Rock & Indie Vinyl 307 Items

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 pressing!

180 gram pressing!

Mapache is proud to present the first ever vinyl reissue of The Chuck & Mary Perrin album: Brother and Sister. Recorded in 1968, this gemm is one of the biggest secrets of US folk. Full of amazing melodies and beautiful songs, this is one of the hardest to find records for collectors of folk, psych and singer/songwriters style records. Includes covers by Donovan or John Sebastian plus stunning originals like "Commencement", "Mornings" or "Babe can you see" .

Only 500 copies were pressed, originals of this rarity have been sold for more than $1.000. It is one of the highest rated albums on record collectors guides.

Remastered from the original tapes, this reissue comes with an additional insert. Includes previously unseen pictures and comes in a gatefold tip on jacket, exact replica of the original record issued on Chuck's own label, Websters Last Word.

Limited edition for Record Store Day 2015!

Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that’s equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic a proper reissue. Audio restoration by Anders Peterson. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps most unlikely—psychedelic groups to ever record an album.

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.

One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie! "In 1965, eight guys from London, Ontario, decided to start a free-improv group — 'free' to the point of building their own instruments, which they decided couldn't be set up to produce specific pitches... Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn't treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the '90s, noise artists finally recognized NSB as their ancestors — and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over." —Spin

In the spring of 1969, 49th Parallel had a hit in with ‘Twilight Woman’, a lovely song that sounds like a poppier version of what bands like Tomorrow were doing in England. That success led to the release of 49th Parallel’s only album. All hyperbole aside, it is easily one of the top Canadian rock albums of the psychedelic era. The album is strong throughout—from the pulsating psychedelia of ‘Lazerander Filchy’ and the ultra-strange ‘(The) Magician’, the shimmering beauty of 'Twilight Woman', to the quintessential slashing guitars punk edginess of ‘Now That I'm a Man’ and ‘(Come On Little Child &) Talk To Me’. Dan Lowe's blazing fuzz guitar work stands out on ‘Missouri’ and also when matched by organist Jack Velker's brilliant work on ‘Eye To Eye’, ‘Talk To Me’ and ‘(The) People’.

Freshly remastered for 2012!

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.

180 gram vinyl!

180 Gram Vinyl

180 Gram Vinyl

Colored Vinyl

limited edition analogue 180 gram vinyl reisue ... sampled by Run DMC, Public Enemy, ODB, ...

180 gram vinyl

Obscure psychedelic gospel act Methuselah had its roots in Scunthorpe ‘Beat’ group the Dimples, which became Gospel Garden, whose only 45 infused Northern Soul with psycheleanings. Regrouping as Methuselah, the group signed to Elektra for this sole religious rock concept LP, their sound deceptively American, with vocal harmonies evidencing bluegrass influences; guitarist Les Nicol is never short of excellent. Certain members would later form Amazing Blondel, but Matthew, Mark, Luke And John has a unique flavour, and our edition includes two rare bonus tracks. This slice of obscure psyche must be heard to be believed!

Mega rare UK private album (99 copies originally pressed in 1969) by singer/songwriter Jeremy Harmer, featuring David Costa of psych-folk band Trees on guitar.

Melancholic, introspective psych-folk with chamber/ baroque feel. Guitar, flute, viola, bass, drums…

Jeremy Harmer started singing and playing at school and university, where his circle of friends included aspiring folk musicians like Nick Drake and pre-Trees David Costa. Jeremy has a long history as a singer/songwriter and performer, along with his work in the field of English language teaching.

“Idiosyncratics and Swallows’ Wings” was recorded one night in 1968 at the studios of Anglia Television, Norwich, while Jeremy was at the University of East Anglia. Along with Jeremy singing and playing guitar, the album features a mini-chamber ensemble of flute, viola, bass and drums with orchestral arrangements written by John Trevitt from the School of Fine Arts. Jeremy’s friend David Costa (prior to forming the psych-folk band Trees) played guitar on several tracks and co-wrote “Tuesday P.M.”

Only 99 copies were pressed at the time and all were sold to people at the University, making it impossible to find now.

*Original artwork in hard cardboard sleeve *First ever vinyl reissue *Insert with liner notes and photos *Download card

Riyl: Nick Drake, John Cale, Bert Jansch, Incredible String Band, Will Malone…

"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.

Touted as the “new Doors,” Ars Nova’s second release shows the band genre-bending jazz and heavy psychedelia in a style that’s their own. Shifting from a largely classical centric sound, this was the group’s last album before going their separate ways. Pressed on pink vinyl!

Sunshine & Shadows takes the baroque-meets-psych sound of the debut and turns a bit more to the psych side. The stately brass interludes are gone, but horns still figure prominently in the mix. There’s some jazzy New Orleans flavor to a couple of the tunes, albeit twisted into a 7/4 vamp on “You Had Better Listen.”

The instrumentalists in the band, featuring trumpet and trombone, really give the music a unique flavor, setting them apart from the multitudes of other American psych bands. Ars Nova might be likened to Ultimate Spinach (but without the overly serious, pretentious lyrics) or later Zombies (though with less emphasis on the keyboards).

It’s all very well written and nicely played, and when they do a tender ballad like “Temporary Serenade,” the acoustic guitar is very lute-like, much more along the lines of classical than folk (like the later work of Jan Akkerman with Focus), and the trumpet descant adds a lovely spice.

“Well, Well, Well” is the heaviest rock tune in their repertoire, with a great electric guitar riff and hot organ playing, again set apart by trombone and trumpet. This one is definitely worth seeking out for baroque pop fans.

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

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”.

A Twangy Touch On 1960s Hits!

As one of America’s most influential guitarists, Duane Eddy’s famed twangy, reverb-drenched guitar shines on a wide variety of pop-rock hits, standards, and more!

Backed by two drummers, four more guitars, organ, piano, bass, saxes, and that's just the beginning, Duane goes unafraid at the kind of tunes that normally are "one person songs" Like "Ballad of the Green Berets" which becomes a twang-bang march under Duane's banner. Like "Monday, Monday" which was "The Mamas and Papas" and now has the wild newness of Duane Eddy.

After rising to fame in the late ‘50s with “Rebel Rouser,” Eddy’s influence on radio inspired musicians like George Harrison and Bruce Springsteen. Rockabilly and country music were both major factors in Eddy’s trademark sound; heavy, catchy guitar riffs over a ska-type beat. His hits included “Peter Gunn,” “Because They’re Young,” and “Twistin’ ‘n’ Twangin’.”

As music morphed into melodic sunshine pop, Eddy adapted his sound to fit chart hits of the ‘60s in his own twangy style.

Legend On Legend!

Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.

Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere. Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.

Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.

What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage.