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The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

The ‘vocalist’ series, a collection of cover albums featuring famous songs by female artists, was originally released between 2005 and 2015. To mark the 10th anniversary of the final album ‘vocalist 6’ (released on January 21, 2015), all six titles from the series will be reissued on vinyl over the course of three consecutive months starting January 21, 2025. Notably, ‘vocalist 4,’ ‘vocalist VINTAGE,’ and ‘vocalist 6’ will be available on vinyl for the first time.

Brazilian singer/songwriter/multi-instrumentalist Antonio Loureiro's debut album, originally released in 2010, is now available on vinyl for the first time! Antonio Loureiro, who was establishing himself as an up-and-coming young composer in the state of Minas Gerais by winning the Premio Bdmg Instrumental, a competition for prominent composers, released his debut album "Antonio Loureiro" in 2010 with full anticipation. The music seamlessly blends influences from Brazilian jazz predecessors such as Egberto Gismonti and Hermeto Pascoal, Brazil's rich musical heritage from popular music to folklore to the "Clube da Esquina," as well as progressive rock, jazz, and electronica. Antonio has released six records so far, and in addition to his own work, he has produced and supported various artists, and outside of Brazil he has performed with artists such as Kurt Rosenwinkel, Miho Hazama, Qururi, Hakushi Hasegawa, and many others.

The Flower Power were formed in Gulfport, MS, in October 1967 by Craig Ferguson, guitar and lead vocal (formerly of The Soule Survivors), Robert Weathersby, guitar and Gregg Giuffria, organ (both from The Telstars), David Mcintosh and Sandi Craig (from Sandi and the Gang Band) and Joe Rolison from The Varments on bass. They were still in their teens aged between 15 to 17 years old.

They gigged in local clubs and bars up and down the Gulf Coast and, by good fortune, met their future managers Tom and Paul Krimsier in a radio station car park in New Orleans. Tom’s father-in-law was none other than Joe Banashak, a prominent producer and record label owner. He signed them to his Tune-Kel imprint in early 1968 and they cut their first single, ‘Bye Bye Baby’, at the famed Cosimo Recording Studios.

With the Krimsier Management on board the band moved up a gear backing the likes of B.J. Thomas, Jimi Hendrix, Sly and the Family Stone, The Nazz, Todd Rundgren and many others. On Sunday, August 31st The Flower Power were the opening act at the first New Orleans Pop Festival, a two day event with Janis Joplin, Santana and The Grateful Dead. They continued to record for Banashak and released five singles on Tune-Kel, all highly collectable today. They also laid down some material in Houston, Texas, unreleased until now!

Some things are worth waiting for… "Morning Star" is the first all-new album by The Prisoners since 1986. It
features the original line-up of
Allan Crockford – bass, vocals
Graham Day – vocals, guitar
Johnny Symons – drums
James Taylor – Hammond organ, vocals
After a phenomenally successful series of gigs in December 2022 marking the 40 th anniversary of their debut album 'A Taste of Pink', the band decided to make some new music. The recording was completed in two days, one of them in Studio 2 at Abbey Road. Their preference for recording quickly hasn't changed since they recorded that first album as teenagers, also in two days, in 1982. To celebrate, they play The Roundhouse in London on May 24th, their biggest headline gig
Biography
The Prisoners formed when they were still at school in Rochester, Kent. Between 1982 and 1986 the band released four albums plus several singles and EPs. Inspired by the local Medway DIY music ethic, their debut 'A Taste of Pink' and 'The Last Fourfathers' appeared on their own label, Own Up Records whilst "The WiserMiserDemelza" was released on Big Beat (Ace Records) and "In From The Cold" on Countdown (Stiff Records).
They earned a reputation as an incendiary live act as they plied their trade around the UK and Europe, building up a dedicated following and unknowingly inspiring a generation of future musicians. Their unique sound, based on instantly memorable and melodic songs surfing on a seething wave of brutal guitar, attention-grabbing, up-front Hammond and head-pounding rhythms, made for an explosive evening of entertainment. It was a unique combination of the sonic assault and danger of The Who and 60's garage-punk, the soulful vocals and dynamics of the Small Faces plus the groove and danceability of Booker T & the MGs. Throw in the intensity, drive and insolence of punk rock, as well as an unabashed love for instrumental TV themes and you had a wonderfully off-kilter version of where the real cool kids were at in the early '80s…
Despite some brushes with 'success', the pressures of hard living on the road took their toll and they quit in September 1986. They left behind a legacy and a sound that was inspirational to many that followed. Not many under the radar bands of the 80's would merit chapters dedicated to them in biographies of such luminaries as Steve LeMacq and Tim Burgess as well as being name checked as Brit-Pop forefathers. Their original albums make regular appearances in 'Great Lost Albums' lists and continue in print to this day.
James Taylor subsequently went on to gain huge success as the best pure Hammond player of his generation with his jazz and funk quartet (jtq). His playing and sound undoubtedly played a massive part in restoring the popularity of his chosen instrument.
That work started in The Prisoners.
Graham Day and Allan Crockford, both together and apart, continue to the present playing music that has ploughed a similar furrow to The Prisoners in such combos as The Prime Movers, The Solarflares, The Gaolers, The Galileo 7 and The Senior Service.

Simulacra - Cloud People is a six-piece band from Bergen, Norway. Since its conception, the band’s mission has been to experiment with new sounds and musical expressions - fusing the energy and improvisational nature of the jazz and rock bands we love with the tight, understated elegance of electronic music. Cloud People is inspired by everything from Bonobo, Kaytranada and Todd Terje to Motorpsycho and Pantera. Simulacra is the result of this - dynamic and varied, full of rhythmic motifs, melancholic melodies and euphoric climaxes. Cloud People is very eager to release this new music into the world, mesmerize music lovers and produce jaw-dropping live shows.

The last, and previously unreleased, recordings from the legendary and world renowned Swedish psychedelic organist Bo Hansson before he passed away. (Jimi Hendrix was a fan and recorded his song “Tax Free”). Here you can listen to Bosse in fine form together with his lively organ student and keyboardist extraordinary; Eric Malmberg, joined by drummer Niklas Korsell, creating mesmerizing and ethereal space jazz. The music seems to contain information about a deep perspective that questions both time and space and recognize the universe unfolding its abstract process of creation.

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

After a hiatus of almost 4 years Berlin-based label Avec Plaisir Records is finally back with their second outing: A stunning collection of six almost forgotten Progressive Rock oddities by the Austrian Band Crazy Temple.

Being mostly active in the late 70ies, the bunch of youngsters around the songwriting duo Günter Schiller and Herbert Bachinger only released one cassette „Heavy Birth“ as well as the sought-after 7-inch record „Homecomer“ in 1980 shortly before the band was scattered to the four winds. Their productions were recorded in the myth-enshrouded Ebensee Studio, were two members of the band were on the payroll.

Despite their fairly young age Crazy Temple established a very unique and authentic sound, carried by breezy synthesizers, meandering guitar-solos and the mature voice of Günter Schiller that seems heavily influenced by the favorite bands of their time. Being able to maintain a room in „Schloss Ebenzweier“ where already Franz Schubert was composing might have helped equally as the herbs the teens were smoking during countless hours of rehearsal.

The completion of the first long-player by Crazy Temple was originally planned for early 1981 - 43 years later the plan is put into action with the help of Avec Plaisir founders Sandra & Hendrik Stein. The record comes with six fully remastered original tracks recorded in 1980 complemented by three different takes on „Ev’rything’s Alright“ and „Homecomer“ by label-wright Sandra’s Alias Frinda di Lanco. The reproduction of Oto Atman’s etching „Die Träumerin von Eden“ as cover artwork adds zest to the authentic look of this release.

Gjenferd is a brand new heavy Bergen-based band, formed in Kristiansand in 2020, inspired by heavy rock's childhood when Hammond organs and walls of guitar amplifiers dominated the stages. Long nights of lager, noise, obscure 70s records and rigging of way too heavy Fender Rhodes have resulted in an album that is a sonic explosion of tenacious and hard-hitting riffs, electric noise and idiotically catchy vocal harmonies. The album was recorded by Hans Uhre at Grisehuset, mixed & mastered by Iver Sandøy (Enslaved), and features stunning cover art by Robert Høyem.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

180g 2LP 45rpm Gatefold Sleeve
Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
One of the finest albums of the classic rock era!
180-gram 45 RPM double LP
Mastered by Kevin Gray at Cohearent Audio from the original analog master tape
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

After half a century of crafting an astonishing array of chart-topping albums and embarking on triumphant global tours, Yes's The Yes Album marks the origin of their meteoric rise, through the recording sessions for this 1971 masterpiece.

