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Rush Hour’s RSS series excels in unearthing buried treasure, offering a second chance for artists and releases that have long been overlooked. That’s certainly the case with ‘Witches’, the superb sole single by British 1980s wave trio Zenana.

Originally released on seven-inch by the tiny PRM label in 1986, ‘Witches’ was the product of a sister-brother songwriting team whose music was mostly recorded in the front room of a terraced house in Nanpean, a small industrial village in Cornwall, England’s most south-westerly county. While the single was infectious, impeccably produced and dancefloor-ready, it sold in limited quantities at the time.

Zenana’s story can be traced back to the early 1980s, when singer-songwriter Anita Tedder founded the all-female trio as a vehicle for her musical ambitions. To bring her songs to life, she joined voices with her brother Mike, an early adopter of electronic music who had built a studio – nicknamed MFR, short for ‘Mike’s Front Room’ – in his Cornish home.

Countless Zenana tracks were recorded at ‘mfr’ between 1984 and ’86, with the resultant demo cassette securing the band a management contract, a slew of live bookings, a video shoot and even a television appearance. Buoyed by this underground success, they headed to the remote Sawmills Studio in Cornwall – famously only accessible by boat – to re-record ‘Witches’, a song inspired by local folk tales of witches gathering near Mike’s home.

While this version of ‘Witches’ failed to make an impact at the time, it has become something of a cult classic following its’ rediscovery by crate digger Kiernan Abbott – and subsequent championing by other dusty-fingered DJs including Antal, Skyrager, Trevor Jackson and Luke Una – in early 2023. The buzz inspired Zenana to perform live again for the first time in decades, with the story of their surprise comeback being covered by British media outlets including the BBC and (more surprisingly) the Daily Mail.

Now presented in re-mastered form, ‘Witches’ is a genuinely slept-on gem. Propelled forwards by punchy drum machine beats, a killer synth bassline and fizzing keyboard sounds, the song benefits greatly from strong vocals and an extra-percussive middle eight layered with vocalisations, cosmic spoken word sections and swirling noises.

It comes backed by a brand-new extended ‘spell of love’ courtesy of Bristol duo Bedmo Disco, AKA music journalist Matt Anniss (author of Join The Future: Bleep Techno and the Birth of British Bass Music) and DJ/production partner Gareth Morgan. Anniss is a long-time friend of Mike and Anita Tedder who has fond memories of visiting Mike’s home studio with his family around the time that ‘Witches’ was recorded.

Working from Zenana’s original MFR eight-track recording (tapes of the single version were lost years ago), Anniss and Morgan have turned in the extended ‘dance mix’ the track never had first time around. More atmospheric, clandestine and dancefloor-focused, it offers authentic nods to New York proto-house, mid-80s Shep Pettibone dubs, and the pioneering synth-pop productions and dub mixes of Factory Records regular Martin Rushent.

A conceptual album featuring five long tracks with raw in–your–face sound and production, over–charged fuzz & wah wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock / metal / heavy psych aficionado, reissued for the first time on vinyl and remastered from the original tapes.

Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist & vocalist from Zarpa. Heavy carboard sleeve + OBI.

Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals & lead guitar, Eduardo Feijóo on bass & vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock (“Claw Rock”), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero. Under Zeus Rock guidance, the band did their first recording: a conceptual album titled “Los 4 Jinetes del Apocalipsis” (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded “live in the studio” in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of Heavy Metal in Spain, they managed to release two more LP’s which established them as a very popular band, even opening for Barón Rojo, true Metal Stars in the early 80’s. They’re still in active.

Heavy Psych Sounds is re-issueing the Yawning Man old demo recordings The Birth Of Sol in brand new Colored Vinyl and new cover. Dating back to 1986, these demo recordings by Yawning Man were originally only spread amongst close friends of the band. They were released on iTunes in 2009. Today you can have them on brand new Colored Vinyl in gatefold sleeve.

Heavy Psych Sounds is re-issueing the Yawning Man old demo recordings The Birth Of Sol in brand new Colored Vinyl and new cover. Dating back to 1986, these demo recordings by Yawning Man were originally only spread amongst close friends of the band. They were released on iTunes in 2009. Today you can have them on brand new Colored Vinyl in gatefold sleeve.

Heavy Psych Sounds is re-issueing the Yawning Man old demo recordings The Birth Of Sol in brand new Colored Vinyl and new cover. Dating back to 1986, these demo recordings by Yawning Man were originally only spread amongst close friends of the band. They were released on iTunes in 2009. Today you can have them on brand new Colored Vinyl in gatefold sleeve.

