Rock & Indie 319 Items

White Vinyl Limited TO 110 Hand-numbered Copies

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…

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…

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"

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

This is an 8track-cartridge, not a music cassette

First ever official reissue of Nancy & Lee’s classic 1968 duet album
Definitive reissue with Nancy’s involvement
Includes the bonus tracks, “Tired Of Waiting for You” and “Love Is Strange,” from the album sessions
Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
Vinyl pressed at RTI
Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
Never-before-seen photos from Nancy Sinatra’s personal archive

Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMY®-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks’ “Tired of Waiting for You” and an uptempo version of “Love Is Strange” (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks.

Nancy & Lee can be found in a variety of formats, including vinyl, cassette tape, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and features the iconic, original cover photo by Ron Joy. Inside, a 20-page booklet offers an array of photos from the legendary singer, actress, and activist’s personal collection, as well as an in-depth Q&A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

In celebration of the release, Nancy Sinatra and fellow musician and longtime friend Don Randi (The Wrecking Crew) visited Record Technology, Inc. (RTI) in Camarillo, CA to take a tour of the plant and get a sneak peek at the Bootique-exclusive pressing of Nancy and Lee. A short video piece documenting the day, including new interviews with Sinatra, Randi, and RTI plant manager, Rick Hashimoto is available here.

MORE ABOUT NANCY & LEE

When Nancy – the eldest daughter of Frank Sinatra – first met Lee Hazlewood in 1965, she was a demure, 25-year-old divorcée, who was struggling to find her place as an artist amid the changing musical landscape. At the urging of her label, she was introduced to the Oklahoma-born songwriter, Lee Hazlewood, who had found success working with guitarist Duane Eddy. While Sinatra and Hazlewood hailed from vastly different worlds, they were about to embark on a partnership that would change the course of their lives. Just months after meeting, Sinatra scored her first No.1 hit with “These Boots Are Made For Walkin’.” Written and produced by Hazlewood, the song became Sinatra’s signature tune – transforming her into a confident and commanding feminist icon.

Initially, Hazlewood maintained a behind-the-scenes role with Sinatra, enlisting arranger and composer Billy Strange, as well as other members of The Wrecking Crew (the famed Los Angeles session musicians) for the singer’s best-selling 1966 debut LP, Boots. But when they returned to the studio later that year for Sinatra’s sophomore effort, How Does That Grab You?, Hazlewood joined the singer for a duet of his song, “Sand.” Over the next year, as Sinatra’s star rose, the artists continued to collaborate in the vocal booth, finding success with “Summer Wine,” “Lady Bird,” and the cinematic “Some Velvet Morning” (all penned by Hazlewood). In 1967, just months after Johnny Cash and June Carter Cash scored a country hit with “Jackson,” Sinatra and Hazlewood released a pop version of the offbeat song, landing in the Top Ten across Europe and peaking at No.14 in the US.

Recalling her duets with Hazlewood, Sinatra laughs, “we used to call it beauty and the beast!” Voices with no blend.” Indeed, no one could have predicted that these two contrasting voices (and personalities) would work together quite so well. Praising the duo’s “sonic alchemy,” Hunter Lea writes, “rarely in music has there been such an unlikely collaboration: Nancy, the sassy and sweet songstress contrasted by Lee, the gruff, psychedelic cowboy. A harmonic partnership that defies conventional logic yet yields so much beauty.”

Before long, it seemed only natural for the artists to release an entire album together. In addition to compiling their recent duets (many of which appeared on Sinatra’s solo LPs), the duo recorded several new covers and Hazlewood originals. Billy Strange and The Wrecking Crew provided lush orchestral arrangements, as the two artists performed a range of material, including folk, pop, and country songs, with a twist of psychedelia.

Throughout the album, a palpable chemistry can be heard between Sinatra and Hazlewood – from the frisky banter on “Greenwich Village Folk Song Salesman” to the tongue-in-cheek delivery of “I’ve Been Down So Long (It Looks Up To Me).” But the artists also reveal their softer sides – particularly in the romantic balladry of “Sand.” Their languid rendition of “You’ve Lost That Lovin’ Feeling,” meanwhile, is downright erotic, despite the lyrics. But, as Sinatra asserts, her decades-long relationship with Hazlewood was always platonic. “We had sort of a love/hate relationship,” she explains. “Maybe it was a sexual tension because we never had any kind of affair. I don’t know exactly what it was, but it worked.”