With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted of Jon Anderson (vocals), Chris Squire (bass/vocals), Bill Bruford (drums), Tony Kaye (keyboards) and the introduction of Steve Howe (guitars/vocals), The Yes Album was the band's breakthrough album, ultimately remaining on the sales charts for 34 weeks, selling more than 1 million copies.

This important piece of music consists of six amazing Yes workouts such as the definitive album opener "Yours Is No Disgrace," the hard rocking "Starship Trooper" and the brilliant "I've Seen All Good People" plus the massive hit single "Your Move." From this moment on, there was no looking back for this superstar quintet.

Yes enthusiasts were superlatively rewarded with even more progressive rock favourites as the brilliant acoustic driven guitar work of Steve Howe's "Clap," Chris Squire and Jon Anderson's superb "Perpetual Change" and the jazz-rock fusion of "A Venture" truly made this album a standout.

The album was a critical success and a major commercial breakthrough for Yes, who had been at risk of being dropped by Atlantic due to the commercial failures of their first two albums. It reached No. 4 in the United Kingdom and No. 40 in the United States, and was later certified platinum by the Recording Industry Association of America for surpassing 1 million copies.

Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of The Yes Album. For Yes fans, this is a can't-miss addition to your album collection.

Essential comp including all the non-LP single and EP tracks for Decca, Parlophone and Fontana (in original mono mixes) by London’s favourite beat / R&B / Mod band, featuring a pre-Deep Purple Jon Lord on organ. From mod classics like “Big City”, “I Take What I Want”, “What Shall I Do” or “I’m Looking For A Saxophonist…” to the proto-psychedelia of “In The Deep End”, “Brother Can You Spare A Dime” and more. *Remastered sound in mono *Gatefold sleeve with liner notes by Mike Stax (Ugly Things) *Insert with photos / memorabilia “The Artwoods recorded and released several singles, a four song EP and an LP during their tenure. Largely overlooked in their day, the band’s recordings stand up well against those of The Pretty Things, The Action and The Yardbirds, among others…” – Kevin Rathert (It’s Psychedelic Baby)

Ignis Fatuus is the classic debut album from Norwegian prog legends White Willow. Originally released in the Spring of 1995, the album took the global progressive rock scene by storm. Fan letters started coming in from all over the world, and wonderful reviews from American and European music magazines kept flowing out of their fax machine. 5000 copies were quickly sold and soon the band was on a plane to California to perform at the 1995 Los Angeles Progfest, along with acts like Spock’s Beard, Ars Nova and Landberk. The songs on the album range from almost pure pastoral folk-rock, as on Snowfall and Till He Arrives, via out-and-out prog rock, as on John Dee’s Lament and Cryptomenysis (which featured a guest appearance from Ved Buens Ende’s Carl Michael Eide) to unusual experiments like the renaissance-inspired hymn Song, based on Christina Rossetti’s poem. The band didn’t at the time consider themselves a prog-rock band, more a folk-rock band that dabbled in symphonic arrangements. Nevertheless, the album has become a classic for prog connoisseurs. This re-release was meticulously remastered by the band’s own Jacob Holm-Lupo, and is presented with the classic original cover art, for the first time on vinyl. This is the first in a series of six White Willow re-releases on Karisma Records.

Previously unreleased archival studio/live recordings from 1970-71 by this lost Bay Area band. A superb cool blend of acid-rock, psychedelia and brass-rock with some outstanding guitar leads, Hammond organ and a tight rhythm section. Stow Lake was a seven piece group (named after the lake in Golden Gate Park) comprised of well-seasoned musicians from the original San Francisco psychedelic / fusion scene. Among them, we can find ace guitar player Bob Hardy (previously of hard psych group The Osgoode/Asgard); the tandem of Jeff Ervin (sax, flute) and Jean Hintermann (trumpet), both later on Aura, Bill Whiter’s backing band and Hot Cider (with Dennis Geyer of A.B. Skhy); child prodigy Larry Mallarino on trombone and bass player Dave Dunaway (later of jazz fusion band Listen). Not forgetting powerful singer / organist Bob Staley. Unreleased until now, the recordings contained here were registered at top studios like McCune and Golden State Recorders. Also including are a couple of excellent quality live tracks recorded at the legendary Fillmore West in 1971, showing the band at their peak with an impressive jamming / acid-rock sound.

William Penn & His Pals (also known as William Penn Fyve) were the ultimate 60s garage band from the Bay Area. Their line-up featured Mike Shapiro on lead guitar (author of the garage, acid-punk anthem "Swami") and Gregg Rolie (of Santana/Journey fame) on organ / vocals. Mickey Hart of the Grateful Dead was also the drummer for a brief period.

Here’s the first ever vinyl release of their complete recordings, including their fuzzed-out “Swami” / “Blow My Mind” 45 of Pebbles fame plus prime cut ‘66 unissued recordings. A feat of garage-punk and teen-beat.

*Includes a color insert telling their amazing story by San Fran rock historian Bruno Ceriotti plus rare photos / memorabilia. *Download card

“Don't be fooled by the name or the Revolutionary War-era stage costumes. These kids are certified '60s garage punk rockers!” – Bruno Ceriotti

Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, Midi or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha Cp70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.

Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, Midi or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha Cp70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.

Debut solo album from Wobbler’s Lars Fredrik Frøislie! Fitting perfectly into the 70s prog-rock tradition where the keyboardist makes a solo album between the band albums, this is music Frøislie has been doing, mostly alone, during the pandemic. Had it not been for the pandemic, much of the material would probably have ended up on a new Wobbler album - but then run through the Wobbler grinder and with English lyrics. In other words, this is unpeeled and raw, as spontaneous as possible without going through too many rounds of processing. Trying to preserve the impulsive - much of what you hear is improvised, and one-takes (preferably with playing errors and piano strings that break and the like). Trying to preserve the human aspect to a large extent, avoiding click tracks, auto-tune, Midi or too much technology. Expect lots of old analogue keyboards such as cembalo, Mellotron, MiniMoog, Yamaha Cp70 and Hammond organ. Four tunes; Four stories. The first song "Rytter av dommedag" is themed around Ragnarok, when King Rakne awakens in his large burial mound outside Romerike and, together with the old gods, creates real mischief. The second song “Et sted under himmelhvelvet” is dreamy, possibly set in a Renaissance garden near Florence or Arcadia. But in principle it can be anywhere where it feels good to be. It is partly about travelling to a place and feeling that you have been there before - only to find out that you had ancestors who lived there long ago. The third song "Jærtegn" opens in a frenzy, with a horse and cart speeding through the forest. The wagon overturns at the same time as there is a solar eclipse, and the riders become eternal wanderers in the dark forest, only visible to us now and then like the northern lights, as they vainly stretch their arms towards the sun in the hope of finding their way home. The final song “Naturens Katedral” is a depiction of the Norwegian mountains in winter where the cold is bitter, and blizzards and avalanches abound. It is also a search for bygone times when life was more basic out in the wilderness.

“Clamor Luciferi” means the scream of Lucifer, a hostile scream but it also means noise and uproar! 1782 with this latest work have taken out the most powerful and evil songs they have ever made. The album opens with an organ piece that conveys anxiety, suffering and melancholy. From the second track onwards the heavy and fuzzy riffs start, followed by a powerful and hypnotic drums. As always, the themes are occult and legends of their land. An album that will drag you into the deepest and most deafening darkness, let yourself go and be hypnotized by the Clamor Luciferi!

“Clamor Luciferi” means the scream of Lucifer, a hostile scream but it also means noise and uproar! 1782 with this latest work have taken out the most powerful and evil songs they have ever made. The album opens with an organ piece that conveys anxiety, suffering and melancholy. From the second track onwards the heavy and fuzzy riffs start, followed by a powerful and hypnotic drums. As always, the themes are occult and legends of their land. An album that will drag you into the deepest and most deafening darkness, let yourself go and be hypnotized by the Clamor Luciferi!

“Clamor Luciferi” means the scream of Lucifer, a hostile scream but it also means noise and uproar! 1782 with this latest work have taken out the most powerful and evil songs they have ever made. The album opens with an organ piece that conveys anxiety, suffering and melancholy. From the second track onwards the heavy and fuzzy riffs start, followed by a powerful and hypnotic drums. As always, the themes are occult and legends of their land. An album that will drag you into the deepest and most deafening darkness, let yourself go and be hypnotized by the Clamor Luciferi!

Before Mahjun (of which Souffle Continu reissued, in 2016, the two albums released on Saravah), there was… Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group moulded from folk and blues. The group’s unique album, “Vivre la Mort du Vieux Monde” evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death!