Wytch Hazel’s stellar 2016 debut Prelude confirmed these Lancastrian apprentice wizards to be Britain’s most promising new hard rock band. Two years on, that promise comes to abundant fruition on II: Sojourn, an album that moves Wytch Hazel on from the innocence and exuberance of the debut to a darker, more profound and complex place, carefully wrought into optimum shape by the band’s singer, guitarist, songwriter and mastermind Colin Hendra. “I’m really into the idea of an album,” notes Colin. “I don’t do mix-tapes, I don’t listen to singles, I’m interested in albums. I want to make a good, listenable, cohesive work, that is the whole thing.” Asked what inspirations were brought to bear this time, Colin has good news, and even better taste: “I was listening to plenty of Judas Priest, Thin Lizzy and Wishbone Ash last year,” remarks the frontman. “This seems to be more of a hard rock album, where the last one was more rock-folk. It’s definitely more rock than folk!” The most crucial influence fully expresses itself via Les Paul guitars in sweet twin harmony through cranked Super Lead Marshalls - “Exactly the same type of amp that Thin Lizzy would have used,” beams Colin - a benefit of working in James Atkinson’s Hand Of Law Studio, a converted gaolhouse in Leeds. “We knew there would be a lot more great gear, more amps, more options,” enthuses Colin of this productive new work environment. “We were more prepared, we planned better. I had a lot more vocals to record on this album, pretty much every song has at least three harmonies, but James is a really chilled out guy, he made it easy for us. I had a very clear idea of how I wanted each song to sound, I thought about every single aspect. I probably over-prepared for this album, and it paid off!” Wytch Hazel’s proud, avowed Protestant Christianity continues to set them apart from the occult hocus-pocus of their peers, and the very title Sojourn has a Biblical inspiration: “It’s used a lot in the Old Testament, people would travel somewhere to stay for a short period of time,” explains Colin, comparing the idea to Wytch Hazel’s development since Prelude. “We’re going to reside here with this sound for a while, and the next album might not sound the same. Come and have a listen to this aspect of Wytch Hazel - it’s a temporary stay. We’ll be here for a while, then there will be something else. I’m always writing, it’s a constant stream, but I’m always trying to raise the bar, because I don’t want the next album to be not as good as the other ones!”

Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.
Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the “Wild Havana” album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.
Buried for many years, we’re excited to bring to life this unique album.

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.

Formed in early 1970 by Deep Purple bassist Nick Simper, Warhorse began as a backing band for singer Marsha Hunt. The group initially also featured Rick Wakeman, but he departed the band in April 1970 to join Strawbs. The band’s self-titled debut album was released on Vertigo in November 1970 and is a fine example of progressive hard rock of the era. With a heavy Hammond organ touch the group was in fact leading a new way of thinking, fusing neoclassical elements with heavy blues. Compared to label mates Black Sabbath, Warhorse were in the end much closer to Atomic Rooster and Quatermass. A truly welcomed re-issue in gatefold vinyl !

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.

Non-hippie devastating guitar-psych and PCP induced hard-rock!! ANGEL DUST PSYCHEDELIA is a "100% killers, no fillers" compilation featuring obscure and unknown 45s / unreleased acetates from the US, most of them released on private labels. Many local underground bands of the late 1960s-early 1970s lacked the money and/or material needed to make a full-length album, and would put out a self-released 45 instead. Record collectors and writers have been slow to understand this treasure of vintage private press singles, with music that is every bit as good as hallowed underground LPs like Mystic Siva or Boa. 14 tracks including the monster acid-punker "Time gone to waste" by Local Traffic, post-Stereo Shoestring band Red House with an unreleased track, the mega rare acetate by Matchbox from Houston, tremendous acid-psych by Dick St John and Ragweed Patch, raw hard-rock by Masque and Zoo and more. The perfect companion to those legendary 80s psych comps like Brain Shadows, Acid Dreams, Endless Journey. Remastered sound for a stunning in-your-face heavy guitar experience. Limited to 500 copies.

Limited red vinyl, gatefold sleeve

Probably very few people today have ever heard of the Finnish band called Uranus. In the short time of their existence in the mid-seventies, the group recorded their sole album Aamun hauta (“The Grave of the Morning”) which remained mostly unnoticed by the music consuming public. As drummer Jari Unha says, “the time just wasn’t right for the kind of music we were playing”. The more rewarding it is now, nearly half a century later, to dig the album up from the grave of oblivion and let its happy soul groove reach our ears. With the help of historical perspective, it’s perhaps easier now to appreciate this extremely well played and rare early Finnish dive into the vibrating musical territory inhabited by legendary figures such as Otis Redding and Stevie Wonder.

In the autumn of ’75 Uranus drove to Lahti and recorded Aamun hauta in Pekka Nurmikallio’s Microvox studio. Jari Unha is amused to remember the pink Volga of the trombone player Hannu Lehtonen. “We went to record American soul music with the pride of the Soviet car industry. Almost like a detail from an Aki Kaurismäki movie!”

It is presumed that Aamun hauta was too daring a deviation from the mainstream of the time to get the attention it would have deserved. On top of that, Basf had no guts or will to promote the LP. It was an optional subscriber’s gift in Popfoto magazine, together with albums by Kummitus, Kyklooppi and Horseshoe, but due to the lack of money, the short-lived magazine failed to succeed.

As for Uranus, things folded soon after recording the album. Soul music didn’t sell in live circuits either. For some time the group continued accompanying Markku Aro on dance venue gigs. The members have since made long and versatile careers in music.

Meanwhile, the original vinyl of Aamun hauta has become a rare collector’s item. Majanen has noticed someone in Italy is selling the LP for the price of 70 euros. Svart Records is proud to re-release this delicious and invitingly groovy album. Happy listening!

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present Sr4ht02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell Mastered by Mat Leffler-Schulman

The ups and downs of the high- ranking British heavy metal/prog act UFO are many and varied since their formation in London in 1969. The 1992 release High Stakes & Dangerous Men was a return to form that saw founding bassist Pete Way re-connect with lead singer Phil Mogg, this time with Electric Sun drummer Clive Edwards and guitarist Laurence Archer of Phil Lynott’s Grand Slam also in the ranks. Mogg, Way and Archer were a great song-writing team that worked in shades of Southern Rock and blues, drawing from noteworthy acts like Bad Company, the Rolling Stones, and Bob Seger. U.F.O. fans will not be disappointed!

