs forward, with stereo panning. Produced by David Paramour, who had worked with Garnett Mimms and The Nocturnes, it was recorded in late 1969 and released in small number by Major Minor; this reissue spins at 45 RPM for improved fidelity.

Reissue for the 1969 live album for Quicksilver Messenger Service, recorded live in 1968 at the Fillmore in San Francisco.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

The holy grail of turkisch surf-rock.

UK psychedelia moved into prog rock with spices of hard rock in the late sixties, some even coined a new label to describe the strong textures resulting of the mixture of rockier blues sounds, jazz, revolutionized freakbeat and the hardest side of popsike - ‘heavy psych’. Amongst the best works of the era were the two splendid LPs recorded by Welsh band Eyes Of Blue.

The Eyes Of Blue where formed in 1966 and soon won the Melody Maker Beat Contest, a fact that secured them a recording deal with Deram records. The label issued their first 45s, they were good but -due to company pressure- more Blue Eyed Soul or even bubblegum oriented. By the time they released their first LP, on Mercury, their real sound had surfaced, showing influences by some of the coolest bands from the US West Coast like The Doors or Love, and also counted on the help of Graham Bond, who penned some of the most significant tunes on the album. Heavily Hammond organ driven athmospheres taking things one step further than The Nice, guitar pyrotechnics, an excellent vocal work, some eastern influenced guitar raga, a great taste in choosing cover versions and strong songwriting make Crossroads Of Time one of the best progressive LPs from 1968.

First ever legit vinyl reissue, in a limited run of only 500 copies, in remastered sound and featuring an insert with photos and liner notes.

180 gram vinyl!

reissue on 180g vinyl with three bonus tracks

2024 repress of "nora Guthrie - Emily’s Illness / Home Before Dark" (7") has been announced, and this time in Clear Blue Vinyl!! The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the previous edition! The long-awaited reissue that will bring tears to the eyes of psychedelic and soft rock fans alike! This is a must buy! Repressed for the first time in over 14 years. The new edition features a new binding design, a new label, a new jacket format, and a completely new edition that includes valuable photos and lyrics that could not be included in the 2009 edition! The daughter of American folk musician Woody Guthrie, sister of singer-songwriter Arlo Guthrie, and granddaughter of noted Yiddish poet Aliza Greenblatt, Nora Guthrie released her only and treasured single in 1967, at age 17.

Inspired by Muddy Waters and other blues greats, the South London blues-rock band Killing Floor was formed in 1968 with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith. This self-titled debut set, issued by the independent Spark label (and licensed to Sire for US pressings), was produced with care by former DJ John Edward, based on Chicago blues material, as heard on the cover of Willie Dixon’s ‘You Need Love.’ This is the band at their rawest beginnings, a grittier traditional blues set that contrasts with later work for Larry Page.

Siren was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel.

A lecture in 60's psych pop (almost power pop with flashes of hard rock) with consistently solid melodical, up-tempo, organ driven songs, soaring vocal harmonies, anthemic choruses. Psyched, poppy & fun. Not an album that you would listen to regularly, but more like an old friend to go back when you are in that 60s mood.

Originally released in late 1968, La Conferencia Secreta del Toto’s Bar was Los Shaker’s psychedelic masterpiece. Inspired by Sgt. Pepper's Lonely Hearts Club Band - a milestone that would change the face of pop music forever back in 1967 – Los Shakers created a fundamental album in the history of South American rock music, a seminal record for many artists to come, full of pleasant surprises, magic sounds and sense of humour. It offers a complex fusion of styles, with elements from both rock and jazz, plus the use of exotic instruments like the bandoneon–widely used in tango music but unprecedented until then in pop/rock adventures. It all makes the last album by Los Shakers an essential, innovative record for any collector and aficionado. Sounding as fresh and original today as it did back in the late sixties, here’s the first ever vinyl reissue.

Originally released in 1966, Shakers For You was the second LP by Los Shakers, the legendary beat/pop band from Uruguay. An album clearly influenced by Help!, Rubber Soul and Revolver, but showing a band that were more than mere copycats, offering some revolutionary compositions and influences such as bossa-nova. The songs on Shakers For You take us through incredible musical mixtures that, while keeping a strong early/mid Beatles feel, give us clues of what would come later in pop music with psychedelia just around the corner. This is the first ever vinyl reissue of one of the greatest beat LPs from the 1960s.

