Classic Rock Vinyl 139 Items

180 Gram MONO 45RPM Audiophile Vinyl, limited/numbered

... one of the greatest albums of all time! ... 180 gram vinyl with bonus track 'chelsea girls'

Ultra loud heavy psychedelic rock from Colorado, late 60s, with loads of fuzz guitar all over.

Dragonfly were actually a band called The Legend, who changed their name just when they were recording their self-titled album. Originally released by the Megaphone label in 1968, Dragonfly is a hard-psych classic, highly sought-after by collectors since day one. Back in 2012 we did the first official vinyl reissue and we now present a new, improved repress with expanded liner notes and newly sourced / remastered audio, sounding better than ever.

*Official reissue with original artwork in gatefold sleeve *Newly audiophile restoration / remastering *Insert with liner notes and rare photos *Repro of the elusive original sticker

“This album is sure to share space at the top of your shelf with Plastic Cloud, Savage Resurrection and SRC for those special moments when you want to teach a young, unsuspecting psych convert just what that acid rock guitar thing was all about” - Aaron Milenski

Audiophile 180 gram pressing, approved by the Hendrix family!

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..!

'After Bathing at Baxter's is the third album by the San Francisco rock band Jefferson Airplane. The Jefferson Airplane began 1967 with 'Surrealistic Pillow' and closed it with 'After Bathing at Baxter's', and what a difference ten months made. The album was among the purest of rock's psychedelic albums, it was also a lot more daring. The album showed a band in a state of ferment as singer/guitarist Mary Balin largely surrendered much of his creative input in the band he'd founded, and let Paul Kantner and Grace Slick dominate the songwriting and singing on all but one cut ('Young Girl Sunday Blues'). The album peaked at number 17 in The Billboard 200 in 1968. In 1967, the single 'Ballad Of You & Me & Pooneil' was placed 42 in The Billboard Hot 100.

All time classic album, including 'Hey Joe' & 'Purple Haze'!

Another lost gem from the non-jazz Verve catalogue, Color Him In is a daydream experience from loner singer/songwriter Bobby Jameson. Released in 1967 the album is an orchestrated psychedelic trip, no surprise then Jameson had a part in the cult film Mondo Hollywood. Produced by Curt Boettcher the album had several psych-pop numbers with rare female vocals harmonization.

The debut album by the Boston psychedelic power trio, originally released in 1968 on ABC Records. The album consists of a rather awkward mix of Jimi Hendrix inspired heavy guitar rockers, peppered with smoother, jazzy crooners. The standout track on the record is the epic "Just Let Go", with her jazzy nightclub feel, turning soon into a guitar laden Eastern psychedelic jam. An authentic cult finally unleashed!

Officially reissued for the first time on vinyl here's a definitive pop psych masterpiece, originally released in 1968 on Dunhill Records. It's not a legend that John Lennon named the band after an art book by Yoko Ono. The Beatles were closely involved in their early career, signing them to Apple Publishing. Lennon and McCartney produced their single "Lullaby". Here's their debut album with extra tracks taken from their 1967-1968 London Session Apple.

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.

We are deeply pleased to announce the birth of "Discos Quilombo" to share the latest news in reissued 7-inch vinyl records from Latin American beat bands!! Our hard work on music archaeology trying to find the most psychophasical sound in bands from Mexico, Peru and Bolivia has brought us here, to the creation of a specialised music label. We aim at sharing reissued and remastered hidden gems that deserve to be rescued. Los Chijuas will be our godfathers in this first reference. Mexican band from Chihuahua state who released “Están Cambiando Los Colores De La Vida” in 1968. A psychedelic pop pleasure which, together with its English version “Changing The Colors Of Life” on its B-side, will be on sale on February 23rd with just 500 hand numbered copies made with love.

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.

Limited edition of 100 copies!

Analogue Productions präsentiert eine weitere Uhqr - den Jimi-Hendrix-Klassiker "Are You Experienced". In Zusammenarbeit mit Quality Record Pressings ist diese Wiederveröffentlichung ein echtes Sammlerstück - eine Ultra High Quality Record (Uhqr) Veröffentlichung!

Diese Uhqr-Stereo-Wiederveröffentlichung ist auf 20.000 Exemplare limitiert und hat einen mit Goldfolie einzeln nummerierten Umschlag.

Bei seiner Erstveröffentlichung im Jahr 1967 stellte "Are You Experienced" die Musikwelt auf den Kopf, denn Hendrix zeigte allen, was es bedeutet, "erfahren" zu sein. Hendrix synthetisierte verschiedene Elemente der modernsten Rockmusik von 1967 zu einer Musik, die sowohl futuristisch klang als auch in den besten Traditionen von Rock, Blues, Pop und Soul verwurzelt war. Die meiste Aufmerksamkeit erhielt natürlich seine atemberaubende Gitarrenarbeit, mit der er neue klangliche Territorien in Bezug auf Rückkopplung, Verzerrung und schiere Lautstärke erschloss. Das hätte jedoch nicht viel bedeutet ohne sein hervorragendes Material, ob psychedelische Raserei ("Foxey Lady", "Manic Depression", "Purple Haze"), instrumentale Freak-Out-Jams ("Third Stone from the Sun"), Blues ("Hey Joe") oder zarte, poetische Kompositionen ("The Wind Cries Mary"), die die Bandbreite seines Songwriting-Talents demonstrierten. Nicht zu unterschätzen waren die Beiträge von Schlagzeuger Mitch Mitchell und Bassist Noel Redding, die der Musik einen rhythmischen Puls gaben, der Teile des Rock und des improvisierten Jazz verschmolz.

Was Jimi über die Neuauflage seines Debütalbums in den USA durch Reprise Records dachte, die "The Wind Cries Mary", "Purple Haze" und "Hey Joe" in die ursprüngliche 11-Track-Liste aufnahmen, ist nicht ganz bekannt. Aber Jimi äußerte bei späteren Bühnenauftritten seine Enttäuschung darüber, dass "Red House", seine großartige Original-Blueskomposition, aus dem US-Album gestrichen worden war.

Die US-Version des Titels wurde im August 1967 veröffentlicht. Enthalten sind auch die ersten drei britischen Singles der Gruppe: "Purple Haze", "Hey Joe" und "The Wind Cries Mary".

Diese Uhqr wurde von dem legendären Bernie Grundman von den originalen analogen Masterbändern remastert. Jede Uhqr wird im Presswerk von Acoustic Sounds, Quality Record Pressings (qrp), auf handselektiertem Clarity Vinyl® gepresst, wobei auf jedes einzelne Detail geachtet wird. Diese Platten weisen das gleiche flache Profil auf, das die ursprüngliche Uhqr so begehrenswert gemacht hat. Von der Einlaufrille bis zur Auslaufrille weist das Profil keine Neigung auf, so dass die Abtastnadel des Kunden wirklich senkrecht zu den Rillen von der Kante bis zur Mitte spielen kann. Clarity Vinyl ermöglicht die reinstmögliche Pressung und die visuell beeindruckendste Präsentation. Jede Uhqr wird nach Abschluss der Pressung von Hand geprüft, und nur die wirklich makellosen Exemplare werden auf den Markt gebracht. Jede Uhqr wird in einer Deluxe-Box verpackt und enthält ein Booklet, in dem der gesamte Herstellungsprozess einer Uhqr beschrieben wird, sowie ein handsigniertes Prüfzertifikat. Dies wird ein wahrhaft luxuriöses Sammlerprodukt sein.

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.

One of the most eagerly anticipated albums of 1968 by press and public, 'Cheap Thrills' met every expectation and then some. With the heartrending version of 'Piece Of My Heart' and a definitive cover of Gershwin's 'Summertime', the album (which consists of studio and live material) shot to the top of the charts and stayed there. The audio has been sourced from the original masters, and Robert Crumb's artwork (also known for creating Fritz the Cat and the iconic Keep On Truckin' comics) is meticulously recreated on this Music On Vinyl issue. A truly classic album and an important part of Rock history, this album is a time capsule for one of rock's most distinguished singers.

Originally from Chicago, Haymarket Square released in 1968 one of the rarest vinyl artifacts from the US underground psychedelic scene: the “Magic Lantern” album. Originally conceived as the soundtrack to a psychedelic lightshow art installation, the album offers crude, dark, psychedelic rock featuring trippy fuzzed out / wah guitars, male-female vocals and long tracks. Newly remastered sound, insert with liner notes, repro of the ultra-rare Baron & Bailey Lightshow poster.

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.