1st Repress in Limited Edition of Trees Speak’s debut album. Trees Speak's debut record, Trees Speak, is the band's first of five albums they've produced in half a decade, and it is finally getting its worldwide reissue to their fans' long-awaited anticipation. Released on Cinedelic Records. Before their first album, they planned to create music with an unrehearsed approach performing simple beats, riffs, sequences, and going by instinct. They endeavored to create an auditory environment that let the listener's mind to be set free of tone, melody, and structure. They began to experiment with sounds, blending vintage aesthetics and equipment, which led them on an unexpected journey into creating and producing records. Always with their roots in 1960s-70s jazz, rock and roll, and experimental music they began to experiment with live sound performances and performance art. The band's live performances dramatically captured their idea of merging early experimental music such as the Dadaist, John Cage, and early electronic experimental music. While their music might seem organic and unrehearsed, the band has developed an creative way of communicating ideas into sound using visual art. For example, they use diagrams when communicating a musical idea. The band often refers to musical diagrams to express dynamics, chords, key signatures, and emotional expressions. These graphic notations are a template to communicate esoteric concepts, which they ingeniously transform into their music. They also use this form of illustrated art expression during live performances and in-studio recordings. It is a simple way to explain an overarching idea through music and art. Trees Speak are Daniel Martin Diaz and Damian Diaz both appear also on the album by Others (Cinedelic Records).

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

Signalling the commercial and artistic apex of the second coming of Traffic The Low Spark Of The High Heeled Boys would reach Gold less than a year after it’s release and eventually reach sales beyond that of Platinum. Re-Issued individually from the phenomenal 2019 Traffic – The Studio Albums 1967-74 Boxset. Remastered from the original tapes, pressed on 180g heavy weight vinyl and artwork caringly overseen and interpreted, this album is a must for any newcomer or indeed, seasoned Traffic fan.

The Sixth studio album by Traffic would meet mixed reviews from the music press but non the less songle like “Evening Blue” and “(Sometimes I Feel So) Uninspired” are high points. They summarized that the album “embodies the inconsistencies that beset the band as well as the high points that have kept Traffic moving. Re-Issued individually from the phenomenal 2019 Traffic – The Studio Albums 1967-74 Boxset. Remastered from the original tapes, pressed on 180g heavy weight vinyl and artwork caringly overseen and interpreted, this album is a must for any newcomer or indeed, seasoned Traffic fan.

After Steve Winwood jumped ship from chart toppers The Spencer Davis Group and quit the bright lights in favour of the countryside and jam sessions with Jim Capaldi, Dave Mason and Chris Wood, in wake of these events Traffic were formed, it was Birmingham, April ,1967. Traffic began as a psychedelic rock group and diversified their sound through the use of instruments such as keyboards like the Mellotron and harpsichord, sitar, and various reed instruments, and by incorporating jazz and improvisational techniques in their music. Soon after in December 1967 Traffic would release Mr. Fantasy their debut Album on Island records. Rolling Stone called the album “one of the best from any contemporary group” and has become a staple on almost any best album poll from the 20th and 21st centuries!

Re-Issued individually from the phenomenal 2019 Traffic – The Studio Albums 1967-74 Boxset. Remastered from the original tapes, pressed on 180g heavy weight vinyl and artwork caringly overseen and interpreted, this album is a must for any newcomer or indeed, seasoned Traffic fan.

After a brief disbandment Traffic returned in Summer of 1970 with John Barleycorn Must Die, hitting No’5 in the US Billboard Chart and thus making it their highest ever peak position in the US. John Barleycorn would take the band’s jazz/rock leanings beyond mere jamming and give Winwood excuse to exercise his expressive voice as punctuation to the extended instrumental sections. Re-Issued individually from the phenomenal 2019 Traffic – The Studio Albums 1967-74 Boxset. Remastered from the original tapes, pressed on 180g heavy weight vinyl and artwork caringly overseen and interpreted, this album is a must for any newcomer or indeed, seasoned Traffic fan.

You may or may not know of Tony Joe White, but we all know his two most famous songs — "Polk Salad Annie" and "Rainy Night In Georgia". This record is up to the standards of those great numbers. So soulful, humid, rich and textured. Or as Tony Joe would say, »It's swampy«.
And because it's such a classic, such a southern musical touchstone, we've gone and upped the ante — making this standout a 45rpm double LP release. Veteran audiophiles know and hear the difference. With more LP real estate, inner groove distortion is reduced and tracking by your stereo cartridge is improved. That's a major sonic advantage! Mastered by Kevin Gray at Cohearent Audio from the original analog tape, this LP sounds phenomenal from the first note to the last fade out.
The last four songs on side two of this album are going to positively floor you. They are so sparse and bluesy and emotional. And the sound is as good as the music. With this new QRP pressing, the sound is so good it's tape-like. So solid and jet-black is the foundation from which the music just jumps. Ya gotta hear it to understand what we're trying to describe. It's one of those jaw-hit-the-floor, sit-in-stunned-silence, goose-bump-raising, tears-in-your-eyes records. You know, the kind we're all looking for as audiophiles?
When Chad decided to reissue this album, he knew that it wasn't going to be a top-seller. But it's one of his all-time favorites for music and sound, and we feel that whoever takes a chance on this one is going to be richly rewarded. We gotta figure this one is going to end up being one of the favorites of some of our customers, too. If you trust us at all, you can buy with great confidence.
"Homeade Ice Cream" was originally released in 1973 on Warner Bros. and was co-produced by White and legendary Atlantic producer Tom Dowd. It's White's sixth overall record and his third for Warner Bros. This is very much a back porch acoustic affair. The music has the space to breathe, one of the reasons for the life-like sound.

