Rock & Indie 332 Items

The Rolling Stones returned to their blues roots on 1968's Beggars Banquet, which was immediately acclaimed as one of their landmark achievements. A strong, acoustic Delta Blues flavor colors much of the album, particularly "Prodigal Son" and Jagger/Richards' "No Expectations." Basic rock 'n' roll is not forgotten with "Street Fighting Man" and "Sympathy for the Devil." The lyrical bite of the material ensured it's place as one of the best blues-based rock albums of all time. 180-gram vinyl.

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)

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.

Led by explosive guitar player Chris (later Christa) Bond, Thunder and Roses was a power-trio from Philly in the best tradition of Cream or the Jimi Hendrix Experience. This is their sole album, originally released in 1969. A cult psychedelic hard-rock classic, including “White Lace and Strange”, famously covered by Nirvana. Thunder and Roses (named after a story from The Astounding Science Fiction Anthology) started to take form when genius 18-years old guitar player Chris Bond and bassist Tom Schaffer met heavy drummer George Emme (previously of The Electric Power House). Rehearsing six days a week the trio gelled quick and soon they were playing memorable shows at venues like Electric Factory and the Trauma. Recorded at Sigma Sound by Joe Tarcia, “King of the Black Sunrise” was released by United Artists in 1969. Dominated by Bond’s outstanding fuzz-wah guitar playing, the album featured seven original songs plus a storming cover of Hendrix’s “Red House”. Sadly, the record label took a wrong decision when refused to release the killer “White Lace and Strange” as a 45 to promote the album, choosing the mockery “Country Life” instead. After Thunder & Roses split, guitar player and main songwriter Chris Bond had a successful career as producer, songwriter, arranger and session musician, working closely with Daryl Hall & John Oates as well as other top artists. Later in his life, Chris eventually transitioned from male to female and changed her name to Christa. She sadly passed away in 2019.

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

Mighty Baby evolved out of the Action, club favourites who released a number of poor-selling singles. Dropped by Parlophone, musical chairs saw Ian Whiteman (keyboards/flute) and Martin Stone (guitar) join and the music now blended progressive psychedelia with longer pieces dominated by instrumental prowess rather than Reggie King’s soulful vocals. King departed and guitarist Alan King and Whiteman began to share vocal duties on newly penned material like ‘Egyptian Tomb’ and ‘House Without Windows’ that, in retrospect, can be seen as reflecting light from the dark star of the Grateful Dead.

“Mighty Baby” was first released on the Head label on 7th November 1969 in a superb gatefold sleeve with artist Martin Sharp serving up the arresting front cover that looked like a lion being showered in blood. The album received positive reviews, with International Times stating “The music has a hundred characters… Eastern, Oriental, country, folk, rock, blues, pop etc. etc… At this moment in time Mighty Baby’s record is simply THE best thing in its class.”

The album is now seen as a progressive rock classic; cohesive, with no low spots, the inventiveness and musical prowess on a par with the equally revered, albeit jazzier, prog rock band Cressida. This latest edition from Ace, not only replicates the gatefold sleeve of the original but also contains an inner sleeve replete with memorabilia from the collection of Richard Morton Jack

“Mighty Baby” is a must-have purchase not only for fans of the band but those who want to discover this classic progressive rock album for the first time.

* Newly Remastered!* Ultra rare 1969 private press psych-folk-rock masterpiece – featuring the legendary Wrecking Crew (Beach Boys, Phil Spector) * Lacquers cut by John Golden Mastering * Plated at Record Technology Inc. (rti) * Includes deep booklet with liner notes by Andria Lisle, rare photos, archival materials and full lyrics (LP: 16-pgs, CD: 48-pgs) In March 1975, Jim Sullivan mysteriously disappeared outside Santa Rosa, New Mexico. His VW bug was found abandoned, his motel room untouched. Some think he got lost in the desert. Some think he fell foul of a local family with alleged mafia ties. Some think he was abducted by aliens.

By coincidence – or perhaps not – Jim’s 1969 debut album was titled U.F.O. Released in tiny numbers on a private label, it too was truly lost, until Seattle’s Light In The Attic Records begun a years-long quest to give it the full release it deserves – and to solve the mystery of Sullivan’s disappearance. Only one of those things happened.

