Rock & Indie Vinyl 408 Items

ULTIMATE-SOUNDING VERSION OF THE HARMONY-RICH LANDMARK: DELUXE AUDIOPHILE PRESSING LIMITED AND NUMBERED COPIES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe


The enduring charm, contemporary relevance, and harmonic convergence of Crosby, Stills & Nash's fabled self-titled debut owe not only to impeccably played songs and resonant lyrics, but to career-defining performances by music's first genuine supergroup. Crosby, Stills & Nash lingers as an example of the whole being greater than the sum of its parts. Factor in phenomenal studio production and acoustic-based architecture that served as guideposts for myriad albums that followed, and popular music would never be the same.

Limited and numbered, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP collector's edition enhances the incalculably influential work for the ages to come. Surpassing the sonics of any prior version, it peels away any limitations to provide a transparent, ultra-nuanced presentation of a record that birthed the Laurel Canyon movement and established a precedent for close harmony singing that has never been eclipsed. The organic presentation of the textures; expanse and depth of the soundstages; fullness of tones; natural extension of the acoustic guitar strings; realistic rise and decay of individual notes; seamless blending of the vocals – all those important sonic facets (and more) reach demonstration-grade levels.

The packaging features the same attention to detail. Housed in a deluxe box, the Crosby, Stills & Nash UD1S pressing features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording and the reissue's premium quality. Aurally and visually, MoFi's UD1S copy exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

The backstory of how Crosby, Stills & Nash came to be nearly matches the import of its content. Already a renowned multi-instrumental virtuoso, Stephen Stills sought a fresh beginning after Buffalo Springfield splintered. Similarly, vocal powerhouse David Crosby arrived after leaving the Byrds and gaining a reputation for being difficult. Graham Nash drifted over after a frustrating stint in the Hollies. He met his new mates at a party. When the three sang together informally for the first time, their fate was sealed. To further tie their fortunes together, the singers used each of their surnames to identify the group to ensure the collective could not exist or continue on without all three members.

From the opening of the lead track, the multi-part "Suite: Judy Blue Eyes," written for Judy Collins, it's apparent the trio's dynamic cannot be replicated or substituted. Originally released in May 1969 on Atlantic, the eponymous debut cracked the Billboard Top 10 and spent almost two years on the charts. Such longevity can be credited to the distinctive traits each member lends to a record Rolling Stone cites as the 252nd Greatest Album of All Time. Stills trades in folk, country, and rock accents while handing a majority of the instrumental duties (organ, bass, and lead guitar included). Crosby paints with mood and atmosphere, as well as direct political commentary. Nash ties everything together with accessible pop melodies.

More than five decades later, the ensemble's mellifluous singing and homespun arrangements continue to soar. The evidence pervades Crosby, Stills & Nash, whose magnetism reflects in standards such as the breezy "Marrakesh Express," protesting "Long Time Gone," poignant "Helplessly Hoping," and poetic "Wooden Ships." No wonder the trio's chemistry – as well as the distinctive traits of each member's singing, interwoven guitar parts, and contrasting personalities – became a permanent part of an American culture dealing with conflicting themes of peace and war, love and violence, and change and status quo.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

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.

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”.

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.

American psychedelic band from Boston, Massachusetts. Active 1967 to 1969. Their second album was originally released in 1968. Recorded in September 18th, 19th, 26th, 27th and October 26th, 29th 1967 at Bell Sound Studios, New York City

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"

Limited to 1000 copies.

