Rock & Indie Vinyl 281 Items

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.

Ark 2 is the only studio album by the short lived British rock band Flaming Youth. It was released in October 1969 by Fontana Records, and was written and produced by the songwriting team of Ken Howard and Alan Blaikley. Its concept, inspired by the media attention to the 1969 Moon landing, tells the story of man's evacuation from a burning Earth and its journey into space. Each member of the band sings a lead vocal. It was drummer Phil Collins' first major label recording.

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.

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog. In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

RidingEasy Records has teamed up with Permanent Records in Los Angeles to bring this very special heavy psych rocker back into the fold for RSD 2023. New York City based African-American & Latino hard rock/psych trio Maximillian released their sole self-titled album on ABC Records in 1969, then promptly vanished. It has remained a collectors’ conversation piece ever since. Maximillian combined elements of beat poetry, a little bit of The Fugs, a hit of Funkadelic, a lick of Cream and a vibe of Hendrix worship with an ambition that seems to have jumbled these influences. The Maximillian album is a rare artifact of late-60s psychedelic rock whose appeal is not the skill of their musicianship, but the downright strangeness of it. While at times it sounds like the trio is playing entirely different songs at the same time, it’s said that producer Teddy Vann had a hand in the album’s sometimes confusing production. Gatefold

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.

The Stormy Six debut album is, in some ways, the mirror of an era with simple atmospheres and an almost like ‘messa beat’ feel. The harmonies are kinda elementary and the general setting is strongly influenced by the Beat origins of the group. The "Stormy Six" formed as a sextet in Milan in 1965, right along that student environment that had already given birth to Maurizio Arcieri's "New Dada". The album is an eccentric mixture of Beat, Psychedelia and proto-prog in the vein of Moody Blues "In the search of the lost chord" or even early Genesis. The songs are almost written by the Rocchi-Fabbri duo even if, in retrospect, it was assumed that three of them belonged to Rocchi alone: ‘Ramo’, with a mystical indian flavor, ‘I Tuoi Occhi Sono Tristi’ – much in the vein of Brian Auger- and the poignant ‘Sotto I Portici Di Marmo’.

Crazed time signatures abound as musicians from the West look East for inspiration, infusing their rock and jazz sounds with vibes looted from India and the Far East. A true marriage of Western and (Middle) Eastern music with a fuzzed-out psychedelic edge. Released originally in 1969, Middle Eastern Rock is a unique, compelling fusion record from Armenian-American oud player John Berberian. The Rock East Ensemble, Beberian's backing band, consists of the artist's standard group, which specializes in traditional Armenian music with a jazz edge, and American session musicians who bring more of a rock sound. The results, which blend elements of psychedelia, free jazz, surf music, and various klezmer, African, and Middle Eastern textures, are dazzling, and are sure to thrill anyone with a taste for rare "outside" albums. ' AllMusic Review by Anthony Tognazzini

Limited to 2000 copies.

Essential ‘60s British beat, R&B, Mod album from 1966 by this band fronted by Art Wood (elder brother of Birds/Rolling Stones/Faces guitarist Ronnie) and featuring a young, pre-Deep Purple Jon Lord on organ, plus Keef Hartley (John Mayall’s Bluesbreakers) on drums, Derek Griffiths on guitar and Malcolm Pool on bass. Now reissued for the first time ever in Mono, just like the 1966 original.

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

180 gram gatefold LP. Originally released in 1966 on the Takoma label, Contemporary Guitar is a beautiful compilation of solo acoustic guitar instrumentals from folk and blues legends such as Bukka White, John Fahey, and Robbie Basho as well as lesser known-s like Max Ochs and Harry Taussig.

An essential compilation of American guitar soli.

The second and last chapter of Dr Miller's journey between cultures and its uses, which began with "The Far East", dissected and looked into the root of the sound of distant Asia, continues with this new chapter dedicated instead to the countries bathed by the Mediterranean and contiguous to Central European history. From Spain to Arabic sounds, a new compendium that takes us back to other places and times, Dr Miller is once again able to dissect and encapsulate sounds and spices from distant places and spaces in a time machine. Thanks to these historical documents, we have the opportunity to discover feelings that are impossible to find 50 years later, sucked up and watered down by globalization and social capitalism.)

180 gram high quality pressing vinyl!

- Limi...

LOS Cirros are one of the most obscure Spanish rock bands from the late 60s. Coming out of a tiny village in one of the smallest provinces of the country sure helped them being fully ignored, but how cool those guys proved to be when discovered in compilations such as “Viñedos” or “Pentecostés Vibrations”!!! They released two seven inches (1969 and 1970), both very very rare and featuring pretty cool songs in a blend of garage, light psychedelia and pop. Now, these two 45s are reissued (marketed together, not to be sold separately!), including an unreleased bonus track and with the usual attention to detail of the Madmua label, with the addition of an insert and two postcards. Limited to 500 copies.

