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Once again Brant Bjork is back with a wonderful new album “Bougainvillea Suite” !! He’s never missed a shot in the last 20 years. His discography is connected by an imaginary line which crosses different sounds and melodies, but always with the same attitude. In the background you can imagine the Mojave desert where everything started many years ago, but his last record sounds fresh as his debut Jalamanta! Brant says about this album: “This is a bitter sweet record for me. So much change in my life. Some stuff more positive than others. But it’s always a blessing to be able to make a record and get the music out and to the fans. This is the last record to be recorded in my Joshua Tree studio. I’m saying good bye to an era and looking down the road toward new beginnings”

“Bougainvillea Suite” is composed by 8 songs. Produced by Yosef Sanborn and Brant Bjork. Recorded at The Rad Cabin, Joshua Tree, CA. Engineered and mixed by Yosef Sanborn.

Jakarta Records & Uno Loop are thrilled to announce Bowes Road Band’s LP “Back in the HCA.” In 1972, four design students at the now defunct Hornsey College of Art (hca) in London decided to make a record; neither the result of nascent dreams of stardom nor of fastidiously developed musicianship. Bowes Road Band’s sole LP was simply the result of an impulse to create. With only fifty copies originally pressed, the LP’s Berlin flea market discovery revealed a foray into a delicately balanced world of psycho-trip meltdowns, rich jazz improvisations, & tuneful folk stylings. Hear echoes of Mark Fry’s “Dreaming With Alice,” Donovan’s honeyed folk, the Kinks’s blistering blues rock & more on “Back in the HCA,” out September 1st.

Unissued recordings by this very Loud power trio from San Francisco, modeled after Cream, Blue Cheer or The Jimi Hendrix Experience.

Including their fantastic studio demo from 1968 plus raw & wild live tracks from 1969.

Boogie (or The Boogie) was probably the first hard-blues / proto-metal group that emerged from the San Francisco scene. This power-trio was formed by Barry “The Bee” Bastian (Canned Heat, Lee Michaels...) on guitar/vocals; John Barrett (The Rhythm Dukes) on bass and Fuzzy John Oxendine (Roky Erickson & The Aliens, Jerry Miller Band...) on drums.

Comrades of Moby Grape (who even let Boogie use their rehearsal space) and the Sons Of Champlin, they played at all the legendary venues (The Ark, Avalon, Fillmore…) sharing stage with bands like Buffalo Springfield, Quicksilver, Ace Of Cups, Flamin’ Groovies or Country Joe & The Fish. Their explosive show at the Sky River Rock Festival (August, 1968, the first outdoor multi-band Rock Festival held in the United States) to an audience of 150,000 people, is still remembered today.

Sadly, their convulsed story, which includes undercover narks and marijuana busts, left them with no record deal. But a studio demo - recorded in 1968 at Pacific High Recorders - including three tracks, “In Freak Town”, “To Me” and a terrific, fuzzed out 7-minute long cover of “Wade In The Water”, plus some live recordings from 1969, survived. Previously available only as part of a private CD released by Barry Bastian, here’s the first ever vinyl release.

Steve Howe's recording career began as early as 1964 under the production of Joe Meek when he was the lead guitarist of the savage R&B outfit The Syndicats. He then joined The In Crowd, who soon became Tomorrow, legendary pioneers of UK psychedelia who along with Pink Floyd and Soft Machine changed the face of pop music forever. When Tomorrow's singer Keith West's first solo single became a huge success (it was a part of the "lost" Teenage Opera project by Mark Wirtz) all band members went their separate ways. Drummer Twink joined The Pretty Things and then formed The Pink Fairies, bassist Junior Wood -along with Twink- tried luck in Aquarian Age and Steve Howe accompanied West on tour before finally giving birth to Bodast in 1968.