For record collectors, some albums are considered impossible to get hold of, records so rare you could sit on eBay for years and not get a sniff of a copy. U.F.O. is one of those albums. A seventh son, Jim Sullivan was a West Coast should-have-been, an Irish-American former high school quarterback whose gift for storytelling earned him cult status in the Malibu bar where he performed nightly. Sullivan was always on the edge of fame; hanging out with movie stars like Harry Dean Stanton, performing on the Jose Feliciano show, even stealing a cameo in the ultimate hippie movie, Easy Rider.

Friend and actor Al Dobbs thought he could change all that, and founded a label – Monnie Records – to release Jim’s album, enlisting the assistance of Phil Spector’s legendary sessioneers The Wrecking Crew to do so. That’s Don Randi, Earl Palmer and Jimmy Bond you can hear, the latter also acting as producer and arranger.

U.F.O. was a different beast to the one-man-and-his-guitar stuff Jim had been doing on stage; instead, it was a fully realised album of scope and imagination, a folk-rock record with its head in the stratosphere. Sullivan’s voice is deep and expressive like Fred Neil with a weathered and worldly Americana sound like Joe South, pop songs that aren’t happy – but filled with despair. The album is punctuated with a string section (that recalls David Axelrod), other times a Wurlitzer piano provides the driving groove (as if Memphis great Jim Dickinson was running the show). U.F.O. is a slice of American pop music filtered from the murky depths of Los Angeles, by way of the deep south.

With no music industry contacts, the record went largely unnoticed, and Jim simply moved on, releasing a further album on the Playboy label in 1972. But by 1975, his marriage breaking up, Jim left, for Nashville and the promise of a new life as a sessioneer in the home of C&W. That’s where it gets hazy.

We know he was stopped by cops for swerving on the highway in Santa Rosa, some 15 hours after setting off. We know he was taken to a local police station, found to be sober, and told to go to the local La Mesa Motel to get some rest, which he did. Some time later, his car was spotted on a ranch belonging to the local Genetti family, who confronted him about his business there. The next day his car was found 26 miles down the road, abandoned. His car and his hotel room contained, among other things, his twelve-string guitar, his wallet, his clothes and several copies of his second album, but no note, and no Jim. It was as if he had simply vanished into thin air.

Jim’s family travelled out to join search parties looking for him, the local papers printed missing person stories, but the search proved fruitless. Around the same time, the local sheriff retired and the Genettis moved to Hawaii. Jim’s manager Robert “Buster” Ginter later stated that during the early morning hours of a long evening Jim and Buster were talking about what would you do if they had to disappear. Jim said he’d walk into the desert and never come back.

Tracking down the truth behind Jim’s mystery became an obsession of Light In The Attic’s Matt Sullivan (no relation) when he happened upon a copy of the album and fell in love. He took on a cross country pilgrimage in search of master tapes and truth, and came back with neither, despite hundreds of phone calls, e-mails, letters, faxes, private detectives, telepathy, palm readings and meetings with Jim’s wife, son and producer. Thanks to superb digital mastering techniques, Light In The Attic is still able to present a clean, near perfect copy of Jim’s masterpiece for general consumption for the first time. Enjoy. And remember, beyond the mystery, there’s the music.

180g 45rpm pressing. Newly repressed at 45 RPM by Quality Record Pressings. This recording was originally mastered at the former AcousTech Mastering facility and the sound is fantastic.



John Lee Hooker himself did not know his exact date of birth. If he hadn't died at around the age of 80, this ageless musician would still be easily pulling the next generation to his gigs. Hooker remains a phenomenon, a mysterious figure of black rhythm and blues, a charismatic king who reigns supreme in rock 'n' roll's Hall of Fame. John W. Peters described his music as a synthesis of scorching emotional ardour, unrelenting rhythmic intensity, and original poetry of a highly personal character. Anyone hearing him for the first time may well be startled at the unfiltered passion and power of his music.



And another surprise is in store for those who compare Hooker's late recordings with those made in the Sixties. His unmistakable, raw voice has fully matured, but his incantory style of singing appears markedly finer and more flexible. And then there is the perfect gem of a rhythm group whose sinewy sounds fill the grooves with merciless gravitational force. It's enough to make your spine tingle!