An acid-folk masterpiece finally revealed ! When two worlds collide here’s where the legacy of Tim Hollier begins, his first album was released on United Artists in 1968 and this long overdue re-issue is a definitive statement of the master genius. Guest on the opening night of a Beckenham folk club run by his friend David Bowie, Hollier recorded ‘Message To A Harlequin’ with the assistance of Donovan arranger John Cameron. Hollier was also a regular on London's folk club circuit for several years alongside the likes of Paul Simon, Al Stewart and Nick Drake. Here’s your chance to finally grab his visionary songwriting.

Limited to 6000 copies.

It’s Hard celebrates its 40th anniversary with a 2-lp expanded vinyl version, Disc One a ½Speed master (OrangeVinyl) contains a re-mastered version of the album while Disc Two (Yellow Vinyl) continues the rest of the album but also has a disc of rare and unreleased material. The set, with art by Richard Evans, comes with a poster from the era.

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

Record Store Day 2020 Release.

The first official Rolling Stones’ rarities collection originally released in June 1975 to try and outwit the bootleggers. The release combines some legendary out-takes and rarities as well as focusing on the wealth of demos that Jagger & Richards composed for other artists (produced by Andrew Loog Oldham or Jimmy Miller). Remastered by Bob Ludwig (Gateway Mastering) and Lacquer cutting by Sean Magee (Abbey Road Studios) Released exclusively on 180g Hunter Green vinyl Includes exclusive iron-on t-shirt transfer of the sleeve design, which alludes to Franz Kafka’s ‘The Metamorphosis’ (the story of a man who wakes up one morning to find himself inexplicably transformed into a huge insect!). This release replicates the U.K. version, with two extra songs, “Some Things Just Stick In Your Mind” and “We’re Wastin’ Time” that were not on the original U.S. release.

Japanese pressing. OBI is missing. Vinyl is very close to NM. 1979 reissue. Original inner sleeve and insert. Tiny wear.

Though they're often most remembered for their later era psychedelic masterpieces The Pretty Things were one of the greatest UK blues-rock groups of the early to mid-60s. Right up there with early Rolling Stones, this is some of the finest rock and roll out of England, and their 1964-1967 BBC performances prove The Pretty Things were a force to be reckoned with. Essential live blues-rock from The Pretty Things on No Kidding! Limited edition splatter vinyl LP.

With their first, self-titled album for Liberty, The Petards from the state of Hessen in Germany had produced a real hit. The year 1969 meant for Klaus and Horst Ebert, Roger Waldmann and Arno Dittrich above all a wealth of appearances; at that time there was
probably no band harder working in Germany than The Petards. In September 1969 producer Sigi Loch called the band back to Munich's Trixi Ton Studio to record the next album. And as one would expect from the band, the musicians came to the studio well prepared. Within five days, enough new songs were recorded to create four singles in addition to the new album. All the titles were written by the two Ebert brothers, who apparently never ran out of ideas. The musicians used whatever kind of tools the studio gave them: synthesizers, Mellotron and piano were skillfully integrated into the Petards sound. As with the previous albums, the band captivated with an enormous amount of variety and talent. Progressive rock, Krautrock - everything was in the Petards songs - and yet with less than four minutes of running time they remained deeply suitable for airplay.
In early 1970 the new album 'Hitshock' was released on Liberty and continued the track of success of the four Hessians. For many people 'Hitshock' is the most mature and best produced album of the four from Schrecksbach. Fans and critics agreed. In April 1970, The Petards made it into the arts pages! Director Charles Lang had selected the band from 70 applicants and invited them to the Bremen Theatre. There they took part in the play 'Was ihr wollt', freely adapted from Shakespeare (’Twelfth Night’, or ’What You Will’). All arrangements were made by the musicians, some titles were rewritten. Unfortunately no recordings have been preserved. The play was not a great success, but The Petards got off well with the critics, and of course this also meant a good promotion for their new album. At least the four musicians had a lot of fun participating, but still they found time to carry the songs from 'Hitshock’ live through the republic. Bear Family releases this album for the first time again in the original artwork on 180 gram vinyl and adds a reproduction of the original poster to 'Hitshock'. This record is the third of four scheduled vinyl re-releases of the great Petards on Bear Family.

"Let me hear you say YEAH!!!". We’re proud to bring you the first official reissue of this essential 60s garage classic, after several bootlegs hitting the market in recent times and its appearance in countless compilations in the last 20 years. Done in cooperation with surviving band members Pat Walters and Danny Huntley, the single receives the usual deluxe treatment at Altercat and comes housed in a brand new picture sleeve, with a 12-page booklet with the band’s story written by Mike Stax (Ugly Things magazine) and previously unseen pictures. Sound mastered by Tim Warren (Crypt Records / Back From The Grave). We aim to get these to you Asap so they are available for the Christmas period. Read on below