“The most French of all the French groups, determined to take Maurice Chevalier’s place in American hearts.” This was how Rock&Folk presented Mahjun in 1977. So be it. But when “Vivre la Mort du Vieux Monde”, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. So, let’s look back at the story. At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la mort du vieux monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux. Recorded for the Vogue label, “Vivre la Mort du Vieux Monde” would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn’t it worth waiting for? Because “Vivre la Mort du Vieux Monde”, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fuelled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the “cracking walls”. It was an ambitious project, but Maajun could handle it, going so far as to proclaim: “Tomorrow will be a huge party!” But as we can see “tomorrow”, is now!

50th anniversary boxset containing all three Niagara albums, released in a limited edition of 500 copies, housed in a wooden Box - Colored Vinyl

Niagara - Niagara: Niagara was more a project than an actual band formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger and gained fame in the German jazz circuit of the 60s and 70s. His 1971 works with Niagara was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, that they have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, this icon of German rock and pop started as a drummer!) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. If you go for this album to find some pop tunes, you better change your mind. If you wish to be enchanted and hypnotized by a massive wall of percussion sounds and be dragged deeper and deeper into a state of trance, which is utterly addictive, you are welcome. This album goes deeper as most psychedelic rock with dreamy melodies and heavy organ work. You cannot compare it to anything else, so open your mind for the ultimate rhythm experience and join in if you dare. Only if you dare.

Niagara - S.U.B.: Rhythm master Klaus Weiss knew he had a good thing going with Niagara. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album “S.U.B.” he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. ‘S.U.B.’ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. Niagara aka Klaus Weiss waive the vocals so it is an instrumental record you face with ‘S.U.B’, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

Niagara - Afire: Niagara's third LP Afire is the rarest one from kraut drummer, formerly of Sunbirds, Klaus Weiss' band. An astonishing album which returns to the minimal sounds based on percussion and rhythm of their first album, yet retaining a feel of harmony all through it - this time not provided by the brass instruments that had been added in S.U.B., but though to the high emphasis put on combining a variety of drums each tuned to their perfect pitch, and the contribution of Embryo's bass player Dave King. Also present on the sessions were percussionists George Brown, Sabu Rex and Norman Tolbert. The phenomenal rhythms contained on this LP have made it a very sought after piece among those looking for cool samplers to mix. Klaus Weiss is considered one of the best drummers of the German jazz scene, he was always very active and played with a lot of USA jazzmen travelling Germany like Hampton Hawes, Herbie Mann, Mal Waldron or Johnny Griffin, as well as with German greats as Klaus Doldinger, George Gruntz, Friedrich Gulda, etc.

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

These sides are prototypical for the "Sounds Like Santana" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks, with just a pinch of Jazz thrown in for good measure. "Evil Deeds" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure. "Time and Space" starts with a nod to the classic Dave Brubeck "Take Five" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side.

How does one follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal? If you’re Randy Holden, you give everyone about fifty years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden’s 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight. Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer / keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal. Their six-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. However, troubles with the album’s original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it’s widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on Riding Easy Records, was a longtime Holy Grail for record collectors. Flash forward forty years to 2010, one finds the guitarist / vocalist quietly coaxed into recording a followup album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the six-song collection of leaden future blues, Population III. “Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,” Holden says. “He nailed it.” But the recording was ultimately shelved for over a decade. Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt’s pocket-locked bass, the slight flanging effect on Rondinelli’s drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse’s ruptured grunge as his lilting falsetto vocals push and pull his guitar’s siren’s call. Population III is the real deal —a powerful continuation of a sound forged fifty years ago, that almost didn’t happen. Somehow, Randy Holden’s music always finds a way to stand the tests of time.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

What a striking title, now more than ever ! Originally released in 1971 on Chess subsidiary Cadet Concept, ‘Oh! What A Lovely War’ is the sole album of the psych rock band from Liverpool. The five-piece produced an intense series of 7 inches between 1969 and 1973, creating more than a cult following. Their album became literally a case when Dj Shadow covered their supreme hit Six Day War (now renamed Six Days on the Californian producer 2nd album The Private Press), causing a prompt resurgence. Now it’s your time to dig deeper into this unsophisticated gem.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

All tracks previously unreleased including unheard recordings from Daryl Hall and John Oates, David Johansen (New York Dolls), Terry Allen, Delbert McClinton, Andy Warhol’s Superstar Ultra Violet, Norma Jean Bell, and The Jim Carroll Band Restored and remastered audio by GRAMMY®-nominated engineer, John Baldwin Extensive booklet featuring unseen archive photos, ephemera and label history (LP: 20-pgs, CD: 40-pgs) Liner notes by journalist Joe Hagan with exclusive interviews Double LP pressed on 180-gram vinyl and housed in a gatefold jacket ‘Cocktail Party’ Vinyl Color Edition pressed on Clear Wax “Earl was a wonderful man with a great eye for new and innovative art. And such an amusing companion, too.” – Mick Jagger

Earl McGrath was the ultimate ’70s jet setter, an art collector and comic bon vivant who stumbled into the record business between legendary parties in New York and LA and discovered Daryl Hall and John Oates and then Jim Carroll. Atlantic founder Ahmet Ertegun gave Earl his own label, Clean Records, in 1970; Mick Jagger hired him to run Rolling Stones Records in 1977.

Friend to Joan Didion, Andy Warhol, and a galaxy of luminaries, Earl was an inveterate tastemaker. Actor Harrison Ford, who before Star Wars fame was Earl’s handyman and pot dealer, called him “the last of a breed, one of the last great gentlemen and bohemians.”

After Earl died in 2016, journalist Joe Hagan, author of the critically-acclaimed Sticky Fingers, the biography of Rolling Stone founder Jann Wenner, discovered a trove of rare and unheard tapes in Earl’s apartment in New York—literally inside his closet. “I asked for a step ladder and the first box I pulled off the shelf was a master tape of Some Girls, the Stones album,” says Hagan.

Now Light in the Attic Records proudly presents Earl’s Closet, a double album of the treasures discovered inside, including unheard music by Daryl Hall and John Oates, David Johansen, Terry Allen, Delbert McClinton, Warhol “Superstar” Ultra Violet, Detroit sax legend Norma Jean Bell, Jim Carroll and an eclectic cast of undiscovered artists who once vied for fame and glory—folk, rock, country, funk and R&B gems that virtually no one has heard in decades. Whether it’s the almost-famous power pop of Shadow from Detroit, or the Delfonics-style soul of the Blood Brothers Six, Earl’s Closet retraces the dreams of artists who once sent demos to Earl McGrath. Longtime Light in the Attic-affiliated reissue producer Pat Thomas assisted Hagan in tracking down the artists and finalizing the paperwork.

At once an archival mixtape, a secret history and a journey into the heart of an era, Earl’s Closet features a deep booklet of documents, images and ephemera from Earl’s archive, expansive liner notes by Joe Hagan, who tracked down and interviewed the artists, and astonishing photographs by Earl’s late wife, the Italian countess Camilla Pecci-Blunt McGrath.

Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

Good things come to those who wait. The album 'The Children of Scorpio' by Project Gemini aka Paul Osborne is a result of his steeped 30-year musical journey that’s seen him dig deep, study his record collection and re-emerge to fine-tune his craft.

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio’ was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi’ and Luis Bacalov’s 'The Summertime Killer’, to name but a few. You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there’s also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks.

A bass player and musician since the age of 16, the arrival of his first child in 2010 saw Paul move away from live performance and retreat to his home studio, recording a wealth of music that was destined to never be heard. One of the first tunes to be made was a demo entitled ‘The Children Of Scorpio’, inspired by his long-time obsession with Lalo Schifrin’s soundtrack to violent Clint Eastwood cop classic 'Dirty Harry'. Recorded for fun, the track was fated to sit in the archives untouched. However, like a phoenix rising from the ashes, connections to a wealth of inspirational musicians and labels would re-ignite Paul's musical fire and give him the impetus to develop his slept-on ideas into something more concrete. Firstly resulting in releasing two limited 7'' records on Delights Records and now the long-player for Mr Bongo.

Assisting in the recording of the record were several close friends that have helped spark Paul's musical creativity along the way, including well-renowned guitarist and Little Barrie frontman Barrie Cadogan (who contributes killer six-string guitar to four tracks), Delights Records head-honcho Markey Funk (who adds spooked out keyboards to ‘Path Through The Forest’), Kid Victrola, the chief songwriter and guitarist with French psych girl group Gloria who added wild 12-string to ‘Scorpio’s Garden’, Haifa-based multi-instrumentalist and producer Shuzin who brings the heat behind the drum kit, and Paul Isherwood, co-founder of Nottingham’s The Soundcarriers, who mixed the album on his wealth of vintage gear.