That je ne sais quoi certainly did work. Upon its release in the spring of 1968, Nancy & Lee became a critical and commercial hit on both sides of the Atlantic, peaking at No.13 on the Billboard 200 and No.17 in the UK. By 1970, the album was certified Gold by the RIAA. Over the decades, however, the appeal of Nancy & Lee has only grown, while the album has amassed an enduring cult status that few titles achieve. Multiple generations of artists, including Sonic Youth, Lana Del Rey, and the Jesus & Mary Chain, have cited Nancy & Lee as an influence.

In recent years, Nancy & Lee has also inspired a groundswell of recognition from such outlets as Rolling Stone, which ranked the pair at No.9 on their 20 Greatest Duos of All Time list. Pitchfork included Nancy & Lee in their “Best Albums of the 1960s” roundup, hailing the record as “a document of a flawless collaboration.” The UK’s Far Out Magazine declared Nancy & Lee to be “a masterpiece that still ripples in the sonic waves today.” NPR, meanwhile, noted that “Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition.” They went on to praise Sinatra’s work on Nancy & Lee as “some of the best that she’s ever recorded…it proved that she would hardly allow herself to be pigeonholed into one-hit wonder territory. Here, she made it clear that she was capable of so much more.”

Today, Sinatra reflects fondly on her time with Hazlewood. “The most fun was when there were two mics in the studio, and Lee was on one and I was on one,” she recalls. When asked about the lasting appeal of Nancy & Lee, the artist credits much of its success to her partner. “Lee has a following that continues to this day. He’s beloved; people love him all over the world.”

Sinatra’s legacy, meanwhile, continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic Records for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. At the end of 2021, LITA reissued Sinatra’s classic debut, Boots, while the label will continue to celebrate Sinatra with a variety of special releases, exclusive merch, and more.

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

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.

Here is Beybonlar Orkestrasi. Ultra rare Turkish heavy psychedelic single by Beybonlar from 1969.

Amazing stuff from the teenagers band that the drummer was only 12 years old when they recorded the tunes Side A is Gelin Ayse (Bride Ayse) which is very sad traditional Turkish folk song that arranged by the psych form Side B is Nenni (Lullaby) that is a traditional tune, but what a traditional tune by the teenagers!!! Enjoy it..!

In 1968, Janis Joplin decided to go solo while her album 'Cheap Thrills' with Big Brother & the Holding Company was still on top of the charts. 'I Got Them Ol' Kozmic Blues Again Mama!' was her first effort. She leans more towards Soul/Rock than on her previous work, with heavy horn arrangements from her accompanying band. The album contains the lead hit single 'Try (Just A Little Bit Harder)'. The audio is sourced from the original masters and features the original artwork.

Limited to 500 copies. Strictly Limited Edition Deluxe Gatefold LP with exclusive scholarly liner notes by Alvin Lucia! Full dynamic range 2022 remasters direct from the first generation analogue master tapes! Limited Edition 500 LPs

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)

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.

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

Leeds-born folk-rocker John Trevor Midgely, alias Beau, was known for his deft twelve-string guitar work, his poignant voice and distinctive song-writing, which brought him onto the roster of John Peel’s Dandelion label in 1969. His self-titled debut album is arguably his best and includes the outstanding single ‘1917 Revolution,’ said to have inspired America’s smash, ‘Horse With No Name,’ the LP ably demonstrating that all the artist needed was his voice, his guitar, and his individual approach to song writing, the work bearing his haunting hallmarks throughout. In short, an unjustly obscure release that is ripe for current reappraisal. Including 2 Bonus Tracks

Velvett Fogg are a psychedelic rock band hailing from Birmingham, England. Active during the late 1960’s, Velvett Fogg were one of the many new bands from the Birmingham underground scene trying to take pop and rock music to a higher level of creativity. They were given a record deal by Pye Records, through which they released their first and only studio album, the self-titled Velvett Fogg. The original package was accompanied by a quote from U.K. disc jockey John Peel, who commented that “there is a lot of good music on this record. Remember Velvett Fogg - you will hear the name again”. Ironically the band broke up shortly after release. The album has since become a much sought after title.