With one foot in the harmony beat-pop of the Hollies and other in the early psychedelic pop experimentation of Revolver era Beatles and Syd Barrett’s Pink Floyd, The Mirage left behind a string of 45s and unreleased studio recordings, a selection of which is presented here for the first time on LP. Featuring UK psych classics like “The Wedding Of Ramona Blair”, “Hold On”, “Ebanazeer Beaver”, “Mrs Busby” and many more! *Includes four-page insert with rare photos / memorabilia and detailed liner notes by Stefan Granados The Mirage were a quintet from Hertfordshire, England, formed in 1965. Fuelled by two gifted songwriters (Ray Glynn & David Hynes), they were soon recruited by Dick James (music publisher of the Beatles and the Hollies) as session musicians. Allan Clarke and Graham Nash from the Hollies were so impressed with them, that they took them under their wings, helping them to get a deal with CBS. Between 1965 and 1968, the Mirage released and self-produced seven singles for different labels (cbs, Phillips, Page One…), including titles like “The Wedding of Ramona Blair” (pure psych-pop perfection, included on Rubble in the 80s), “Hold On” (a mod-psych classic), “Tomorrow Never Knows” (a surprising cover released at the same time as Revolver, thanks to their Dick James connection), “You Can’t Be Serious” and more. But they also recorded lot of stuff that never saw the light of day at the time. These unissued songs run the gamut from magical Hollies inspired harmony pop (“Gone To Your Head”, “What Do I Care”, “I Want Love”…) to pure psychedelic pop, highly influenced by early Pink Floyd and Revolver era Beatles: “Lazy Man”, “Ebaneezer Beaver”, “Mrs Busby”…some of these tracks were included in the 90s on famous bootlegs like “Artifacts From The Psychedelic Dungeon” but now it’s the first time they’re all collected on a legit vinyl compilation, making “You Can’t Be Serious: 1966-1968”, the missing album The Mirage could have released at the time and a must for any UK psych aficionado. It comes with detailed notes by Stefan Granados (author of The Beatles and Apple Records: Those Were The Days 2.0 book, telling the interesting Mirage story, including their connections to Dick James, the Hollies, Spencer Davis Group, Caleb (of “Baby, Your Phrasing Is Bad” fame), Plastic Penny, Portebello Explosion…

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.

Record Store Day 2021 Release.

Limited edition, remastered, picture disc vinyl. 1LP 50th anniversary release of the 1971 British comedy film soundtrack album. Performed by THE Kinks with additional orchestral arrangements by Stanley Myers. Their ninth official studio album and last on the PYE label. First re-issue on vinyl for 20 years. Sleeve artwork and textured cover as per the original release. Produced in association with THE Kinks.

Sixties UK freakbeat legends get a new legit re-release of their complete available recordings and Guerssen is the proud new home for them.
A real cult freakbeat & psychedelic group, well-known for such all-time classics as “Path through the forest” and “Try a little sunshine”, Factory released only a couple of 45s (both of them obscenely rare and paid big$$$ when rarely showing up). Here we get the 4 tracks appearing on these 45s, plus a couple tracks taken from acetates (killer covers of Family’s “Second generation woman” and Fairport Convention’s “Mr. Lacey”), as well as a new mix of “Path through the forest” that includes the original, different psychedelic effects that were supposed to make it to the original release but were dropped out by the MGM label supervisor.
Remastered sound (only beware, “Second generation woman” comes from a destroyed acetate!) and with liner notes by Factory’s producer Brian Carroll.

The Doors L.A.Woman meets Analogue Productions' Uhqr, the pinnacle of high-quality vinyl! Definitive limited run reissue Ultra High Quality Record! 33 1/3 RPM LP release limited to 4,500 copies Die-cut direct-to-board jacket to match original release Mastered by Bernie Grundman from the original analog master tapes Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging! Across the robust Doors discography, there is no better candidate for a Uhqr treatment than the band's sixth studio album, L.A.Woman. Flawless is the only way to describe these limited edition 200-gram vinyl reissues. Featuring mastering by the legend, Bernie Grundman, from the original analog tape, and custom-pressing at Quality Record Pressings, these beauties are created using Clarity Vinyl, for the purest sound and most visually stunning presentation. Every Uhqr will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each Uhqr will be packaged in a deluxe box and will include a booklet detailing the entire process of making a Uhqr along with a hand-signed certificate of inspection. In addition, we've meticulously recreated the die-cut directy-to-board jacket from the original L.A.Woman release. Plus, we're including an 8-page booklet with liner notes by Ben Fong-Torres. The title track is “maybe the best Chuck Berry riffs since the Stones” said one reviewer. And that’s not even mentioning “Love Her Madly,” which became one of the highest charting hits for The Doors. “Love Her Madly,” was written by Doors' guitarist Robby Krieger, whose inspiration came from passionate arguments with his girlfriend and future wife, Lynn. The song peaked at No. 11 on the Billboard Hot 100 singles chart and reached No. 3 in Canada. Via such tracks as "The Changeling," "Crawling King Snake," and the frothy, rollicking title track, the collection leaned heavily toward the Blues — in particular, Morrison's boastful "Lizard King" brand of it. All-in-all, Rolling Stone proclaimed L.A.Woman, "The Doors' greatest album" and "A landmark worthy of dancing in the streets." A landmark indeed, now a landmark production on Analogue Productions Uhqr Clarity Vinyl! Originally released in 1971 Set includes: Uhqr Box Die-cut direct-to-board to match original release 11.75" x 11.75" original insert 8-pg Booklet including liner notes by Ben-Fong Torres Uhqr Signature Sheet Uhqr Technical Specs Manual Musicians: Jim Morrison, vocals Robby Krieger, guitar Ray Manzarek, keyboards John Densmore, drums