We are delighted to be releasing this slowly-brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

On August 27th 2021, The Third Sound will release their fifth album ‘First Light’ on Fuzz Club Records. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavour since the release of his self-titled debut on Newcombe’s A Recordings a decade ago.

Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.”

‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life? Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue. Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo. A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSmix.

Wedge’s new release „Like No Tomorrow” makes for an unholy trinity of Wedge albums in the Heavy Psych Sounds Records back catalogue. The Berlin-based power trio once more is driving their musical Wedge in between many different genres: Garage rock turns progressive while psychedelic guitar lines are tripping over hard rocking riffs. Does this work together? Hell yes! For fans of Deep Purple, MC5, Led Zeppelin or Humble Pie this album is a sure shot. You like fuzz guitars? Hammond organ and vocals trough a swirling Leslie cabinet? More cowbell? You got it. But unlike our beloved rock records from around 1971, which we’ve heard a hundred times before „Like No Tomorrow” has one huge advantage: It’s brand new and the 8 tracks, ranging from 3:00 to 9:00 minutes, deliver a fresh, unspent and unmistakably unique taste to the rock’n’roll menu. In the tradition of bands like The Raconteurs, The Hellacopters, Graveyard or Wolfmother, Wedge are building on that vintage vibe we all know and love but evolve their very own thing and are able to connect it directly to here and now. Also lyrically the tunes are picking up on our zeitgeist, dealing with topics like digitalisation, mass migration and current social issues among others. So it’s no coincidence that the record’s title is a direct hint at our crazy times, in which it feels like the end of the world might be lurking just around the very next corner. But rather than being pessimistic about it, Wedge want to convey a positive message: „When it feels like there might be no tomorrow, just love and live Like No Tomorrow”

Fabulous US hard-psychedelic album by Noah, recorded in 1972 but never released at the time. Expanded to a double set including the Sound Barrier (pre-Noah) sought-after garage-psych 45s plus unreleased demos, ’67-71. Master tape sound and insert with rare photos and liner notes by Plastic Crimewave. Riyl: Blue Cheer, SIR Lord Baltimore, Fraction, Iron Butterfly, Steppenwolf… Formed in the late 60s in Salem, Ohio, out of the ashes of two garage bands, the Markees and the Sound Barrier (of the legendary “Hey, Hey” 45 on Zounds), Noah consisted of Mark Scheuring (guitar & lead vocals), Larry Davis (drums), Paul Hess (bass & backup vocals) and Danny Hall (keyboards & backup vocals). In 1972 the band recorded in just two days a concept album titled “Brain Suck” at Cleveland Recording studios with engineer/producer Ken Hamann (of Grand Funk Railroad and James Gang fame). Noah’s music was dark and heavy, dominated by killer Hammond organ, hard guitar and powerful vocals. This is truly a major find for anyone into hard psychedelia. In the words of Steve Krakow (Plastic Crimewave): “it conjures the heavy, doomy vibe of Blue Cheer's "Fruit and Icebergs" suite; the bluster of Sir Lord Baltimore (but maybe with Keith Emerson on keys); and a biker ferocity found on the Fraction Moonblood Lp. I'm also imagining Steppenwolf, Iron Butterfly, or Vanilla Fudge on some bad drugs with a Mothers-like malignance”. The LP sessions were never released properly (in fact a truncated vinyl edition with some songs missing and late Sound Barrier demos added was released in 1995 by Al Simones on his Head Records label, without the band’s knowledge) so this is the first time that the “Brain Suck” album is released as originally intended by the band.

The Savonian occult rock behemoth Jess and The Ancient Ones have emerged with a new album! Their brand of heavy guitar and organ-led swagger has progressed from the twin guitar metal blast of yesteryear to Jess and The Ancient Ones’ very own take on soulful late sixties garage psychedelia. Titled Vertigo, the new record is set for release on Svart Records on May 21st this year with a foreboding sound of lysergic doom.

What began on the previous record, ‘The Horse & Other Weird Tales’ is taken further and deeper, towards a conclusion on Vertigo. Songwriter and guitarist Thomas Corpse comments, “To me this album sounds like a dark horse – a brother to the previous album. There’s a strange ominous feeling that hovers upon the entire album, maybe it’s the feeling of nostalgia that’s arising from the lyrics.”

Wrapped in a crude tornado-adorned old school sleeve, the album’s eight tracks bubble in a boiling cauldron of vintage pop culture influence and occult-tinged paranoia. Ranging from the softly fiery opening track ‘Burning of The Velvet Fires’ to the almost heavy metal -ish nihilistic banger ‘Born To Kill’, Vertigo is a spiraling journey of heavy Finnish psych rock at its finest.

The Wizzz ! saga continues with a fresh selection of 60s and 70s rarities gathered from the unchartered nooks of the French-pop galaxy. Stars, underbosses and unknown artists rub shoulders on this tangy new compilation. Take off on a sonic journey through the starry night of the late sixties. Al Awni Bouarane, better known as Abdelwahab Doukkali, was born on January 1st 1941 in Fès, Morocco. Drawn to the world of arts from his earliest years, he took an interest in theatre, drawing and painting before starting to sing in Casabalanca at the beginning of the sixties. In 1962, he leaves Morocco to settle down in Cairo, where his fame burgeoned. A singer songwriter awarded a number of honorary titles of international significance, he became, through the decades, one of the greatest figures of Middle-Eastern music. His repertoire, mostly traditional, fills the grooves of about twenty albums and some thirty singles. It holds a few surprising gems that bring together his eastern sensibility with the rhythms and harmonies of western rock: a handful of twists at the beginning of the sixties and more particularly the notable Je Suis Jaloux, sung in French and released on the label Philips in 1967. The track, recorded “as a matter of curiosity” according to the singer, is an outsider of the master’s discography. In an interview for the daily Aujourd’hui le Maroc in February 2017 he expressed his regrets for not pursuing a broader career in France: “One day I got to Paris and found people dancing to my song Je Suis Jaloux. Unfortunately I left Paris – that was a mistake. The company I was working with had offered great conditions but I am a child of the sun and the spring; I came across a cold period that lasted and led me to leave this city I still dream about”. Today Abdelwahab Doukkali shares his time between singing and painting and lives in Casablanca. Tom – a crepuscular mid-tempo with a touch of Soul produced for Barclay in 1968 – is François Bernheim’s first solo release. The arrangements are the work of Jean-Claude Petit, the recording was carried out by Bernard Estardy while the finest of French studio musicians played the instruments: Francis Daryzcuren on the bass (he appeared on Brigitte Bardot’s Harley Davidson, Le Sud by Nino Ferrer…), Marc Chantereau on the drums (Alexandrie, Alexandra by Claude François, Quelque chose de Tennessee by Johnny Hallyday, Je suis venu te dire que je m’en vais by Serge Gainsbourg…), and playing the six-string Sylvano Santorio (conductor for Jacques Brel) as well as Jean-Pierre Martin (stage guitar player for Johnny Hallyday). The session, held at the CBE studio of Paris’ rue Championnet, tests the young singer’s nerves who out-does himself in a vocal performance of great intensity. And yet, François Bernheim’s musical career had been flourishing for some time: as a youngster he had joined the Petits Chanteurs à la Croix de Bois, a choir for which he was made soloist at the age of 10. Without any formal musical background, he starts learning the guitar by himself at age 14 and, like many musicians of his generation, trains to the instrumentals of the Shadows or the Fantômes, then to the Beatles. He later evolves as a vocalist and songwriter with Roche-Martin along the Sanson sisters, Véronique and Violaine, met while they were singing on a beach. The band, produced by Michel Berger and Claude-Michel Schönberg, records two EP’s in 1967 for the label Odeon. Following the EP Tom, François Bernheim releases a second EP, on which appears yet another successful track, the dreamy Miami-Beach, then dedicates himself to artistic direction and discovering new talents. As he is still a law student, he chooses to hide his identity under the alias Gilles Péram, for fear his musical activities would discredit his status as a future lawyer. It’s with this new name he launches the Poppys, spurred by Eddie Barclay, and releases hits like Noël 70 and Non, non, rien n’a changé. Through his career, François Bernheim/Gilles Péram recorded seven albums and some twenty singles, worked with the likes of Esther Galil, Renaud, Louis Chedid, Patricia Kaas, Marie Laforêt, Brigitte Bardot, Nicoletta, Marc Lavoine, Carlos, Serge Reggiani, Richard Cocciante, Gérard Lenormand, Pierre Richard, Guillaume Depardieu, Elizabeth Depardieu, Gérard Depardieu and Chimène Badi, worked as an actor and made music for a number of ads (Cachou Lajaunie, Carte Kiwi, Malabar, Club Med, Mini Mir…), and even composed a track sung by Kanye West (Power). This chameleon of variétés made in France now works with the likes of the comedian Sandrine Sarroche and the singer Dani. Michel Handson signs this B-side with a touch of hip-hop in 1973 for the label Butterfly. The arrangements are the work of the Costa (authors of a dozen of singles between 1967 and 1987) and Gabriel Yared, a prolific movie score composer (Scout Toujours, 37°2 le Matin, L’Amant…). Before passing into oblivion, Michel Hanson records two more singles, of which L’Heure du slow traditionnel in 1978, languid slapstick track, kitsch and over the top, much appreciated by amateurs of the genre.“There’s no going out naked on the streets, Boeing!” This track from the Swede Matty Kemer’s only single, a tribute to freedom and aviation, was recorded for the label Disque d’Or. The lyrics weren’t the work of some unknown writer but of Ezra Bouskéla, member of the mythical Zorgones (from which hailed future members of Magma, like Zabu, and of Dynastie Crisis) and lyricist for Johnny Hallyday (Rendez-moi le soleil, Le monde entier va sauter, Dans ton univers) but also Herbert Léonard (L’oiseau d’argent). A real French-style beatnik, Ezra leaves for India regardless of his promising debut, leaving behind all of his musical projects, from which a collaboration with Jacques Lanzmann orchestrated by Lee Hallyday. His trip (by bus, and not by Boeing!) is the subject of the hectic autobiographical novel Shambo.