"Let me hear you say YEAH!!!". We’re proud to bring you the first official reissue of this essential 60s garage classic, after several bootlegs hitting the market in recent times and its appearance in countless compilations in the last 20 years. Done in cooperation with surviving band members Pat Walters and Danny Huntley, the single receives the usual deluxe treatment at Altercat and comes housed in a brand new picture sleeve, with a 12-page booklet with the band’s story written by Mike Stax (Ugly Things magazine) and previously unseen pictures. Sound mastered by Tim Warren (Crypt Records / Back From The Grave). We aim to get these to you Asap so they are available for the Christmas period. Read on below

Hits like "Let You Down" started success for NF in the States for two years and internationally. With over 180 million YouTube views the 26-year-old rapper from Michigan is also the first address for many, because he describes real problems - torn families, various traumas, abuse, addiction, overdose of the mother. His language so eloquent plain text talks like no other representative of his guild.

According to the 50th anniversary, this release comes as the legendary reissue of “peel off” edition including a 12-page booklet with liner notes from John Cale.

Pressed on 180-gram vinyl.

The release comes on 180g Vinyl.

Procol Harum is the eponymous debut studio album by the English rock band Procol Harum. Originally released in 1967 it now celebrates its 50th year anniversary.

In July 1965, when Their First LP was originally released, the Spencer Davis Group - the band that launched Steve Winwood's career - was just one of the many aspiring young groups on the British beat scene. But that would soon change when their single - a version of Jamaican singer Jackie Edwards' 'Keep On Running' - shot to the No. 1 spot on the British charts. Featuring 5 bonus tracks, including Otis Redding's 'She Put The Hurt On Me', Etta James' 'I'll Drown In My Own Tears', 'I'm Getting Better' and 'Goodbye Stevie', all from their 1965 EP, plus 'Stevie's Blues', the B side to their 1966 single 'Somebody Help Me'. Limited edition of 500 copies on 180 gram clear vinyl.

180 gram vinyl!

All time classic album, including 'Crosstwon Traffic', 'Voodoo Chile' & more!

This double-LP comes with a gatefold sleeve featuring the original artwork on the front and back, and new artwork plus interview and biography in the inside. The first LP is a reissue fo the original '67 acid-, folk- and blues-rock album, with distorted guitars, swirling organ and dirty vocals. The second platter offers previously uinissued recordings, with a raw sound and including an alternate take of 'House Of Glass'. A relevant release for fans of US '60s psychedelia.

180 Gram Vinyl

"Their music reaches from blues to jazz into space", proclaimed the original liner notes to this highly collectible record, just released in 1968. Hailing from Boston, the Far Cry were a talented seven-piece blending psych rock and r&b, in the vein of Blood, Sweat & Tears and Rare Earth, with a further look into the realms of Beefheart Magic Band and John Cipollina Quicksilver Messenger Service. Their sole album still maintain a distinctive sound, melting acid guitar, sax and even vibraphone, organ and conga.

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.

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.

Originally released on Ray Charles' Tangerine label, and for too long considered a collector’s item, "Falling in Love is Wonderful" can be easily considered as one of Jimmy Scott's essential albums. Perfectly backed by Marty Paich and Gerald Wilson sophisticated arrangements Jimmy Scott lays some of the best vocal performances in his entire career. Classic standards such as "There Is No Greater Love" and "How Deep Is The Ocean" reach new heights and flourish through his unique voice.

Reissue of the band sole album, originally released in 1968 on Capitol Records. The record is a mixture of light psychedelic pop and folk. The band broke up shortly after failing to achieve commercial success or critical acclaim. The following year Artie Kornfeld, the record engineer of the album, went on to be the music producer of the Woodstock festival in 1969. Debbie Harry went on to join The Stillettos in 1974 and other bands until subsequently achieving success in 1976 fronting the new wave band Blondie.

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.

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)

Moby Grape were formed by Alexander "Skip" Spence (who switched from drums to rhythm guitar) after his divorce from Jefferson Airplane. Launched with a pompous hype on the wave of the hippie phenomenon, Moby Grape debuted in June 1967 with an album of eight songs. The album tried to appeal to hippies, with eclectic and eccentric songs such as Hey Grandma , Fall On You , As In The Morning , Changes. It was an album of songs, in a period in which acid-rock was producing its most daring experiments .

Guerssen and Little Butterfly proudly present the first long playing record from 1965 by the fabulous LOS Shakers, the legendary band formed in Uruguay in the mid 1960s, in the wake of the Beatlemania phenomenon.

Their songs had little to envy to those of their heroes from Liverpool. Tempo, chord progressions and rhythms boiled in a magic, infectious sound!