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

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

Debut album by the English rock band The Soft Machine (named after William S. Burroughs' novel), one of the best known exponents, along with Caravan, of the "Canterbury Sound". This masterpiece was released in 1968 and features the trio of Robert Wyatt (drums & vocals), Mike Ratledge (organ & piano), and Kevin Ayers (bass, vocals & piano). This was the only album by the band showcasing Ayers. Additional personnel includes bassist Hugh Hopper (who would later become a permanent member after Ayer's departure), and the NYC vocal group The Cake. The Soft Machine was one of the first albums recorded at the legendary Manhattan studios The Record Plant, which had been inaugurated with Jimi Hendrix's Electric Ladyland that same year. The album was given a 5-star rating on AllMusic by reviewer Richie Unterberger. The group is considered one of the most influential underground bands of their era.

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).

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

Sacred Mushroom -- led by future Pure Prairie League member Larry Goshorn (guitar/vocals) and featuring brother Danny Goshorn (vocals) -- were a short-lived rock/blues quintet based in Cincinnati, OH. Their efforts coalesce on this, the band's self-titled debut (and only) long-player. The album contains a blend of proficient originals as well as a pair of well-chosen cover tunes, such as the blues standard "Mean Old World" and the Kinks' "I'm Not Like Everybody Else." While their name conjures images of late-'60s psychedelic or acid rock, Sacred Mushroom's roots were decidedly more bluesy than trippy.

The Kinks - Kinda Kinks Kinda Kinks is the second album by English rock band the Kinks, otiginally released in 1965. Recorded and released within two weeks after returning from a tour in Asia, Ray Davies and the band were not satisfied with the production. The big single was "Tired of Waiting for You".

One of the key albums when talking about psychedelic hard-rock and early proto-metal, originally released in 1969. Featuring the great John Du Cann (The Attack, Atomic Rooster, Hard Stuff…) on guitar plus Mick Hawksworth (Fuzzy Duck, Alvin Lee) on heavy bass plus the powerful drumming of Ian McLane (Neat Change, Ray Owen’s Moon).

Andromeda was formed during the final days of Du Cann’s previous band The Attack, when he decided to go in a full heavier & proggier musical direction. Recruiting his friend/room mate Mick Hawksworth on bass plus drummer Jack McCulloch (of One In A Million, soon to be replaced by Ian McLane), the power-trio was born. After initial interest from John Peel (Dandelion) and Kit Lambert (Track Records), Du Cann decided to go with a major label, RCA, who offered him the chance to self-produce their first album. Recorded at Advision Studios, the impressive Andromeda debut was released in 1969, housed in a sleeve designed by John with photos by Gered Mankowitz. But despite receiving excellent reviews and the band playing lots of gigs (some of them billed above bands like Black Sabbath), RCA didn’t know what to do with such a heavy rock band. Tired of the lack of promotion and support, John accepted an offer to join Atomic Rooster… but that’s another story.

Prog-psych / acid-folk lost classic from 1969 by this short lived London trio. Now lovingly reissued on vinyl with fantastic remastered sound and including insert with rare photos / memorabilia and detailed liner notes by Steve Krakow aka Plastic Crimewave. Named after a Cannonball Adderley track, Synanthesia formed thanks to a Melody Maker ad placed in 1968 by guitarist/vibes/vocalist Dennis Homes, answered by Jim Fraser (who played sax, oboe and flute) and Leslie Cook (an Incredible String Band fan on bongos, violin and mandolin). With their particular blend of folk, jazz and psychedelia, the trio played all the key underground venues and clubs, sometimes alongside top acts like Floyd, King Crimson or Fairport Convention. Their sole album was recorded at Sounds Technique studio in Chelsea (which was where Pink Floyd were recording their albums at the time) and subsequently released by RCA. The cover featured the trio climbed onto a tree at the same park where the Beatles filmed their “Strawberry Field” promo film. Despite the good reviews and the support of DJs like John Peel, the album was considered too far out and psychedelic and eventually flopped, only to be re-discovered several decades later by acid-folk fans and collectors.