The Rationals are one of the cornerstone bands of Detroit’s ever-storied rock history. Artists such as Bob Seger, Ted Nugent and Brownsville Station were influenced by The Rationals. Coming out of Ann Arbor in 1964, The Rationals gave an authentic R&B twist to the new rock ‘n roll styles of the British Invasion. They broke through on Jeep Holland’s A2 label in 1965 and found a hit with a cover of Otis Redding’s “Respect” on the Cameo Parkway label in 1966—reaching a spot on the Billboard Hot 100. By 1967 The Rationals were firmly embedded in the Detroit music scene alongside such contemporaries as MC5, The Stooges, Bob Seger System and the Amboy Dukes. They were frequently featured on bills at the legendary Grande Ballroom, and acted as supporting act for Cream, Jimi He ndrix, and Pi nk Floyd around the Detroit area. Their sole studio LP was self-titled and released by Crewe Records in 1970. Their matured sound included touches of soul, hard rock, psychedelia, and the blues which spawned originals like “Guitar Army,” and showcased their soulful talents on covers such as “Temptation ‘Bout To Get Me”.

This Record Store Day 2022 reissue of the 1970 LP has been newly remastered and pressed on orange and yellow splatter vinyl at Third Man Pressing in Detroit.

Barefootin' Temptation 'Bout To Get Me Guitar Army Something's Gotta Hold On Me Deep Red Sunset Glowin' Handbags and Gladrags Ha Ha Zip-A-Dee Doo-Dah (Bonus Track)

US heavy psych masterpiece from 1969. Powerful sound and recording with thunderous drums, piercing fuzz guitars and the incredible vocals of Steve Morgen. Formed as Morgen’s Dreame Spectrum in 1967 in NY, Morgen were one the first bands signed to ABC’s offshoot Probe Records (home also of Soft Machine in the US). Fuelled by the chemistry between ace guitar player Murray Shiffrin and creative songwriter/singer Steve Morgen, they recorded their self-titled album in 1968 but, much to the band’s dismay and frustration, it wasn’t released until December 1969. Morgen included seven impressive tracks, all of them written by Steve Morgen. You can hear subtle influences of Hendrix, Stones, Who, Doors or Donovan but Morgen’s sound is clearly a beast of its own kind. The mysterious gatefold cover featured Edvard Munch’s iconic 1893 composition The Scream on the front. Welcome to the Void! *Original gatefold artwork. *Repro of the elusive poster insert. *New color insert with cool photos and detailed liner notes by Mike Stax (Ugly Things) *Audiophile restoration / remastering by Ezra Lesser.

Markley, A Group is the sixth and final album by the American psychedelic rock group, the West Coast Pop Art Experimental Band, and was released in 1970 on Forward Records, owned by Mike Curb. The album was released under another group name, Markley A Group, as decided by the group owner, Bob Markley. It features compositions by Danny Harris, Michael Lloyd and Shaun Harris with lyrics by Bob himself. The content is simple and soft, reminiscent of the band's earlier work. A gently pop-psych stroke of genius.

“Flashes”, the sole album by Boston based band ILL Wind, was produced by Tom Wilson (Simon & Garfunkel, Mothers Of Invention, Velvet Underground…) and originally released on ABC Records. Terrific West Coast styled sound with male/female vocals, strong guitar interplay and inventive songwriting, featuring titles like “Dark World”, “People Of The Night”, “Hung Up Chick”… and wait till you hear their cover of “High Flying Bird”! *Hard cardboard sleeve + OBI *Includes insert with liner notes and photos

* Includes digital download card

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.

Limited edition of 100 copies!

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.

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.

Limited to 1350 copies.

On the 55th anniversary of the infamous single “Waterloo Sunset,” THE Kinks are releasing the “Waterloo Sunset” EP featuring 6 of the bands biggest cult tracks including the unforgettable summer anthem ‘“Waterloo Sunset.” Also included are the fan favourites, “Act Nice And Gentl,” “Mr. Pleasant,” “Holiday In Waikiki,” “Little Miss Queen Of Darkness” and “This Is Where I Belong.” Released for the first time on 140g 12” Yellow Colored Vinyl. This release has been skillfully remastered by Tony Cousins at Metropolis and the artwork from the original 1967 French EP has been masterfully retouched for this Record Store Day 2022 release.

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.

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.