Get ready to enjoy the songs of Hugo, Osvaldo, Caio and Pelin… Los Shakers!

The Serpent Power were amongst the many bands that emerged during those heady days of 1967 but, unlike many of their contemporaries who went on to build solid careers, their arrival was only to be a brief spell in the sun as this delightful album was to prove their sole release as a full band. There is no doubt that it stands proudly alongside other better known works of that time.

T his bizarre, Alan Lorber-produced psychedelic album appeared originally in 1969 on Boston Sound. Bobby Callendar was an incredibly gifted poet and lyricist whose complex texts could only be compared to Scott Walker; the concepts of a U.K. artist of Indian heritage post-psychedelia were augmented by the lush arrangements of Paul Harris and Bob Gallo. The cast of musicians on this album included some of the highest-caliber sidemen of the time, most notably Richard Davis, the master bassist of Van Morrison's Astral weeks fame (not to mention a jazz musician in his own right), the guitars of Eric Gale and Hugh McCracken, and the astonishingly subtle Burnard Purdie on drums. The album is a rich and complex exploration of Eastern-inspired psychedelic rock and folk centered on the incredibly complex texts and vocals of Bobby Callendar. When reading the lyric sheet, it is most astonishing how such elaborate poetic evocations were somehow made to fit popular song forms. Sure, at these highly conscious times of the late '60s it was not uncommon for deeply poetic, socially conscious, or hallucinogenic themes to appear in the lyrics of pop music, yet this is album is absolutely brilliant for being one of the most ostentatious animations of the written word, yet absolutely vital and musical throughout. Fans of Scott Walker's solo material, Colin Blundstone, and Duncan Browne should give this album a few hours -- if not a week -- of their attention. This excellent Italian reissue from Akarma is packaged and remastered exquisitely. (All Music)

"Some people think this record is unlistenable, while others consider this one of the key documents of the American music underground" - Byron Coley -55th Anniversary edition, one time pressing of 1500 foil numbered 2xLP copies -2 disc collection including original album remastered and Live in 1965 -Half-speed mastered vinyl cut by Miles Showell at Abbey Road Studios -Live in 1965 (Disc 2) remastered by Ryan Schwabe and available on vinyl for the first time -Comprehensive liner notes by Jesse Jarnow (Heads: A Biography of Psychedelic America) and Peter Stampfel The year 1967 proved to be a strong point of the ’60s generation culture and the ever growing New York underground music scene. Steve Weber and Peter Stampfel provided a blithe sendup of musical Americana as they mined this tradition, while introducing outrageous and zany virtuoso turns on acoustic guitar, banjo and violin. Their lyrics and vocals are uniquely their own. Their personalities were profoundly incompatible, like those of Gilbert and Sullivan.

Fully licensed, ltd to 500 copies, 180 gr. 1967, just like it was yesterday, pre Vietnam war scenario, high hopes and a new bright horizon, soon to be fall. Meanwhile, the music and - in this case - the celestial vocal harmonies of the East Coast unit formally known as Free Design Their 1967 debut 'Kites Are Fun' is still a case in point and a major influence on today's alternative pop. Often referred as the East Coast answer to Mamas & the Papas, the band had a more ethereal and eclectic approach. From the gentle orchestral accompaniment of 'Make the Madness Stop' to the folkish bossa of 'When Love Was Young' through the sensational arrangements of 'Proper Ornaments' - a number eventually championed by Madlib in the stunning tribute The Now Sound Redesigned (released on Light In The Attic in 2005) - you'll find more than a singular approach. Produced by none other than Enoch Light the album is still an astonishing piece of heavenly art-pop with such a lysergic counterpoint.

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.

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”

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.

Released in 1967 on Reprise Records as a follow-up to 'Part One', 'Vol. 2' (the band's third LP!) takes the band into more ambitious and psychedelic territory than the '66 debut on Fifo Records and the first Reprise full-length, 'Vol. 2' maintains their unique pop sound mixed with ominous fuzz guitar, jumping from graceful folk-rock to wailing guitar freakouts, to multilayered avant-garde compositions at a moment's notice. This legendary LP sees its first ever reissue in mono, with sound taken from the original master tapes.