Bodast was formed by Steve Howe (Guitar), Dave Curtiss (bass, vocals) and Bobby Clark (drums). The name was creatied by taking the first two letters of their names (BObby, DAve, STeve). Curtiss and Clark where veterans of the early UK scene, having been members of Screaming Lord Sutch's Savages or Vince Taylor's Playboys, and they had also worked in France backing Françoise Hardy.They were soon joined by Clive Skinner (vocals) and Bruce Thomas (bass), and also acted for a while as Canto.

While back in the era no recordings of Bodast saw the light of day, the fact is that they did record a whole LP under the production of Keith West. Ten incredible songs that are the missing link between Tomorrow and Yes, a stunning progressive opus which still has it's share of psychedelia, and which should have been a classic since day one but, sadly, the album was filed and left unreleased, and Bodast finally disbanded. Howe got some offers to join other established groups. He took the one from Yes, with whom he soon entered the studio to record The Yes Album, to which he added parts of the lost Bodast compositions (the most evident being Nether Street, an important part of it ended up in Starship Troopers). And the rest, as they say, is history.

The Bodast LP finally saw the light of day in 1981, when Cherry Red issued 8 of the recorded songs as The Bodast Tapes. The original tapes had been newly remixed by Steve Howe himself. It was, again, issued in the 1990s by C5, same remix, with the addition of two extra tracks. That version was also available on CD. In 2000 RPM released a new CD version, this time rescuing the original 1968 mixes, and with the addition of four tracks by Canto (essentially the same band, who changed the name for a while).

Now, for the first time ever on vinyl the original 1968 mixes, which are rawer than those early eighties ones done by Steve Howe, are issued by Wah Wah Records Supersonic Sounds, on a limited edition of only 500 copies, housed in a nice three backflaps sleeve like they did them in the UK in the sixties!

Cover has small split on the spine and writings on the back.

THE FIRST LIVE RENDITION OF THE WORLD FAMOUS TUBULAR BELLS! Mike Oldfield was a member of rock-band Barefoot for a while, and then became bass player for Kevin Ayers’ backing group The Whole World. He also played on an album by the Edgar Broughton Band, worked as reserve guitarist in the London production of Hair, and gigged with Alex Harvey. Then he met Richard Branson. Working at Branson’s recently acquired Manor studios as a backing guitarist, Oldfield played some of his own tapes to Branson’s engineer Simon Draper, who played them to Branson – Branson then offered Oldfield a six-album deal with his new label Virgin Records. Tubular Bells was released on 25 May 1973 as the first album on the Virgin label. The title track became a top 10 hit single in the US after the opening was used in the 1973 movie The Exorcist. Virgin now decided to organise a live performance of Tubular Bells at London’s Queen Elizabeth Hall to promote the LP. Oldfield assembled a line-up to perform the music that on record he’d all-but single-handedly created. Mick Taylor, then still with the Rolling Stones played, alongside David Bedford, Robert Wyatt, Steve Hillage and members of the band Henry Cow – all of whom, save for Taylor, ended up making records for Virgin subsequently. At a later date Mike was to comment that he was unhappy with the performance adding, “I stood on the stage at the end of the concert and looked at the audience, and they looked at me. And do you know what they did? They actually applauded. I was amazed. I hated that concert”. However, the assembled masses who witnessed the first live rendition of this ground-breaking record disagreed, and Mike Oldfield’s preconceived ideas about the project not working were totally unfounded. The concert was recorded for live radio broadcast both in the UK and across the US, where it was synched by a number of networks and is now at last available on vinyl! SIDE A1. Tubular Bells Part One SIDE B2. Tubular Bells Part Two 3. The Sailor’s Hornpipe

Original UK Mono pressing.
Writing on label.
Small light scuff on side 2.
Record is close to VG+.
Yellowed cover with faint ring wear on the back.

Silver promo stamp on back cover.
Record has some surface marks.
With original inner sleeve.

Released in 1974 with a "quadraphonic" sound. Brilliant songs by a cohesive band that knew how to materialize a memorable and original fusion project at an international level.