Gilles Janeyrand, piano and guitar player, witnesses two memorable stage acts in his early years: Jacques Brel’s farewell at the Olympia in 1964, then the Beatles at the Palais des Sports in 1965. It’s a revelation: coming out of the Beatle’s concert he decides he ought to become a singer. A few years later, a friend shows Gilles a classified ad published in France Soir: Robert Stigwood, producer for the Bee Gees, the Whos and Cream, is looking for French artists to showcase on his label, RSO. Gilles Janeyrand follows up on the ad and auditions at the Polydor studios, where he meets Claude Ebrard, head of RSO France. Gilles plays four songs at the guitar, from which Amour 2000 and Filles 2000, two tracks he composed for texts written by friends. Claude Ebrard chooses to record the two tracks with the arranger Jean-Claude Petit, and suggests adding flutes, in reference to Jacques Dutronc who had just released Il est cinq heures, Paris s’éveille. The track is recorded in 1969 at the Studio des Dames. Gilles remembers: “There were 25 musicians around me, and I thought it was perfectly normal! I was 18 and that’s the image I had of a career as a variété singer.” At the moment of the contract’s signature, Robert Stigwood sends a Jaguar and a photographer to pick Gilles up at this parent’s were he still lives. They’re taken to RSO’s headquarters, located near the Théâtre des Champs Élysées, and get off the car right as Jacques Brel comes out of the theatre, where he’s rehearsing his show L’Homme de la Mancha. Jacques Brel is familiar with the photographer and editor but doesn’t know Gilles yet, to whom he is introduced. Upon hearing Gilles is signing his first recording contract Jacques Brel utters a “Good luck” he’ll never forget.

Gilles leaves the choice of the A-side to the producers and Filles 2000 becomes the single’s B-side. Gilles promotes Amour 2000 on television, during a show hosted by Michel Drucker, who’ll invite him again repeatedly through the 70s. The record receives critical acclaim but the sales don’t follow. In 1974, at the Ferber studios, an LP is recorded with the musicians of the singer Christophe. The record, produced by St Preux for Heloïse Music, benefits from a rather important production: the crew enjoys over a month in the studio, not always even working full-days, preferring to round them off in the closest bar. Gilles is given full artistic freedom: Saint Preux, who lives with leopards, spends his afternoons at the cinema rather than behind the mixer. The period is one of hedonism, and Gilles adopts a psychedelic lifestyle. Some of the album’s tracks evoke the spirit of the first single: Les martiens and La fleur magique (of which a short version exists, intended for a single that never came out, probably lost in Heloïse Music’s archive). Overall, the album is a nice assemblage in the flamboyant progressive style of the mid 70s. Many more singles come out until the mid 80s, of which Je suis un passant, a minor success. But the big hit never comes and Gilles Janeyrand gradually turns to theatre, cinema and television. His name appears in the credits of Clara et les chics types (Jacques Monnet, 1981), La vie et rien d’autre (Bertrand Tavernier, 1989), J’accuse (Roman Polanski, 2019) as well as of another dozen of movies and TV series.

Albert-Henri Rykaert aka Alain Ricar was born in 1922 in Charleroi, Belgium. His father sold monkeys and, one day, exchanged a marmoset for a small accordion found in Berlin’s rubbles. He offered the instrument to his son. The latter first disregarded it, though it was to resurface in his life decades later. Peddler, birthstone merchant, he tries to lead a “normal” life before embarking on an artistic career later on, at the end of the 50s. During his first stage appearance playing the part of a dark, handsome character, the crowd bursts out laughing; Ricar involuntarily discovers his comical potential, which he was to exploit throughout his career. Comedian, singer, songwriter, he performs in cabarets or for the theatre, in Paris and in Belgium, then on RTB (Belgian TV). He namely appears in Les Aventures du Capitaine Long, a musical soap opera of his creation in which he plays the role of a lonesome singing sailor whose Camembert cheese-filled ship sank near a deserted island… Following the rediscovery of his accordion while looking through the families’ attic, Alain Ricar creates a comical singing act, which he presents at memorable concerts (for the opening act of Serge Gainsbourg in 1964, then of Johnny Hallyday in 1966). Through the 60s, he records five singles, of which I like sex is the only incursion into pop music. Alain Ricar who once wrote: “I have no age and I don’t miss it much”, dies in 1998 at the age of 92.

A cigar in his right hand, a gun in the left, binoculars around his neck complete with a predatory smile, Paul Dupret captivates us with the debonair B-side of the one and only single he released for the label Vogue in 1970.

Richard Hertel was born in Paris in 1947. At age 7 he’s the Petits Chanteurs à la Croix de Bois choir’s solo singer; he then goes on to study percussions at the Conservatoire de Paris. In 1966, he creates the Gottamou with Nino Ferrer and Bernard Estardy; they record two EPs at the CBE studio for the label Riviera. Meanwhile he plays for various French-variété stars: Nicoletta, Hugues Aufray, Claude François, Nino Ferrer. Towards the end of the 60s, Richard Hertel (nicknamed Totoche in the musical world) releases a first single as a singer on the label Liberty, Patatras Hola, on which he also plays the drums and the organ. Perfect groove, amused lyrics, and atonal gimmick: the title track is a success but the record doesn’t sell much and quickly sinks into oblivion. He releases a second single for Liberty, the score for the film Chitty chitty bang bang by Richard Hertel and his orchestra. The record though is no more than a dull commission. Richard Hertel then becomes Patcho and releases two funk-infused singles on Atlantic in 1971 and 1972, produced by the avant-garde composer Igor Wakhévitch. Close to the drummer Kenny Clark, he discovers the universe of Jazz which he integrates at the beginning of the 70s, playing the drums with the likes of Bill Coleman, Joe Newman, Eddie Lockjaw Davis, Guy Lafitte and many others. In 1974, he settles down in the Gers (Southwestern France) and develops a passion for traditional Occitan music. He starts teaching percussions at the Conservatoire Occitan de Toulouse, and plays alongside the singers Martina e Rosina De Peira. Richard Hertel passed away in 2016.

In 1968, Michel Didier lands on the French scene with five simultaneous single releases on the label Fontana. From a mainly folk corpus emerges this flashy cover of Rainbow Chaser by the English band Nirvana, here renamed Comme un arc-en-ciel, orchestrated and soaked in trippy effects by Jean-Claude Vannier.

Vedette internationale, or the lament of an inmate frustrated not to be a star of show business, is the work of the mysterious Liberatore (nothing to do with the illustrator of graphic novel RanXerox). Probably of Belgian origin, the track was released on Vogue in 1969.

Alain Serco signs a frantic homage to his best friend Kiki, the B-side of his sole single, released on South Records at the beginning of the 70s.