Released only one year after their psychedelic debut, The Fallen Angels’ sophomore album, It’s A Long Way Down, lays it all out on the line. Unfettered by label interference, The Fallen Angels’ second and final record highlights all the band has to offer. Off-kilter time signatures, experimental soundscapes, and white-hot guitar licks abound across It’s A Long Way Down’s dozen tracks, with lead singer Jack Bryant’s vocals serving as a guiding light through the paisley-patterned tunnel. Album high points like “Poor Old Man” and “Something New You Can Hide In” tease early signs of progressive rock with their weird and winding melodies, and impress with rock-solid instrumentation. An early marvel of psych rock that holds up to this day. Mastered from its original tapes and pressed at RTI on color vinyl, in its original gatefold design.

Pioneers of psychedelic rock, Jackpot Records is thrilled to offer the first-ever vinyl reissue of The Fallen Angels’ debut album! An unsung classic of ’60s psychedelia, The Fallen Angels, originally released in 1967, showcases the frenetic energy and melodic mélange of early garage and psych rock. Hailing from the Washington, D.C. area, The Fallen Angels masterfully blended driving guitar solos, groovy basslines, and playful distortion, with lead vocalist Jack Bryant’s bluesy and charismatic vocals. Standout tracks like “Introspective Looking Glass”, “Room At The Top”, and “No Way Out” are replete with punchy horn sections, raucous drums, and just enough reverb-stricken sitar for that true late-’60s flavor. Pressed on limited edition color vinyl at RTI and mastered by Kevin Gray from the original tapes

Fully remastered and licensed ltd to 500 copies, 180 gr. Fapardokly was an American band from the West Coast. They’re sole self-titled album was effectively a 12 tracks developed by leader Merrell Fankhauser accompanied by a rotation of musicians. Originally released in 1967 on the small imprint UIP, the album is a perfectly fitting lost nugget from the psychedelic era, collecting a series of lysergic pop numbers with solemn orchestration and strong choral vocal efforts. One of the leading tracks – ‘Gone To Pot’ – has an aurea similar to the classic Byrds ‘Eight Miles High’, promoting an extra-sensorial experience all the way.

After consecutive reissues of Peruvian garage and psychedelic rock from the sixties and seventies, Discos Monterey couldn't miss the chance to resurface two of the most emblematic records of the period: "Segundo Volumen" (1967) and "Docena 3" (1968) by Los Shain's, the "conjunto de conjuntos" (the band among bands), as they were called back then. Those fifteen-year-olds started in mid-1964 and would go on to make an impressive musical career that would make history with just four records for the Iempsa label.

They recorded their first LP "El Ritmo De Los Shain's" (1966), halfway between instro rock and garage. Its main architects - Enrique "Pico" Ego Aguirre, on guitar, and Gerardo Manuel Rojas, on lead vocals - introduced psychedelia in their second work called "Volumen 2" (1967). They were accompanied by Beto Tataje on second guitar, Juan Carlos Barreda on bass, and Carlos Manuel Barreda on drums. The album contains, for the most part, their own songs, standing out their luminous melodies and a certain beat they themselves considered to be a product of the "enfermedad" (sickness), immersed as they were in "la onda", the groove of the era. An impressive album that also stood out for its sound and for the pioneering presence of the "fuzz tone" among other effects such as the tape echo or a harmonic distorter that were revolutionary in their day and that today still have an impact due to their enormous power.

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.

The second offering from Traffic, October 1968 would be their self titled Album, achieving a strong balance between Dave Mason’s simple and straightforward folk-rock songs and Steve Winwood’s complex and often haunting rock jams would see the album peak in the UK charts at No’9 and No’16 in the US Billboard Chart. Re-Issued individually from the phenomenal 2019 Traffic – The Studio Albums 1967-74 Boxset. Remastered from the original tapes, pressed on 180g heavy weight vinyl and artwork caringly overseen and interpreted, this album is a must for any newcomer or indeed, seasoned Traffic fan.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!! Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

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.

Wah Wah is proud to release the first ever legit vinyl reissue from master tape of New Zealand's legendary Underdogs' first LP from 1968. Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La De Da's, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player. The Underdogs Blues Band LP was recorded by Murray Grindlay on vocals, Lou Rawnsley on guitars, Neil Edwards on bass and Tony Walton on drums, and shows the group’s appreciation for Mayall's combo - just like The Bluesbreakers' Crusade LP the Underdogs open their album with a cover of Albert King's "Oh, Pretty Woman," one of three "Bluesbreakers" songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what's to come next with some incipient heavier sounds a la Cream.

This is a 500 copies only reissue, housed in its original artwork in a vintage styled backflaps sleeve and insert

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.