In 1969, Locksley Hall, a psychedelic band from Washington, recorded a full album at Audio Recorders in Seattle produced by Sonics Engineer Kearney Barton and long time Northwest guitarist Ned Neltner (Mark Five, Gas Company…).
Never released at the time, this is a great example of West Coast styled psychedelia / acid-rock, featuring female vocals, prominent organ, hard guitar, excellent songs…

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

Vinyl LP repressing of this 1969 album. WILLY & THE POOR BOYS, the fourth album by one of the world's all-time greatest rock bands, Creedence Clearwater Revival, remains a top-selling album in the CCR catalog with over 2 million copies sold to date. Reaching the top 50 in six countries upon it's release, the album stands as a landmark international success and one that cemented the band's legacy as a vanguard of American rock 'n' roll. Contains the ubiquitous chart-topping hit, 'Down On The Corner,' which rocketed into the top 10 in the Billboard Hot 100 in the U.S. and continues to be a mainstay on classic rock radio today. Additionally, the visceral 'Fortunate Son' is included here - an incendiary protest song that became inextricably linked to the Vietnam war, resulting in it's addition to the National Recording Registry by the Library of Congress in 2014 for being 'culturally, historically, or aesthetically significant'.

A vocal band that made it through, the Free Design have been more than an exception in the glittering world of the psychedelic circus. That was the Age of Aquarius in the end, but in the long run the 4-piece had an enormous impact on the younger generation. Released in 1969 “Heaven/earth” is a cornerstone on its own and 30 years later the band had a sort of epiphany, thanks to the spanning interest of artists such as Cornelius, Beck, Stereolab and crate digger master Madlib. By now the Free Design are considered in the same league of The Beach Boys and The Carpenters. Under the influence of the Hi-Lo’s and Peter, Paul and Mary, The Free Design rose through the folk scene of the Greenwich Village coffee houses, achieving national prominence with the enchanting ‘Kites Are Fun’. They would prove to be at least the artistic equals of such popular contemporaries as The Association, The Mamas and the Papas, The Fifth Dimension and Harper’s Bizarre, but without quite matching their commercial success. Rather than be dictated to and diluted by the majors, they chose to commit to the artistic freedom and potential to develop offered them by the producer Enoch Light through his independent set up Project 3 Total Sound.

First ever reissue of this bona fide “buried treasure” produced by Richard Perry and featuring Ry Cooder and the Wrecking Crew. Includes 4 page insert with notes by music historian Stephen J McParland and Vini Poncia, and many rare pictures and ephemera. Like the other more familiar and phenomenally successful duos Goffin/King, Barry/Greenwich or Mann/Weil, Peter Anders and Vini Poncia also graduated from the Brill Building era school of songwriting. Friends since high school, Anders and Poncia debuted as members of the Providence, Rhode Island vocal group The Videls whose second single Mister Lonely (written by Anders-Poncia) proved to be a moderate national hit (#73 on Cash Box and Billboard) in early 1960. It would be five more years before the duo’s pièce de résistance, The Trade Winds’ New York’s A Lonely Town, would appear on the legendary Red Bird label (started by George Goldner and songwriters Jerry Leiber and Mike Stoller in 1964). An East Coast (though California molded) surf music anthem, New York’s A Lonely Town had impressed both Phil Spector (with whom Anders and Poncia had enjoyed a brief working association, writing songs for The Ronettes, The Crystals or Darlene Love) and Beach Boys leader Brian Wilson. They also worked on an Elvis Presley film score – “Harum Scarum”. After releasing albums as The Trade Winds and The Innocence, as well writing and releasing a bunch of songs under various guises for Kama Sutra and Buddah Records, Anders & Poncia signed to Warner Bros in 1969. Produced by Richard Perry (Captain Beefheart, Fats Domino, Tiny Tim…), and featuring the Los Angeles A-Team of sessioneers (later known as “The Wrecking Crew”), their only album features ten original compositions and a version of Leiber & Stoller’s “Smokey Joe’s Cafe” (with some great bottleneck guitar by Ry Cooder). Reissued here for the first time these eleven brilliant and extraordinarily powerful tracks are ripe for rediscovery. As the liner notes state: “listen to Anders & Poncia … and you have found your poets.”

Once The Shain´s had disbanded a new project was born, St Thomas Pepper Smelter. Recorded in 1969, with practically the same band members as The Shain´s, the band explored darker and psychedelic sounds with covers from Vanilla Fudge, Cream, Hendrix and Music Machine, as well as various amazing songs of their own. This album was to be the transition towards their new projects more progressive and 70s style than before and lead to Gerardo Manuel y Humo!