If Latin funk exists, it's thanks to pioneering bands like Black Sugar, a Peruvian group created in the early seventies that recorded two fundamental albums for the Afro-American and Latin genre. A pair of albums that are now re-released by the Valencian label Discos Monterey with the usual sound and visual quality to which we are accustomed. The roots of this band come from the Far-Fen (syllables for Farfisa and Fender), formed in the late sixties by guitarist Víctor "Coco" Salazar and Miguel "Chino" Figueroa on keyboards. One night they were spontaneously joined by the sensational voice of Carlos "Pacho" Mejía. In the seventies, in the Peruvian capital there was a shortage of "white" sugar and the darker cane sugar was consumed. Hence the group's name. Peru was in the midst of a dictatorship and the military were against music that did not come from Peruvian folklore.

Rock and roll with foreign roots languished due to the imposition of the established power, and Black Sugar emerged, whose main skill was to mix, with enormous passion and fascinating ability, Latin sounds and the funk that came from the United States.

The result is two memorable albums, with a large part of their own songs and most of them composed by Pacho. The first, with an eponymous title, was released in 1971 by Sono Radio, whose musical director Jaime Delgado Aparicio was in charge of the fiery arrangements with generous brass and energetic percussion. Released with the credits in English, they managed to break into the Top Ten of the Miami charts with the song "Too Late". They even received an offer to record their next album in the United States, but decided to stay in their country. That second album was released in 1974 with a "quadraphonic" sound, taking advantage of the label's magnificent studios. From the mid-seventies onwards the desertions began and it would not be until 2010 that the project would be recovered with some historical and younger musicians.

To listen to Black Sugar is to go back to the Peruvian night of the seventies with fiery music, full of sensuality and rhythm. Brilliant songs by a cohesive band that knew how to materialize a memorable fusion project, very original and at an international level. Two unique albums reissued by Monterey that will delight all lovers of Afro-Latin sounds and good music in general. Alex Magic Pop

5LP box with booklets. Vinyl is close to NM. Tiny wear. Sticker residue on back cover.

OBI is missing.

Big Daddy Mugglestone is back, with his first full-length solo release in over 2
decades! Rumi Sounds is proud to
present this collection of songs about Life,
Love, and God that really embody the idea of Americana Gothic. The
songs are dark but not bleak, giving a glimpse of forgiveness...even the
12-minute long murder ballad for which the album is named is still a love song.

With a mixed band of Denver and Berlin-based friends, Mugglestone steps out of the shadowy depths
to create a record you and yr auntie could listen to while doing the dishes or
lounging on the sofa on a rainy day.

The psyche-melodic guitar swirls of Oska Wald and the alluring back-up
vocals of MTN GRL elevate his wry
croon, not quite country but not quite
contrary. Something like if Lee Hazlewood and John Prine both wanted to buy
the same vintage lamp...

Limited edition for Record Store Day 2018!

Finally available on vinyl ! "Bentrees have created a hypnotic and insightful album, combining a plethora of new and exciting influences as well as stripping back some of the sound they established on Psychollage. Two Of Swords will no doubt guide you through its sonic landscapes, luring you into a trance where all your cares will simply melt away." Review by Distorted Sound Magazine

Canterbury-based progressive jazz-rock act Ben only released one obscure album, issued on Philips’ prog subsidiary Vertigo in 1971, but it’s a lovely collective of extended instrumental jams, worthy of discovery for those that missed it the first time around. Peter Davey’s saxophone and clarinet melodies push the material to high peaks, against an understated backing from future Nashville Teens bassist, Len Surtees and former Graham Bond drummer, David Sheen, keyboardist Alex Macleery and guitarist Gerry Reid adding flourishes at key moments. The songs “The Wooing Of The Child” and “The Wooing Of The Man” credit a certain K Jarrett as songwriter, making this rare beast all the more intriguing.