Press releases are rubbish! The band who wrote the music don't write them, so some oik who didn't write the music is wheeled in and then, with a Thesaurus propped open on their lap, they attempt to describe sounds with words. As I said, rubbish! So I asked co-founder and frontman of The Cravats, The Shend, to describe 'Dustbin of Sound', their first new LP in 37 years. "As always, it's unique" he said enigmatically. The Thesaurus gave me, 'distinctive', 'individual', 'idiosyncratic', 'different', 'eccentric' and 'unusual' for unique (flipping writing itself this).
The Cravats have indeed always been all of those things, but 'unique' sums it up just fine. Okay, you may prefer to be dragged along the motorway under a rusty Land Rover than have to listen to that sax-riddled, bass-laden Dadaist weirdness again but you can't deny they're unique. And with 13 brand new slabs of peculiarity from these particularly peculiar people (even oscillator overlord, Simeon Coxe of Silver Apples pops up for a few seconds on 'Motorcycle Man'), DoS is still the Cravats that John Peel loved (4 sessions) back in 1978, but with an extra 35 years of life on Earth soaked into their bones.
The two critically acclaimed singles from last year, Blurred and Jingo Bells which Marc Riley, Gideon Coe and Henry Rollins amongst others, played a wad on the wireless are here, as well as songs involving buried cattle, hatcheting Toyotas, death ray vapourisation, the mud-soaked sibling of Neptune and, of course, atheist yacht-owning crocodiles. Er, help me out here, Shend. "Music should always be passionate, preposterous, atmospheric and above all entertaining. We fulfill the remit." They do. It's like watching 13 magnificent mini-movies at your local multiplex but you're eyeballing them with your ears. And talking of Thesauruses, who the hell uses words like, 'maliloquent' and 'predilection' in Pop songs? If Shakespeare, Max Ernst and Beefheart had a radio show, this LP would probably be on heavy rotation.

Following on from the global success of ‘Abbey Road’, Apple Corps and USM are proud to present the next multi-format Beatles album reissue of ‘Let It Be’.

January 1969 – The Beatles planned to return to live performance, setting up in Twickenham Film Studios, London, for 21 days of rehearsals. They then decamped to their new studio in their Apple office building in Saville Row and on January 30th performed their last ever live group performance on the rooftop. All of this was filmed for a proposed documentary (eventually released in 1970). During the rehearsal process, they asked Glyn Johns, who had been hired to help with the live sound, to attempt a mix to create an album. This was never released, becoming known as one of the great ‘lost’ albums in rock history and is now included in this Super Deluxe Set. The album was delayed further and in fact became their 12th and final official album release on 8th May 1970 following additional production by American producer Phil Spector.

The Beatles iconic final studio album being released to coincide with the worldwide release of Peter Jackson’s 3 part documentary ‘The Beatles: Get Back’
New stereo mix of the original album by Giles Martin
Additional discs featuring a selection of outtakes from the recording sessions
Blu-ray contains Dolby Atmos mix, 5.1 surround mix, plus high-res stereo mix of the original album

For the first time ever on vinyl here are four original Lennon/McCartney compositions which not many people have heard before. All the performaces here were recorded during the January 1969 sessions and were concidered not good enough for the 'Let It Be' and the 'Abbey Road' albums. 1st generation tapes. The first track which spreads all over side 1 is a fine example of how the Beatles could work together, exploring new ideas as this Lennon original devolpes into a jam session around the line of 'I told you before, get out of my door'. In the middle of this track you can hear John discussing accord changes with George while Paul sings this line as a rugh guide. Ringo is in his best form here, you've never heard him using sticks before like that! It's imortant to indicate that this song is NOT 'I found Out' from Lennon's Plastic Ono Band" album of 1970. The opener of side 2, is a also a Lennon track, the longest version ever to appear, a track that could do well along 'Mean Mr. Mustared' and such. Closing the album are two long McCartney Tracks. Fast rockers in the 'Helter Skelter'/I'm Down' tradition. The last one could not appear on any Beatles album as the Feminist Mafia would ban it!

2LP 180gm 45 RPM audiophile edition, printed insert, polylined inners, gatefold sleeve, numbered Obi strip.The Alan Parsons Project "Pyramid" is re-issued in a variety of different formats including this 2LP heavyweight, 45 RPM Audiophile edition. The first pressing comes with a numbered Obi-strip. This edition was expertly cut by Miles Showell at Abbey Road Studios, October 2023 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers taken from the original 1978 mastertapes.As with other The Alan Parsons Project albums, the focus was on very high-quality studio sound production, and they recorded the album at Abbey Road Studios in London. There were a variety of different lead vocalists employed including John Miles, Colin Blunstone, Lenny Zakatek, David Paton, Jack Harris and Dean Ford. Plus, a selection of session musicians such as guitarist Ian Bairnson and drummer Stuart Elliot with arrangements by Andrew Powell.

Tasavallan Presidentti's 1st incarnation with vocalist Frank Robson performed their last studio session at YLE Broadcasting Company in Helsinki, 1971. This session was, however, completely buried by time and forgotten, until Svart Records accidentally stumbled upon an archival copy.

This studio session recording from the autumn of 1971, found from the archives of the Finnish Broadcasting Company, is a sensational discovery in many ways. It is a studio live session which the band recorded just before parting ways with vocalist Frank Robson, which may be the reason why the tape was left unused.