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

This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the New Wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the 70's they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).

Breezy Sunshine-Pop / Soft-Rock / Psych-Pop from California, 1970, featuring Peter Clark a.k.a Chet DeMilo.

Crystal clear recording, awesome vocal harmonies, superb musicianship, bossa & blue-eyed-soul-jazz touches,folk-rock moves…

In 1969 Chet Demilo was appearing at Donkin's Inn, Marina Del Rey, where he met Arnie Marcus and Ray Hames, who together were to become part of an incredible slice of history. Donkin's became the hottest and most famous destination in Southern California for the next seven years, and Chet was the magnet that started the new singles scene in Los Angeles with Marina Del Rey as ground zero.

Arnie sat in on bongos with Chet from time to time, and Ray, who was managing an apartment complex that housed 200 flight attendants, just happened to have a unit available!! Chet moved in, and he and Ray started working on songs together. Chet suggested forming a vocal group with Arnie and SST was born. For three months they practiced the intricate vocal harmonies and in early 1970 cut the album, "Soft Soul Transition". A thousand records were pressed, and an album release party was held at Donkins where SST gave their one and only performance that night!

There was interest in the project at Burt Bacharach's Blue Seas Music, but it was not to be and SST faded away...until more than 20 years later when the SST album was discovered by a new generation of DJs and collectors looking for cool and groovy sounds from the 60s-70s.

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.

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.

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.

Big Hits (High Tide And Green Grass)[LP] [US Version] by The Rolling Stones - Released in 1966, Big Hits (High Tide and Green Grass) was the first hits compilation album from the Rolling Stones. The US Edition contains 12 of their hits, including the #1 singles "(I Can't Get No) Satisfaction" and "Get Off Of My Cloud." 180-gram vinyl LP in a gatefold jacket with tip-in.

Originally released in 1966, Big Hits (High Tide And Green Grass) was the first hits compilation from the Rolling Stones. The UK Edition contains four #1 singles, including "(I Can't Get No) Satisfaction," and "Get Off Of My Cloud." The original "fisheye" artwork has been restored for this version and is pressed on 180-gram vinyl in a gatefold jacket.

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.

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.

"Fictions" (1967) by Los Vidrios Quebrados is released now on vinyl, from the original IRT masters! Los Vidrios Quebrados were pioneers in Chile in adopting psychedelia as a musical aesthetic, due to the influences gathered mainly from British groups. Although they bequeathed only one LP, this one is a permanent reference of research and applause, for having been worked with their own material (without covers, as was the norm of local rock at the time) and combining their electric flight with opinions of social observation. "Fictions" (1967) is one of the most important rock albums made in Chile. The 1966 single "Friend" and "She'll Never Know I'm Blue" gave way the following year to the recording of "Fictions", their only LP, under the RCA Victor and Ues Producciones label. Without merely copying their influences, the songs on the album feature smooth and fine instrumental arrangements by Héctor Sepúlveda (guitar and vocals), who also acted as the album's musical director. Those who were lucky enough to hear them live say that they were much more rock than what we can appreciate on the album. And the music on the "Fictions" album was even more sophisticated than what was being done at the time, there was a musicality that was quite anticipatory, even foreign. If you listen to the harmonies in "Introduction to Life..." or "Concerto in A Minor", they are quite complex compared to what was heard at the time. That's why they also had a place in radio stations more accustomed to playing classical music, like Radio Andrés Bello. There was a certain intellectual taste, something like an "intellectual arrogance", like the quotations to Oscar Wilde in the lyrics of the songs, for example. For the recording of "Fictions", Los Vidrios Quebrados had very little time, as was customary in those days. And despite the technical limitations of the recording studios (two tracks -vocals on one side and all the instruments on the other-, bottle cap tambourines and homemade instruments), when listening to the album, the result is surprising and, considering that in Chile the music of the Beatles and the Rolling Stones was already known, the reception of "Fiction" was quite good. After the success of "Fictions" and with a promising future, Los Vidrios Quebrados decided to go to Europe in 1969, but the idea was rejected by the parents of two of the members, who only saw music as a hobby. Different life choices and musical tastes led months later to the end of the band.

Del Shannon did not fit the typical teen-idol mould other pop singers of the early Sixties were shoehorned into. Although he certainly had the required good looks, his songs had a brooding intensity to them, with recurring themes of loss and rejection that didn't sit well with the typical pop-star image of the time. In many respects he was similar to the UK's John Leyton and did a lot to pave the way for the British Invasion and the huge expansion to the boundaries of what could be considered pop music.

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

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.”

Freshly remastered for 2012!

"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.