Limited to 500 copies. Monster rare USA private pressing from 1968, rated with 6 stars in the Hans Pokora 3001 Record Collector's Dreams book. The Yays & Nays were a groovy, hip group (says so on the original LP jacket!) comprised of three guys and three girls. Theirs is a truly unique sounding album, full of creative songwriting and vocal arrangements and a style that defies categorization. There's garage folk-rock-the opening track 'Gotta Keep Traveling' is really astounding!, tracks with vocals in a kind of 'Kicking Against the Pricks"-era Nick Cave-channelling-Tony-Joe-White-meets-Johnny Cash vein, a little country flair, and some cuts of an ''Incredible Strange Music'' type. Weird and wonderful, in it's own peculiar way. Reissued for the first time, in collaboration with band members, and with original artwork.

The Story of Simon Simopath is the debut album by British psychedelic band Nirvana, released by Island Records in 1967. Described by Melody Maker's Chris Welch as a "science fiction pantomime album", the songs are linked with a story on the back cover which details the dream of Simon Simopath to fly. "Pentecost Hotel" was released as a single with the non-album b-side, "Feelin' Shattered". "Wings of Love" was the next single, also with a non-album b-side, "Requiem to John Coltrane. In a retrospective review on AllMusic, Stewart Mason feels that the "unashamedly twee early concept album", with its "deliberately childlike tone", despite being "a collection of unconnected songs forced together" in a "rather silly story", is a "uniformly solid set of well-constructed psych-pop tunes". The Story of Simon Simopath was selected for The Mojo Collection as one of the most significant albums in musical history.

Welcomed re-issue of this sough after Japanese masterpiece, just released during the 1968 turmoil. The Mops are one of Japan’s best known “group sounds” bands, particularly noted for their psychedelic period. The group was founded in 1966 by high school friends Mikiharu Suzuki (drums), Taro Miyuki (guitar), Masaru Hoshi (lead guitar) and Kaoru Murakami (bass), playing mostly instrumental rock. Their debut album is still considered a cornerstone of the so-called proto-garage revolution. Their flower-power is revealed through a cosmic artwork, ethnic clothing, fuzz guitars and sitar playing. The album includes covers of the Airplane’s hits “Someone To Love” and “White Rabbit”, the Doors' “Light My Fire”, the Animals' “San Franciscan Nights” and “Inside Looking Out”, as well as the Mops theme song “I Am Just A Mops”

Hailing from Florida, After All was formed by well-experienced musicians with an R&B, jazz and blues background who hooked up with poetry writer Linda Hargrove to record an ambitious album influenced by acid-rock and psychedelic, early progressive sounds. Originally released in 1969 on the Athena label, the album is now considered an obscure classic. Top level psych/prog dominated by Hammond organ / guitar plus explosive drumming. Here’s a welcome new reissue in original artwork plus remastered sound, insert with liner notes.

180 gram vinyl!

Cykle produced one album's worth of solid garage rock, and it certainly proves that the band was an enthusiastic bunch of musicians. Much closer to late 60’s garage (proto) punk than psychedelia, the album was released in 1969.

They were best known for their 1966 song "Red Rubber Ball" (written by Paul Simon) which went to #2 on the Billboard Hot 100 chart. The band was discovered and managed by Brian Epstein and given the unique spelling of their name by John Lennon. The group was formed by guitarists and lead singers Don Dannemann and Tom Dawes (bass guitar), who met while studying at Lafayette College in Easton, Pennsylvania. The other members were Earl Pickens on keyboards and Marty Fried on drums.

The third long-player from San Francisco psychedelic icons Quicksilver Messenger Service (qms) is a direct contrast from their previous discs. Shady Grove (1969) is comprised mostly of shorter and self-contained pieces as opposed to the long and extended jams that were so prevalent on their self-titled debut (1967) and Happy Trails (1969). Ironically, the one stretched-out instrumental is courtesy of their latest acquisition -- Brit recording session guru Nicky Hopkins (keyboards). Another possible reason for the shift in style as well as personnel is the conspicuous absence of Gary Duncan (guitar) -- who is rumored to have been a "guest" of Bay Area law enforcement at the time. The band incorporate a number of different styles on the album. Kicking off the disc is an up-tempo rocking version of the traditional Appalachian folk song "Shady Grove." The QMS reading is highlighted by John Cipollina's trademark fluid fretwork and a familiar "Bo Diddley" backbeat -- reminiscent of both "Who Do You Love" and "Mona" from the live ensemble LP Happy Trails. (all music)

