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Cover is missing. RI pressing.

No Obi. Record is close to NM. Cover has small seam split.

Original US Pitman pressing.

CD comes in a soft case, instead of the original crystal case. All booklets included.

CD comes in a soft case, instead of the original crystal case. All booklets included.

US AMEX Vinyl. Original inner sleeve. With hype sticker and promo stamp.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!! Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

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.

It's a dream to release not one, but both iconic singles by Junkshop glam titans Hector. First up is their debut from '73, "Wired Up." In a perfect world, this would have topped the charts and The Osmonds would have struggling to make ends meet. Alas, it is a well known fact that quality cannot be shoved down the public's throat. In spite of loads of coverage in the teen mags and even TV appearances—fame and fortune were not in the cards for Hector. "Wired Up" goes for the jugular from the get-go with that throbbing single note riff pulverizing your senses. How can a song this incredibly catchy not be a smash? Politics, and the fickle whims of the BBC, who never gave the record a chance. See Trevor White's masterpiece "Crazy Kids" for another sterling example that the world isn't fair. Here it is available again for the first time since 1973 in it's original format, our fave, the almighty 7" 45 rpm single. Enjoy, true believers. Remastered and sounding better than the original 1973 pressing which was honestly noisy and not perfect."

During the early 1970s, Detroit rock band Howl The Good signed to Motown’s prog-rock offshoot, Rare Earth. Travelling to London to record their self-titled debut album at Olympic Studios, they were fortunate to work with engineer Chris Kimsey (best known for his later work with Peter Frampton and The Rolling Stones), with ex-Spooky Tooth keyboardist Gary Wright in the producer’s chair; Wright was a highly-rated session player that worked with George Harrison, Elton John, Joe Cocker and Steve Winwood, and he also enjoyed a successful solo career. The resultant album is a competent slice of semi-commercial prog rock with an undercurrent of blues and the odd pastoral number; despite the obviously American feel of the material, Billboard assumed the group was British, due to the location of the album’s recording. Despite the strength of “Just Pretend It’s Another Day” and “Long Way From Home,” both co-written by Wright, and a one-off rendition of Cat Stevens’ “The Joke,” the album flopped on release on both sides of the Atlantic, leading the band to remain in obscurity and ultimately break up.

Their second album, now available worldwide thru Overdrive Records. “When a band is described as “the new Gary Glitter” – by legendary pop Svengali Kim Fowley, no less – and their label proudly slap the quote on their website rather than irately demanding a retraction, you’re entitled to wonder what the hell is going on. The answer: Italian quintet Giuda are the greatest ’70s glam-rock band to have existed since… the 1970s. Bedecked with more handclaps and tambourines than a Pentecostal church, their second album starts with a Mud reference (‘Wild Tiger Woman’), cribs from The Sweet’s ‘Blockbuster’ (‘Teenage Rebel’) and reaches a conceptual zenith with the song title ‘Roller Skates Rule OK’. Their zeal for time travel would be frightening if they didn’t write such stomping tunes. “

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

Jerry Cutillo, deus ex machina of the artistic nucleus named O.A.K. (Oscillazioni Alchemico Kreative), is a multi-instrumentalist, singer and songwriter. Encompassing the world of prog rock, he has explored a resounding bridge between the European esoteric traditions and the magical rituals of Siberia, giving birth to a new, sophisticated and timeless musical vocabulary. His main strengths are represented by intriguing compositions, taste for the arrangements, melody and energy, stretched to the limit in his live act, which includes a wide cross-section of self-penned songs, traditional tunes and prog classics. All of this, together with a large number of collaborations with icons of the british progressive music, has given him and his band great recognition all around the world. "nine Witches Under A Walnut Tree" (out on 9th september 2020) was the missing piece of the esoteric prog trilogy started in 2016 with the album "viandanze" and continued with the successful, double LP "giordano Bruno" in 2018.

Promo copy with white labels . Promo stamp on back cover.

The Stooges were a no brakes act who careered inexorably towards annihilation.They finally hit the wall in 1974, after the most horrible blow out imaginable at the Michigan Palace, where Iggy practically begged to be crucified by an angry mob. But remember this kids, Iggy hated himself so much he wanted to live.

Original inner sleeve.

50th Anniversary Edition.

Includes original inner sleeve.