"First re-issue since it original pressing in 1969, and this time on a very limited edition Sky Blue vinyl The highly sought after record Come To The Party is very much a homage to the end of the 60’s and was produced at the Hollywood Sound Recorders by the songwriter Tandyn Almer (""Along Comes Mary""). Musicians included Dennis on piano, Jack Elliott on guitar, Ronnie Brown bass, Eddie Greene percussion. Tommy Scott sax, and Tandyn Almer on Rocksichord. Sampled by Dj Shadow on Six Day War on the Private Press album bringing new interest to Dennis's musical career. "

After 53 years of oblivion, Walkin Up con Los Walkers, the fundamental work of Argentinian garage-psych is being reissued again in Argentina from the original mono master tape. An iconic LP from “the other” youngster music—the one that was known as “beat music"—it was originally released in 1969 and has never been reissued in its original format until now. The band had previously released two LPs and several 45s which contained an exquisite selection of covers, from The Rolling Stones material to songs by Astor Piazzola, but with Walkin’ Up they entered history as excellent songwriters and conceptual artists. With a great use of studio production, unseen before in Argentina, they laid down a wide range of psychedelic sounds and structures that decades later are be considered as the Buenos Aires version of Los Shakers’ La Conferencia Secreta del Toto’s Bar—both albums under a huge influence from The Beatles’ Sgt. Pepper’s. Limited edition of 300 copies on 180-gram vinyl with the careful restoration and printing of the original artwork. Includes a printed postcard and a lavish 4-page booklet with photos and liner notes by journalist Víctor Tapia.

The sole album by cultish psychedelic pop band from Chapel Hill, North Carolina. They formed in 1964 and split up after their debut, which appeared on prestigious label Decca in 1968. The lines "Is it much too much to ask / Not to hide behind the mask?" from "If You Only Had the Time" weree sampled on MF Doom's 2005 song "The Mask". All along with classic blues standard ‘Tobacco Road‘ (covered by anyone from The Animals to Brother Jack McDuff via Jefferson Airplane) and contemporary folk number ‘Morning Dew’ (originally penned by Bonnie Dobson) the record shows a series of original numbers verging on the happiest side of jangle-rock with a ‘nuggets’ feel all in all.

Produced by David Briggs (Neil Young, Alice Cooper) and recoreded at famous Wally Heider Studio 3 in Hollywood, CA during 1969, their self-titled album features ten original compositions, with essential contributions from the four members of the band. Summerhill certainly spotted a late-1960s West Coast vibe, including Hendrix-Rock style ("Bring Me Around"), sunshine pop ("Soft Voice") and even a touch of ‘flower-jazz’ ("What Can I Say").

Rare Bird are perhaps best remembered for having the distinction of being the first act to be released on Tony Stratton Smith’s gloriously eclectic label Charisma records (also the home of Genesis, THE Nice and VAN DER Graaf Generator to name but a few) and for their excellent 1970 hit single ‘Sympathy’. Like fellow future Charisma stable mates Van Der Graaf Generator, Rare Bird was formed around the principle of keyboard dominated progressive rock which eschewed the use of guitars. In December 1969 their eponymous debut album was released to great critical acclaim.

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.

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!

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)

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

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.

Cool Rock&roll, Surf, Beat AND Garage-rock From Philippines IN THE 60s!! Led by teen guitar wizard Ramon “rj” Jacinto, RJ & THE Riots was one of the first rock&roll /beat bands from the Philippines and certainly the first to release original rock n’ roll songs with lyrics in their own country. This is the first ever reissue of their second album, originally released in 1964 and now impossible to find (four stars rating in Hans Pokora’s 1001 Record Collector Dreams book). Including original songs like the monster instrumental “Fuzzed”, the garage sounding “Advertising Man”, “Girl Nice”, the surf rock of “Trip To Manila” and more plus a few rad covers (Beach Boys, Buddy Holly…). The album was recorded at the home studio built by whizz kid Ramón Jacinto, who also operated his own record label (RJ Productions), magazine (Teenstone) and radio station (from his parent’s backyard!) RJ and the Riots started as a high school band of classmates composed of Ramon “rj” Jacinto (lead guitar), Alan Austria (bass guitar), Jimmy Colayco (rhythm guitar) and Bernie Evangelista (drums) with ages ranging from 15-17 years old. They were one of the first bands with electric instruments in the Philippines and this album marked the transition from instrumental rock to vocals. Today, RJ is a well-known businessman (founder of a TV and radio network), Pinoy rock&roll icon and continues his musical journey performing rock n’ roll hits of the 50’s – 80’s at his own Bistro “rj” music lounge, where the top of Philippine society, movers and shakers, go to dance and sing to RJ’s rock n’ roll classics. *Remastered sound and color insert with liner notes & rare photos. *Download card with the album plus one bonus track from a rare 45 Riyl: Ventures, Beach Boys, Buddy Holly, Stones, JAN & Dean, BeatLES…