Otto Donner, one of the three founders of Love Records, the band's current label, had become the head of the Finnish Broadcasting Company's entertainment unit, which produced this studio session. Perhaps he was planning to release it on Love Records?

The release features extensive liner notes by writer Petri Kuljuntausta, who provides background details which hint to the fact that had the band not decide to find a new vocalist a few months later, this tape could indeed have been the Tasavallan Presidentti album number three.

Tasavallan Presidentti's 1st incarnation with vocalist Frank Robson performed their last studio session at YLE Broadcasting Company in Helsinki, 1971. This session was, however, completely buried by time and forgotten, until Svart Records accidentally stumbled upon an archival copy.

This studio session recording from the autumn of 1971, found from the archives of the Finnish Broadcasting Company, is a sensational discovery in many ways. It is a studio live session which the band recorded just before parting ways with vocalist Frank Robson, which may be the reason why the tape was left unused.

Otto Donner, one of the three founders of Love Records, the band's current label, had become the head of the Finnish Broadcasting Company's entertainment unit, which produced this studio session. Perhaps he was planning to release it on Love Records?

The release features extensive liner notes by writer Petri Kuljuntausta, who provides background details which hint to the fact that had the band not decide to find a new vocalist a few months later, this tape could indeed have been the Tasavallan Presidentti album number three.

Svart Records proudly present Tasavallan Presidentti live at the Ruisrock festival in 1971!

Tasavallan Presidentti’s annual performances at Ruisrock in Turku, Finland during the festival’s early years were proof of the band’s rapid ascent from a local band to an internationally renowned group of top musicians. “Pressa” left a lasting mark on many a festivalgoer, and the most optimistic ones were hoping to get these performances on a live album, if recordings existed. They do exist, and what remains on tape of the first ever Ruisrock performance was released on Changing Times and Movements (Svart Records), and the show at Ruisrock 1971 is now coming out on this album.

Arriving in Turku 1971 “Pressa” had completely shed their skin and revamped their set list from the previous year. The group had evolved into something entirely new musically. The festival had a more progressive lineup this year, and Pressa got the chance to prove themselves as part of a well respected international lineup. Some of Ruisrock’s international talent in 1971 included The Jeff Beck Group, The Kinks, Fairport Convention, Canned Heat, Juicy Lucy, Hardin & York, Pete Brown & Piblokto!, Pink Fairies, Stefan Grossman, Niemen Enigmatic, Culpeper's Orchard, Fläsket Brinner and Fruit.

Another proof of the rapid renewal of Pressa’s set list is how they would perform songs under different names, until the final name was chosen when releasing the song on an album. Jukka Tolonen’s composition The Bargain is included twice on this live album. The earlier version is from Ruisrock 1971 and the latter from the Finlandia house in December the same year.

The Bargain was first performed as Better Move On with lyrics by Frank Robson. In the autumn of 1971 the piece was re-christened as Falling Deeper, and this unreleased studio version was discovered and released on The Lost 1971 Studio Session (Svart Records). This was the name the song got for a few months, and was registered with Teosto, the Finnish music copyright association with this title. For whatever reason the song was performed using its older name at the Finlandia house in December 1971. Then, when Eero Raittinen sang the song when Lambertland was recorded, Mats Huldén provided new lyrics and the song got its final name The Bargain. Ramblin’, a familiar tune from Tolonen’s solo career, was at first performed as Feel My Way Through with vocals by Robson. This early version is featured on this live album.

There’s been a lot of talk among fans about a certain cover tune by Tasavallan Presidentti and its discovery and release are long overdue. Well, here it is, King Kong by Frank Zappa, performed by Tasavallan Presidentti at Ruisrock 1971!

Svart Records proudly present Tasavallan Presidentti live at the Ruisrock festival in 1971!

Tasavallan Presidentti’s annual performances at Ruisrock in Turku, Finland during the festival’s early years were proof of the band’s rapid ascent from a local band to an internationally renowned group of top musicians. “Pressa” left a lasting mark on many a festivalgoer, and the most optimistic ones were hoping to get these performances on a live album, if recordings existed. They do exist, and what remains on tape of the first ever Ruisrock performance was released on Changing Times and Movements (Svart Records), and the show at Ruisrock 1971 is now coming out on this album.

Arriving in Turku 1971 “Pressa” had completely shed their skin and revamped their set list from the previous year. The group had evolved into something entirely new musically. The festival had a more progressive lineup this year, and Pressa got the chance to prove themselves as part of a well respected international lineup. Some of Ruisrock’s international talent in 1971 included The Jeff Beck Group, The Kinks, Fairport Convention, Canned Heat, Juicy Lucy, Hardin & York, Pete Brown & Piblokto!, Pink Fairies, Stefan Grossman, Niemen Enigmatic, Culpeper's Orchard, Fläsket Brinner and Fruit.

Another proof of the rapid renewal of Pressa’s set list is how they would perform songs under different names, until the final name was chosen when releasing the song on an album. Jukka Tolonen’s composition The Bargain is included twice on this live album. The earlier version is from Ruisrock 1971 and the latter from the Finlandia house in December the same year.