Gérard Gray, fond of poetry, starts signing after discovering Charles Beaudelaire’s The Flowers of Evil (Les Fleurs du mal) through Léo Ferré. From the mid 60s he regularly sings in Parisian cabarets (l’Écluse, la Contrescarpe, Chez Georges, Villa d’Este, Chez Monique Morelli…) and shares the stage with a number of celebrities such as Alain Barrière, Pierre Perret, Antoine, Jacques Dutronc and Claude François. Le Poisson vert, recorded in 1970, was created with his friend Frédéric Rochel, who first composes the music in a “nostalgic, ironic and joyful” spirit. The duo then undertakes a sound research inspired by François de Roubaix, with whom Gérard Gray and Frédéric Rochel had become friends. Sensitive to rare or exotic instruments, they search for a “different” sound and put together demos tinkering with a Revox tape deck and a variety of objects: dictionaries replace drums, water-filled crystalware simulate an organ while a whole array of flutes, jaw harps, decoys and whistles is used to create an uncanny, surrealist soundscape. With the melody and the themes clearly defined, Gérard Gray writes the beautiful lyrics inspired by underwater visions and submarine mysteries. The song is recorded in Lausanne for the Swiss label Évasions, with the label’s usual musicians. Even though they use traditional instruments, the original demo’s atmosphere is brought forward by the sound recording of Stephan Sulke (aka Steff, German singer and producer of numerous unknown sixties gems). ! Manque l’annonce de la démo dans les bonus de la version téléchargeable !

Le grand méchant loup by François Faray revisits Charles Perrault’s tale at the time of the sexual liberation, yielding an ambitious glam-rock track. Oddly enough, the singer goes off the radar right after releasing this one and only single in 1973 on the label Pathé.

Patrice Lamy, born Jacques Desachy, is a romantic singer from Lausanne. He self releases a single in 1969 under the alias Patrice Leman, then four more through the 70s. Laisse-moi médire que je t’aime is the B-side of his third record, entirely written, composed, arranged and directed in 1974 by Pascal Dufar (or Duffard, depending on the sources) to whom we owe a handful of variété songs but mostly the 1976 experimental album Dieu est fou. The musicians playing on Laisse-moi médire all hail from successful pop formations: Magma’s Francis Moze on the bass, Zao’s Mauricia Platon on backing vocals, Paul Stanissinopoulos and Demis Visvikis from the Greek band Avis on the drums and keyboards. Catherine Lara plays the electric violin while the cosmic-style cover is the work of Armande Altaï. After a short, uneven career, Patrice Lamy dies of sunstroke at age 35 in 1984.

The Tunisian crooner K.R. Nagati becomes well known at the end of the 60s with a cover of the Franco-Arab track Yasmina, originally by the Algerian albino signer Blond Blond. His repertoire goes from Arabic adaptations of Western hits (Strangers in the night, Doctor Jivago, Guantanamera…) to traditional and religious songs. Sidi Bou, the lyrics of which are sung in French, English, German, Arabic and Italian, pays tribute to a summer romance and the town of Sidi Bou Saïd, perched on the cliffs overlooking Carthage and Gulf of Tunis. De l’Orient à l’Orion, Yasmina’s beautiful B-side, can be found on the Born Bad compilation Mobilisation Générale.

Les Missiles are a group of four buddies from the city of Oran (Algeria). Together they first play instrumental pieces inspired by The Shadows, as Jupiter, before scattering all over France after Algeria’s independence. Micky Segura, drummer and later solo singer, ends up in Port-Vendres, close to the Spanish border. Well intent on reuniting the band, he leaves on a moped to find Robert Suire (the bass player) who had settled in Aubagne (South). From there they head to Jura (East), home to Bernard Algarra (rhythm guitar). With the last member impossible to locate, the trio makes its way to seek help from the mummified relics of Saint Claude, in the town of the same name. The very next morning they receive a postcard from their friend Manu Gonzalez (solo guitar), who proposes they should meet in Saint-Raphaël, were an apartment is waiting for them, or so he says. Upon their arrival, the three companions realise the apartment is in fact inhabited. They spend many weeks on the street, and then decide to get closer to the heart of French show business, Paris, and settle in Aulnay-sous-Bois (North-East suburbs). An audition takes them to Boulogne-Billancourt, were they perform their instrumental repertoire, before adding they can sing, too. The artistic director keenly asks for a demonstration, following which they sign a contract with the label Ducretet-Thomson. The name Jupiter is changed to Les Missiles, in reference to one of the directors’ car model. In 1964 they become famous with Sacré Dollar (a cover of the Kingston Trio’s Green black dollar) but also Maryline, a great success in Belgium and Switzerland. Three years of fame and concerts ensue, along with the release of two albums and over a dozen of singles. For six months the band tours with Claude François and even replace the Fléchettes on the backing vocals for the idol’s concert. Two members of the Missiles get married in 1966, and the band dissolves. Micky Segura sings as second voice and backing vocalist for Claude François, to whom he remains loyal until his death. He also sings along the likes of Nicoletta, Charles Aznavour, Gilbert Bécaud and Gérard Lenormand, as backing vocalist. La (nouvelle) guerre de cent ans, anti-beatnik jerk, comes from the band’s very last EP, which differs from the previous releases in that it features no covers and shows greater artistic freedom. The band’s sound veers towards garage, or even pre-psychedelic music, with the dissenting Publicité, filled with sound effects.

Wedge’s new release „Like No Tomorrow” makes for an unholy trinity of Wedge albums in the Heavy Psych Sounds Records back catalogue. The Berlin-based power trio once more is driving their musical Wedge in between many different genres: Garage rock turns progressive while psychedelic guitar lines are tripping over hard rocking riffs. Does this work together? Hell yes! For fans of Deep Purple, MC5, Led Zeppelin or Humble Pie this album is a sure shot. You like fuzz guitars? Hammond organ and vocals trough a swirling Leslie cabinet? More cowbell? You got it. But unlike our beloved rock records from around 1971, which we’ve heard a hundred times before „Like No Tomorrow” has one huge advantage: It’s brand new and the 8 tracks, ranging from 3:00 to 9:00 minutes, deliver a fresh, unspent and unmistakably unique taste to the rock’n’roll menu. In the tradition of bands like The Raconteurs, The Hellacopters, Graveyard or Wolfmother, Wedge are building on that vintage vibe we all know and love but evolve their very own thing and are able to connect it directly to here and now. Also lyrically the tunes are picking up on our zeitgeist, dealing with topics like digitalisation, mass migration and current social issues among others. So it’s no coincidence that the record’s title is a direct hint at our crazy times, in which it feels like the end of the world might be lurking just around the very next corner. But rather than being pessimistic about it, Wedge want to convey a positive message: „When it feels like there might be no tomorrow, just love and live Like No Tomorrow”

Vultures is a first time pressed EP of the swedish stoner band Dozer. Recorded in 2004-2005 at Rockhouse Studios in Borlänge, these six tracks were used as pre-production demos for what would later become the fourth Dozer album, 2005’s Through the Eyes of Heathens. The album is now released for the first time on vinyl and digipak with a very special bonus track, a cover of the Sunride song Vinegar Fly. Vultures is a real heavy-stoner explosion, something that only Dozer can provide. The amazing artwork is made by Lowrider leader Peder Bergstrand.

United Sates Of Existence were one of earliest neo-psychedelic groups from the US. Born in Baltimore in 1978 out of the ashes of prog-rock outfit Klangfarb, their goal was to reproduce the sound of their favourite 60s psych bands: Strawberry Alarm Clock, Electric Prunes, Blues Magoos, Nazz, The Assocation… They consisted of Paul Rieger (guitar, bass and electric sitar), Bob Tiefenwerth (organ, electric harpsichord and piano), Dennis Davison – of Jigsaw Seen fame - (lead vocals, acoustic guitar and theremin) and Gary Schwartz on drums and harmony vocals. The group used vintage instruments and antiquated recording techniques to fully embrace the sounds of the first psychedelic era (1967-68). They never got to play live, preferring to spend their time recording in their basement studio or going on record-buying binges at all the discount stores, searching for obscure psychedelic albums with weird names like Harumi, Phulph, Bohemian Vendetta… They were championed by Greg Shaw (Bomp!) who chose one of their first recordings, the killer Return To The Psychedelic, as the opening track for the seminal Battle Of The Garages LP compilation (1981). They also appeared in another famous compilation, The Rebel Kind (1983). Anything Goes!, their first 45, saw the light in 1984, self-released on the band’s own label, U.S. Fidelity Sounds, and featuring members of the Association on backing vocals (no kidding!). In 1986, they caught the attention of the Bam Caruso label from the UK, where they released their only album, Introducing: the United States of Existence, in 1986. The Psychedelic Yesterdays Of Tomorrow compiles all the material released by United Sates of Existence, including their Bam Caruso album along with various single / compilation tracks, as well as a few previously unreleased tracks and alternate mixes. “Surround sound not required – these stereo recordings will transport the listener to the proper state of existence. Recorded in the band’s basement and mixed down on a picnic table - because that’s where it was all happening.”