Quicksilver Messenger Service's debut effort was a little more restrained and folky than some listeners had expected, given their reputation for stretching out in concert. While some prefer the mostly live Happy Trails, this self-titled collection is inarguably their strongest set of studio material, with the accent on melodic folk-rock. Highlights include their cover of folksinger Hamilton Camp's "Pride of Man," probably their best studio track; "Light Your Windows," probably the group's best original composition; and founding member Dino Valenti's "Dino's Song" (Valenti himself was in jail when the album was recorded). "Gold and Silver" is their best instrumental jam, and the 12-minute "The Fool" reflects some of the best and worst traits of the psychedelic era. (all music)

Orphan Egg were a short lived group who were formed in 1967 in San Jose California. Their sole self-titled album was released in 1968 on the small independent company Carole Records. Essentially a garage-psych album – in the tradition of future iconic compilation like Nuggets or Pebbles – Orphan Egg was recorded by a bunch of students at Saratoga High School in Saratoga. Occasionally they won the Vox Battle of the Bands, a nationwide competition. They also appeared on the soundtrack of the classic bike-movie ‘Cycle Savages’ with 3 tracks.

All in all the debut album by cultish japanese freak-rockers Flower Travellin’ Band, then called Yuya Uchida & The Flowers. Released in 1969 it features mainly cover songs of influential Western bands such as Cream, Big Brother and the Holding Company, The Jimi Hendrix Experience, Jefferson Airplane. It was named number 34 on Bounce's 2009 list of 54 Standard Japanese Rock Albums.

After collaborating with Gabor Szabo on such influential ‘rare groove’ albums as ‘More Sorcery’ and ‘Dreams’, bassist Louis Kabok and drummer Hal Gordon further embraced jazz-rock fusion under The Advancement monicker. Their self title album from 1969 opens with the moody expressiveness of "Juliet" moving on "Moorish Mode" on more interesting drums break. Their heady melting pot of jazz, hard rock and psychedelia is anyhow well described on closing number "Fall Out"

The 2nd chapter, yet a revelation. Released on Philips in 1968, right after their ’67 self titled album this iconic psych-folk masterpiece still detain a refreshing and revelatory approach. The Chicago band, named after American supernatural fiction writer, is on the verge of some weird songwriting experience, as suggested by some explicit titles as Mobius Trip or At The Mountains Of Madness. Celestial electro-acoustic harmonies and spacey keyboards gave way to mystical show, still entertaining nowadays.

The Vietnam war, the excruciating motto ‘turn on, tune in, drop out’, all of a sudden we were in a new era, just across the lysergic exploitation and the political turmoil. The self-titled album by American trio Goldenrod was released on a small run in 1969 on the enigmatic Chartmaker. An instrumental album full of extended and improvised jam recorded in their hometown of Los Angeles. It comprises of just four tracks, enough for an essential trip. Titles such as "Karmic Dream Sequence" and "Descent Of The Cyclopeans" offers a new exploratory vision, between the past and the future. Goldenrod was a rare metaphysical drug experience you wouldn’t miss again! All three band members met while playing behind The Fifth Dimension and they had earlier played with Ballroom who were a pre- The Millennium-Sagittarius band. After all the three members became all of a sudden top LA session men. Jerry Scheff went on to play with The Millennium (the Californian super group led by Curt Boettcher, basically consisting of psychedelic rock musicians) while Ben Benay appeared in the blues-rock outfit Funzone in the seventies.

Originally released in October 1967 by Philips Records, H. P. Lovecraft is the debut album by the American psychedelic rock band H. P. Lovecraft. The album blended psychedelic and folk rock influences and was marked by the haunting, eerie ambiance of the band's music, which itself was often inspired by the literary works of horror writer H. P. Lovecraft, after whom the band had named themselves. This is possibly one of the best second-division psychedelic albums, that shows the immediately identifiable Edwards-Michaels vocal tandem at its best. With deft touches of folk, jazz and sultry horn arrangements the album was a cult behind his own generation.

The following year, 1968, "Docena 3" would see the light of day, highlighting the LSD world on the cover, in which they added more accentuated lysergic moments, the use of the Indian zither, plus Jorge Pomar on rhythm, and other technical novelties such as reverse tape effects, including anti-war and love messages. The album brings together some captivating songs of their own, plus surprising covers with surrounding sound arrangements.

Shortly thereafter, the band would break up, but not before leaving us with another album to fulfill their contract, entitled "Instrumental's" (1968). The members would go on to separate careers with Pico's Los Nuevos Shain's, and Gerardo Manuel's The (St. Thomas) Pepper Smelter. They would reunite again in 2007, but it was not until this year 2021 that, thanks to Discos Monterey, these two late sixties Peruvian rock summits are once again available with excellent sound and respecting the original artwork.