The Bargain was first performed as Better Move On with lyrics by Frank Robson. In the autumn of 1971 the piece was re-christened as Falling Deeper, and this unreleased studio version was discovered and released on The Lost 1971 Studio Session (Svart Records). This was the name the song got for a few months, and was registered with Teosto, the Finnish music copyright association with this title. For whatever reason the song was performed using its older name at the Finlandia house in December 1971. Then, when Eero Raittinen sang the song when Lambertland was recorded, Mats Huldén provided new lyrics and the song got its final name The Bargain. Ramblin’, a familiar tune from Tolonen’s solo career, was at first performed as Feel My Way Through with vocals by Robson. This early version is featured on this live album.

There’s been a lot of talk among fans about a certain cover tune by Tasavallan Presidentti and its discovery and release are long overdue. Well, here it is, King Kong by Frank Zappa, performed by Tasavallan Presidentti at Ruisrock 1971!

This new double-album by legendary Norwegian progressive rock outfit Tangle Edge, titled ‘Cispirius’, contains studio recordings from the last half of the 1990s. Some of it has never been released before, while some has been re-mixed and is released here for the very first time on vinyl ! The key track is the full length 58min journey entitled ‘Beyond The Hills Of Inhibition’, which first appeared on the ‘Entangled Scorpio Entrance’ live album 1992. Some might argue that the gem of all gems here, is the seventeen minute long studio version of ”Cañcalam”, one of the band`s most well received stage-numbers throughout the 90s, a recording from the band`s uncompleted 1999-album

The two-piece rock band Taika’s (帯化) 3rd album ‘On Chitou Jichi’ (御池塘自治), originally released in 2023, is now available on vinyl. The album’s folkloric vocals and krautrock-inspired repetition swirl together with environmental sounds, creating an immersive atmosphere. The interplay between the post-Fourth World Revival soundscapes and the raw, earthy physicality rooted deep within the music blurs the line between the nostalgic and the novel, each reflecting echoes of the other.

In this album, Taika explores the residual sense of "foreignness" within the now-commonplace rock band format in Japan, re-examining it and injecting new possibilities for "translation" and reinterpretation into those gaps.

This release includes a large poster-style lyric sheet. Additionally, it comes with a download code for the digital version of ‘On Chitou Jichi,’ as well as a code for a destructive remix of Taika’s track “Kouraku Biyori” by the up-and-coming dub techno artist Yo, who is signed to Taika’s independent label, Zōen Keikaku.

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

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

New reissue of the Stonewall Noise Orchestra legendary album Constants In An Ever Changing Universe with brand new Colored Vinyl by Heavy Psych Sounds. It was quite chaotic putting this album together. It’s recorded in 5 different locations. Rehearsal rooms, a living room, a super professional studio, high and low really. I guess it was quite a challenge for Robert Ekholm to do the mixing. It was also some personal challenges at the time which resulted in John Hermansen doing the vocals. John is an incredible singer and an awesome dude, we’re very thankful he helped us keeping the band rolling. The album was supposed to be released earlier than it was but due to all kinds of stuff out of our control it took some time. In the middle of this chaos was the music, the constant in an ever changing universe. It’s an album we’re proud of and we still play many songs from it live.

New reissue of the Stonewall Noise Orchestra legendary album Constants In An Ever Changing Universe with brand new Colored Vinyl by Heavy Psych Sounds. It was quite chaotic putting this album together. It’s recorded in 5 different locations. Rehearsal rooms, a living room, a super professional studio, high and low really. I guess it was quite a challenge for Robert Ekholm to do the mixing. It was also some personal challenges at the time which resulted in John Hermansen doing the vocals. John is an incredible singer and an awesome dude, we’re very thankful he helped us keeping the band rolling. The album was supposed to be released earlier than it was but due to all kinds of stuff out of our control it took some time. In the middle of this chaos was the music, the constant in an ever changing universe. It’s an album we’re proud of and we still play many songs from it live.

New reissue of the Stonewall Noise Orchestra legendary album Constants In An Ever Changing Universe with brand new Colored Vinyl by Heavy Psych Sounds. It was quite chaotic putting this album together. It’s recorded in 5 different locations. Rehearsal rooms, a living room, a super professional studio, high and low really. I guess it was quite a challenge for Robert Ekholm to do the mixing. It was also some personal challenges at the time which resulted in John Hermansen doing the vocals. John is an incredible singer and an awesome dude, we’re very thankful he helped us keeping the band rolling. The album was supposed to be released earlier than it was but due to all kinds of stuff out of our control it took some time. In the middle of this chaos was the music, the constant in an ever changing universe. It’s an album we’re proud of and we still play many songs from it live.

Like a puff of smoke, Stoned Jesus have risen above the Carpathian Mountains as not only the heaviest, but perhaps the most important rock band to emerge from Ukraine. Prior to Stoned Jesus' first communion, affable frontman Igor Sydorenko was just another familiar face among local progressive rockers. But after rekindling his old flame for metal amidst a stormy period in his personal life, Igor and his two new bandmates went off in search of more crushing highs. While only their second album, Seven Thunders Roar marks an early milestone for Stoned Jesus. The riffs still roll downhill with all the sludgy force of a mudslide, but the band added crisp acoustic guitars to reflect their newfound inner strength. "Climbing up", Igor sings on "I Am The Mountain", a 16-minute instant classic that charges through lush folksy valleys and peaks of headbanging doom at full steam. "And we're never going to stop". For fans of Black Sabbath, Sleep, Electric Wizard. 1. Bright Like The Morning 2. Electric Mistress 3. Indian 4. I'm The Mountain 5. Stormy Monday 6. Bright Like The Morning (Extended) 7. Stormy Monday (Extended) 8. I'm The Mountain (Extended)