After their debut in 2017 ("S/T" Nasoni 189) we present the second album. Welcome to the second trip!
These five musicians explore the boundaries of several Psychedelic genres and merge them
into their unique Liquid-Orbit style.
The new songs have a huge dynamic range, that guides the listener from acoustic landscapes
through vibrant guitar and organ grooves into electric interstellar weirdness. Sophisticated
songwriting meets skillful arrangements.
This album is a true discovery for connoisseurs of psychedelic and progressive music.
The band consists of singer Sylvia Köpke, guitarist Andree Kubillus, keyboardist/organ player
Anders Becker, bassist Ralf Höpken, and percussionist/drummer Steve Wittig, which are all
pundits in their genre. Since the early 1990s, they have worked and played with Damo Suzuki
(Can), Rainer Baumann (Frumpy), Daevid Allen (Gong), Nikki Sudden (Jacobites), Tom „The
Perc“ Redecker and Nik Turner (Hawkwind). Organist Anders was co-founder of the Mandra
Gora Lightshow Society.

RSD first. Limitation: 2500. “Let’s show the people coast to coast that we here in New Orleans can party! Are you ready to roll ’78 and light up 79?!” announces the boisterous (and probably slightly buzzed) emcee introducing The Marshall Tucker Band to the tight-knit community of joint-passing, beer-cheersing rock ‘n’ rolling regulars at The Warehouse, New Orleans’ legendary 1970s music hall. Not only would the audience of 2,000+ longhairs enjoy the New Year’s Eve concert that night, but so would a huge audience of radio listeners rockin’ in simulcast nationwide. The emcee claimed that this was the largest radio audience ever to hear a broadcast and at the time, it probably was. The band elevated themselves to the occasion and delivered an absolutely smokin’ performance of what were already their most memorable and cherished hits.
• Sourced from the original 24-track tapes
• Mixed in Macon, Georgia in 2019 by Paul Hornsby, the original Capricorn Records producer who recorded and produced their first six gold and platinum albums.
• Featuring never before published photos by The Warehouse’s photographer, Sidney Smith, plus images of archival documents form the recording engineers.

Japanese experimental group Les Rallizes Denudes are the ultimate rock ‘n’ roll enigma. Sometimes referred to as Hadaka no Rallizes or even as Hadaka no Rarizu, each appellation a variant of the name “Fucked Up and Naked” which equates to being high on hard drugs, they are seen as noise-rock pioneers, yet sifting fact from fiction isn’t easy with their oddball tale. Emerging from the radical hippie communes of Kyoto during the late 1960s, the band was formed in November 1967 by university student Takashi Mizutani, taking the overamplified, distorted guitar of the Velvet Underground as a starting point. Early demo recordings apparently suffered from poor sound quality, leading the perfectionist Mizutani to retreat from the studio environment, meaning that most of the group’s output has appeared as live bootlegs, with the occasional studio demo surfacing as well. Performances were initially staged as part of avant-garde theatre, though the band’s propensity for super- loud noise soon put paid to such collaboration; the ever-changing membership saw Mizutani the only permanent force, despite his embroilment in the 1970 Red Army hijacking of a civilian Japan Airlines flight, enacted partly through bass player, Moriaki Wakabayashi, who defected to North Korea in its aftermath. Though perhaps not quite as notorious, fellow improvisational group, Taj Mahal Travellers, has a backstory of random international travels that is almost as intriguing as that of Les Rallizes; formed in 1969 by six experimental musicians and an electronic engineer, they embarked on a series of improvisational gigs across Japan, notably including an all-day marathon held at a Kanagawa beach, and made their way to Europe in 1971, where they crossed paths with Don Cherry and other likeminded practitioners. They later drove from Holland to the Pakistan border, acquiring santoors in Iran on the way to help broaden their already unpredictable repertoire. The Oz Days Live release is culled from the Oz Last Days festival held in the autumn of 1973, to benefit Tokyo’s Oz Rock Café, which had been closed following repeated drug busts. Here the Taj Mahal Travellers are suitably cosmic, their echoing jams featuring looped vocal chants, disjointed string instruments and sparse, off-kilter percussion; in contrast, the contributions from Les Rallizes are more standard examples of instrumental psychedelic rock, which veers more towards the acid rock end of the spectrum as the performance progresses.

Listening today to the music produced by Sensations' Fix, a project founded and directed by Franco Falsini in '70s, can't just leave anyone indifferent. Already in the mid-'60s, Falsini was full-time involved in musical activities: a tireless traveler and experimenter, an artist with uncommon curiosity and intuition, after having lived for some time in the United States and England, he finally established again in Italy where he gave shape to Sensations' Fix and signed a contract with Polydor for the release of six records in five years. Often associated with the sound of Tangerine Dream and the so-called German 'cosmic couriers', Sensations' Fix were much more than mere clones of something already existing.

"Boxes Paradise" is the fifth Sensations' Fix album, originally released in 1977 and never officially reissued on vinyl to date. Musically, it follows the same path inaugurated on the previous "Finest Finger", with an even more refined and elegant production, more structured and longer tracks (three out of seven exceeding the 6-minute length), all sung by an increasingly confident Franco Falsini. There are also various instrumental sections, guitar solos and 'spacey-sounding' keyboards reminiscent of the band's previous records. A real gem that sounds fresh and ripe even today!

Sensations' Fix albums are generally difficult to find; almost none of them has been reprinted in over forty years, but thanks to this series of reissues on the VM label it is now possible to rediscover them all.

First ever LP reissue, on violet Colored Vinyl!

A n d w h a t i f t h e i n f a m o u s
UNDERGROUND and OVERGROUND
albums had a third psychedelic
chapter, still secret and unreleased
until today?
Yes, you heard correctly: this
SUPERGROUND LP is sonically akin to
the legendary pair for which composer
Sandro Brugnolini will always shine
worldwide, and ideally brings the
trilogy to a close. Composed and
recorded in two sessions between July
1969 and November 1970, the album
echoes the shocking 1969's Charles
Manson massacre, with tracks
dedicated to the villa at Cielo Drive, in
Hollywood, where Sharon Tate e Roman
Polanski lived for six months. Some
music was also used for an animated short movie signed by Pino Zac, “Radice Quadrata di 3”, a little art-film
gem about the consumer society.
The recordings have all in common the terrific line up, featuring MARC 4 members Antonello Vannucchi
(organ), Maurizio Majorana (bass), Roberto Podio (drums), along with Angelo Baroncini (guitar) replacing Carlo
Pes. An incredible groovy combo that plays a strange psychedelic rock and r’n’b with funky and prog flavor.
Another lost masterpiece from Italian golden age soundtracks finally rescued and brought back in life to see
the light of the wax for its very first time.

New Jersey's Omnibus formed from the ashes of garage bands from the New Milford area: The Cliffhangers, The Forerunners and The Vandals. Original members came from these three local bands and consisted of Jay Polt, Al Raimondi, Bob Wegrzyn, Bobby Marcinczack and Jerry Garino. They soon hit the local scene and got in touch with brothers Steve and Eric Nathanson who would become their managers and finance their first recordings.

A United Artists recording deal was the next step, through wich the band issued their debut 45 "The Man Song" / "It's All In Your Heart" plus their eponymous LP in 1970.

Omnibus had an amazing psychedelic sound that took all the right elements from West Coast bands like The Doors or The Jefferson Airplane, Bosstown sound acts like Ultimate Spinach or Chicago hipsters like H.P. Lovecraft to produce their very own Made in Milford, N.J. mixture. Strong, dramatic vocals, tons of fuzz guitar and swirling organs built up their magic sound.

Wah Wah proudly offers the first ever reissue of their original 1970 album, plus a whole second LP compiling previously unreleased recordings from rare acetates with earlier recordings of some of the LP tracks and some non released songs. Also added is an extra bonus 7" with the garage killer "The Farm", which would have been an explosive 45 for the band had not been withdrawn from release.

A luxury remastered 2LP + bonus 7" set that includes a facsimile of a vintage Omnibus gig poster in a gatefold package respecting the original artwork, plus an 8 page booklet with photos, lyrics and liner notes written by Jay Polt himself and reissue curator Ezra Lesser - all this in a strictly limited edition of only 500 copies, get yours while still available!

If you like bands like The Doors, The Children, Ultimate Spinach, The Beacon Street Union, Fever Tree or Clear Light you ought to have this one on your collection!

Six volumes worth of licensed tracks released in just three years: doing the Dark Lord’s work isn’t an easy job, but somebody’s gotta do it, so here is Brown Acid - The Sixth Trip, with more lined up. The heads just can’t get enough obscure hard rock, heavy psych, and proto-metal from the late‘60s and ‘70s!

This time around Riding Easy present ten deep cuts from across the continental USA and one from the neighbors up North. This trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing! Delving deeper into the depths, Canadians continue to prove that they could bang heads with the best of ‘em! Heat Exchange from Toronto released the rollicking ripper “Inferno” on the Yorkville label way back in 1968 and it’s still thumping almost fifty years later.