Velvett Fogg is available on black vinyl.

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

Although this amazing U.S. popsike gem seems to have remained under the radar since it was first released in 1969, copies of an original pressing of this LP fetch several hundreds of dollars among the small circle of collectors that have managed to discover the amazing works of Don Beckmann and David Rea.

Their only LP was originally released on their hometown Denver’s Stylist Records label back in 1969. The production is amazing: to the strength of the duo’s compositions and their guitar and vocal talents, a complete band is added, plus impressive orchestrated arrangements with scores provided by Dan Goodman and Mark Schuster and conducted by Ben Kaufman, the result being a deliciously beautiful album that could be a missing link between the works of Simon & Garfunkel and those of soft pop maestros like The Free Design or Harper's Bizarre or baroque pop legends The Left Banke.

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’.

Siren was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel.

A vocal band that made it through, the Free Design have been more than an exception in the glittering world of the psychedelic circus. That was the Age of Aquarius in the end, but in the long run the 4-piece had an enormous impact on the younger generation. Released in 1969 “Heaven/earth” is a cornerstone on its own and 30 years later the band had a sort of epiphany, thanks to the spanning interest of artists such as Cornelius, Beck, Stereolab and crate digger master Madlib. By now the Free Design are considered in the same league of The Beach Boys and The Carpenters. Under the influence of the Hi-Lo’s and Peter, Paul and Mary, The Free Design rose through the folk scene of the Greenwich Village coffee houses, achieving national prominence with the enchanting ‘Kites Are Fun’. They would prove to be at least the artistic equals of such popular contemporaries as The Association, The Mamas and the Papas, The Fifth Dimension and Harper’s Bizarre, but without quite matching their commercial success. Rather than be dictated to and diluted by the majors, they chose to commit to the artistic freedom and potential to develop offered them by the producer Enoch Light through his independent set up Project 3 Total Sound.

A lecture in 60's psych pop (almost power pop with flashes of hard rock) with consistently solid melodical, up-tempo, organ driven songs, soaring vocal harmonies, anthemic choruses. Psyched, poppy & fun. Not an album that you would listen to regularly, but more like an old friend to go back when you are in that 60s mood.

An acid rock LP on the Isley Brothers’ T-Neck label? Yes, the unlikely collaboration resulted from a Jimi Hendrix concert at New York’s Syracuse University, supported by the Isleys and mixed soul-rock group, Soul Survivors, who had worked with Tom Bell and Gamble & Huff. When Soul Survivors morphed into Privilege, they convinced the Isleys to sign them to T-Neck, the result being this rare self-titled album, a fine set of hard-rocking originals, expertly produced by the Isleys with plenty of stereo panning, blistering guitar from frontman Edward Leonetti, atmospheric organ from Paul Venturini and melodic bass lines from Jack Douglas, later an engineer for Aerosmith, Lou Reed and Cheap Trick. A true classic, not to be missed!

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

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.”

1969 album from the Morgan Blue Town stable, a classic psychedelic prog album. Album features Mike Bobak, Andy Jons & Wil Malone. Now on Limited Edition 180 gram Pearl Colored Vinyl.

Limited to 2000 copies.

Originally released in late 1968, La Conferencia Secreta del Toto’s Bar was Los Shaker’s psychedelic masterpiece. Inspired by Sgt. Pepper's Lonely Hearts Club Band - a milestone that would change the face of pop music forever back in 1967 – Los Shakers created a fundamental album in the history of South American rock music, a seminal record for many artists to come, full of pleasant surprises, magic sounds and sense of humour. It offers a complex fusion of styles, with elements from both rock and jazz, plus the use of exotic instruments like the bandoneon–widely used in tango music but unprecedented until then in pop/rock adventures. It all makes the last album by Los Shakers an essential, innovative record for any collector and aficionado. Sounding as fresh and original today as it did back in the late sixties, here’s the first ever vinyl reissue.

Once The Shain´s had disbanded a new project was born, St Thomas Pepper Smelter. Recorded in 1969, with practically the same band members as The Shain´s, the band explored darker and psychedelic sounds with covers from Vanilla Fudge, Cream, Hendrix and Music Machine, as well as various amazing songs of their own. This album was to be the transition towards their new projects more progressive and 70s style than before and lead to Gerardo Manuel y Humo!

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

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