Some more examples of the mind-melting tracks on this platter: Missouri isn’t a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks, one of which is the funk-laced anthem “Give Me Time” by Backwood Memory from Kansas City. Youngstown, Ohio, meanwhile, might have been the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. Truth & Janey had their incredible proto-metal masterpiece 1976 album No Rest For The Wicked; released four years earlier, “Midnight Horseman” was a 45-only track, included here!

Those are just some of the fruits of months worth of record digging and detective work included on this latest installment. This is the stuff that makes life worth living, at least until the next Trip…

Limited Edition for Record Store Day 2018! ‘Pat Thomas Introduces Marijata’ is a seminal Ghanian album that fuses highlife, reggae, folk, funk and soul, from legendary vocalist Pat Thomas. Originally released in 1976 on Gapophone Records.
‘Marijata’ was a group made up of three members – Kofi ‘Electric’ Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar, hailing from Ghana. Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name. The group released ‘False Lover’ in 1974, split and then reformed as Marijata, releasing ‘Marijata’ (also available on Mr Bongo) and this album, ‘Pat Thomas Introduces Marijata’. Thomas career spans more than 50 years and he still tours regularly across the world. Replica original artwork, official Mr Bongo reissue. Licensed from Gapophone Records courtesy of George Prah.

Underground Kraut-Kosmische monster, recorded / produced circa 1972-73 in Cologne by Toby “The Mad Twiddler” Robinson for his Pyramid label. Apparently released as an ultra-limited handmade edition back at the time, but no original copies have ever surfaced.

Featuring Mythos drummer Hans-Jürgen Pütz on percussion & effects, alongside synth / keyboard freak Alex Meyer, poet / vocalist Pauline Fund and mysterious guitarist Peter Förster.

Tripped out electronic ambient soundscapes, dark atmosphere, drones, plenty of MiniMoog, gothic Hammond organ, Rhodes, electric & 12-string acoustic guitars, ritual chants, effects, horror cinematic vibe…

WARNING: DON’T LISTEN TO THIS ALONE IN THE DARK!!

Live at Leeds is the first live vinyl record by the English rock band The Who. It was the only live album that was released while the group were still actively recording and performing with their best known line-up of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon. The complete 33 track set form Leeds University, 14 February 1970. Mastered At Abbey Road Studios. This record was cut using half-speed mastering. In their early prime the Who hit #4 U.S. with "Tommy" ('69), "Who's Next" ('71) and maybe the best live album ever, "Live at Leeds." The 1970 LP only featured six songs from the band's storming set at Leeds. The 1995 CD upped the songs from that show to 14, then a 2-CD edition (2001) finally unveiled all 33 songs the Who played at Leeds-but the running order was not true to the original performance. That "Leeds" us (sorry) to this: the 180-gram triple-vinyl deluxe edition, which restores their storied set's original sequence and boasts superior sound due to half-speed mastering at Abbey Road. If ever an album was meant to be turned up to 11, it's this: "I Can't Explain," "Young Man Blues," "Happy Jack," "Substitute," "The Acid Queen," "Pinball Wizard," "Tommy Can You Hear Me?," "I'm Free," "Summertime Blues," "My Generation," "Magic Bus" and more of the Who on stage at their electrifying best in 1970! Universal UK.

Cosmic acid-psych-soul-funk-prog extravaganza from Spain, 1971! A delirious concept album about the solar system and its planets, fuelled by fuzz-wah guitars, powerful and crazy vocals, bizarre electronic effects, Hammond organ, soulful horns and funky drums. This reissue also includes the previously unreleased 'Proyecto B' recordings from 1974, which were meant for the (unissued) second Proyecto A album.
This material features founder Frank Dubé backed by the famous Spanish prog band Iceberg and sax/flute player Juan Mena (ex-Maquina and Eddie Lee Mattison Band). A must for fans of Latin-psych-funk and library/cinematic sounds! The 8-page insert offers rare photos and detailed liner notes in Catalan, Spanish and English.

The classic 1974 album by this highly rated German progressive band, reissued as a beautiful picture disc LP! This is an edition of 1.000 hand-numbered copies, presented with a coloured 4-page LP-size insert.

Psychedelic Garage & Heavy Psych From The Golden Voice Label'. If you think that all the cool & obscure U.S garage-psych 45s have been already exhumed, please listen to this! Golden Voice was a custom label and state-of-the art studio based in Pekin, Illinois. In the 1960s-'70s, countless garage bands from the area recorded there, releasing custom-made 45s in very limited quantities. This vibrating scene had not been documented, 'til the release of this 15-track compilation. The music here is prime cut hard psychedelia, punk-a-delic sounds and proto hard-rock from the late '60s-early '70s with lot of fuzz-wah guitars, groovy organs and effects. All tracks are taken from obscure 45s and previously unreleased master tapes.

Sabattis were an underground hard-rock band from New York formed in 1968 by Jim Marvin (guitar & lead vocals), Gary Culotta (keyboard and vocals), Larry Wegman (drums) and Rocky Kaler (bass).

Influenced by bands like Deep Purple, Mountain and Grand Funk, they gigged around town playing lot of psychedelic clubs and venues. In 1970, they recorded a demo with the intention of securing a record deal which never came. The demo tape was in fact a fully finished album recorded and engineered by a friend from the band, Mick Gauzaski, who despite using a homemade studio, managed to obtain a real pro sound. No wonder Mick is now a multiple winner Grammy award!

The Sabattis demo remained unreleased until 2011 when Jargon Records discovered the tapes and put out a CD edition with the band involvement.
So we're proud to present a new reissue of "Warning In The Sky", remastered from the original tapes and including an insert with rare photos and liner notes by Klemen Breznikar (It's Psychedelic Baby)

Sabbatis sound is powerful heavy-psych sound with swirling Hammond organ and hard guitar which brings to mind other obscure acts like Jungle.

Originally recorded in 2010, the highly sought after Midnight To 666 sold out in record time. Quickly regarded as a garage punk classic, this album features thirteen dark seething tracks, full of ferocious vocals, grinding organ and a primitive rhythm section with the ever present fuzz guitar sound you've come to expect from the Lords of Altamont. From the painfully relatable F.F.T.S., through the stomping energy of "You're Gonna Get There",the crowd chanting anthem - and alternate version of - "Get In The Car" up until the moody closing track "Faded Black", this is a soul bearing, primal two wheeled scream into the void. Originally released on the French Fargo Records label, Midnight to 666, with Harry ' Full Tilt ' Drumdini from The Cramps on drums, now finds a new home on Heavy Psych Sounds Records. Featuring the original artwork the band intended before the blood red version went to print, as well as a bonus outtake of "Faded Black", this re-release is a sure bet.

Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones.

Over the Beasts' decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock'n'roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock'n'roll.

The legendary 1967-68 recordings by UK mod band THE Action, registered when they were in transition from mod-beat to full-blown psychedelia, just prior to becoming Mighty Baby.

Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, “Rolled Gold” is a collection of brilliant songs, melancholic yet powerful. The Action’s classic line-up of Reg King, Alan ‘Bam’ King, Michael Evans and Roger Powell is augmented with the inclusion of new members Martin Stone on guitar and Ian Whiteman on flute / organ. All of them are playing their hearts out: superb harmonies, great guitar work and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the West Coast and UK as well as jazz giants like Coltrane.

Always the stuff of legend, the “Rolled Gold” tapes were shelved at the time, not released until 1997 when the Dig The Fuzz label discovered them and did a limited Lp/cd run. Out of print on vinyl for many years, we present a new vinyl edition.

If you dig the psychedelic era of Small Faces, Pretty Things, THE WHO, plus THE Creation, Nazz, Tomorrow, Blossom Toes, THE END or Traffic… look no further.

“Into the Great Wide Open” is the eighth studio album by American rock band Tom Petty and the Heartbreakers, first released in 1991 (see 1991 in music). The album was the band's last with MCA Records. The album was the second Petty produced with Jeff Lynne after the success of Full Moon Fever.

The first single, "Learning to Fly", became his joint longest-running number one single (along with "The Waiting" from 1981's Hard Promises) on Billboard's Mainstream Rock Tracks chart, spending six weeks at the top spot. The second single, "Out in the Cold", also made number 1 on the Mainstream Rock chart, albeit only for two weeks.

The music video for the title song starred Johnny Depp, who had moved to Los Angeles as a teenager to seek rock stardom, along with Gabrielle Anwar, Faye Dunaway, Matt LeBlanc, Terence Trent D'Arby and Chynna Phillips.