Never-before-heard unreleased Junkshop Glam gold dust from the genre’s No.1 band. Portsmouth’s Hector are widely regarded as the very best of the Junkshop Glam Rock bands introduced to us in the early 2000s by the RPM’s lipsmackin 70’s CD series. Recently discovered archive analogue tape recordings found in the attic of frontman Phil Brown form this unique LP. The band’s original DJM singles together with “Demolition”, an unreleased third single, join forces with outtakes, demos, live and rehearsal recordings to make this release an unmissable opportunity for glam rock fans worldwide to hear more from the band whose anthem “Wired Up” has been adopted as a battle cry by a new audience of fans with books, fanzines, radio shows and club nights proudly named after it. Hector’s “Wired Up” was released in 1973. It had all the ingredients of a hit single. It should have topped the charts and launched a spectacular career for the band. In a fair world, the name “Hector” would be mentioned alongside bands like Sweet and Slade. Unfortunately, timing and luck weren’t on their side. The product was there, the press coverage was there, the Radio 1 airplay (which was everything back then) wasn’t and the kids that did hear it must have been deaf, dumb and blind. The plug was finally pulled in 1975 after their second single “Bye Bye Bad Days”, another poky punch of proto punk dressed up in a velvet glove, also failed to become a heavy-hitter. “Demolition – The Wired Up World Of Hector” is not a phoenix from the ashes. It is Pompey* from Pompeii. Tunes from the ruins. Glamour in amber; perfectly preserved. A second chance to make a first impression. Hector are back! Are you watching and listening?

Steely Dan before they were Steely Dan! As struggling musicians living in Brooklyn during the late sixties, Walter Becker and Donald Fagen were hard at work peddling their music to publishers and producers of the legendary Brill Building. Having housed prolific hit machines such as Burt Bacharach, Hal David, and Carole King, it was here that the duo compiled a number of demos, compositions and early versions of future Steely Dan classics. The collection of original recordings recorded between 1968-71 provide exciting insight to Becker & Fagen's creative process, the sound of their early years and the soul behind this beloved writing partnership. On LTD edition 180g sun yellow vinyl.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

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.”

"Isayahh Wuddha," an artist acclaimed for his unique dreamy funk sound crafted using cassette tape MTR, was none other than a personal project by musician Taku Hayashi residing in Kyoto. There is hardly anyone who would feel uneasy about his second album under the psychedelic project "ohhki", another activity of him, being released by P-vine. His music style, which shows no intention of conforming to mainstream music, is a strong expression filled with solid originality.

The songs recorded with analog equipment are treated with lo-fi sound production, successfully creating a unique pop world that delicately combines elements of psychedelia, dub, funk, and disco. While experiencing a sensation of floating gently in space, the undulations, akin to the brushstrokes of an impressionist painting layered with reverberations and echoes, are drawn onto the canvas of the sky along with the resonance of electric guitars, old keyboards resonating with cheap tones, and enchanting voices, accompanied by the repetitive beats of a drum machine. Beginning with an ode to birds, invoking surprises and casting small spells, after being struck by intense rain between night and dawn like a flowing stream, this world is embraced, lingering within me, entranced by the blues, and ending with "Well... just like a banana ripening... you're amusing." Simply there is light and the wind blows. It exists as literally alternative music, vividly presenting another world, rich in color.

Orphan Egg were a short lived group who were formed in 1967 in San Jose California. Their sole self-titled album was released in 1968 on the small independent company Carole Records. Essentially a garage-psych album – in the tradition of future iconic compilation like Nuggets or Pebbles – Orphan Egg was recorded by a bunch of students at Saratoga High School in Saratoga. Occasionally they won the Vox Battle of the Bands, a nationwide competition. They also appeared on the soundtrack of the classic bike-movie ‘Cycle Savages’ with 3 tracks.

Vinyl is close to NM. Cover is missing.

“The Idiot” is the debut solo album by American rock singer Iggy Pop. It was the first of two LPs released in 1977 which Pop wrote and recorded in collaboration with David Bowie. Drawing on the electronic sounds of German groups such as Kraftwerk, “The Idiot” is a departure from the hard rock of Pop's former band the Stooges, and has been compared to Bowie's contemporaneous "Berlin Trilogy" of albums in its treated instrument sounds and introspective atmosphere. Sessions for the album were begun prior to the recording of Bowie's Low (1977), and “The Idiot” has thus been called the unofficial beginning of Bowie's Berlin period.

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.

The Stooges were a no brakes act who careered inexorably towards annihilation.They finally hit the wall in 1974, after the most horrible blow out imaginable at the Michigan Palace, where Iggy practically begged to be crucified by an angry mob. But remember this kids, Iggy hated himself so much he wanted to live.

It's one more record for your collection, and yet another way to remember the great times at the Second Worst Raduno in beautiful Edoné Bergamo last July. In the summer of 2021, year two of the coronavirus pandemic, the Punk Rock Raduno crew was able to bring a 3-day open air event to our community. The main act on stage were Giuda, the super popular glam-fueled rocknroll machine from Rome.

First time authorized reissue of Rust Belt hard rockers Magi’s (pronounced ˈmā-ˌjī) 1976 privately-pressed, hard rock nugget, Win Or Lose, originally issued on the infamous Uncle Dirty’s Sound Machine label. Win Or Lose carries similar glimmers to other vulgar, pre-PC, mid-Amerigan rock whose stock-in-trade boy meets girl early rock’n’roll topicry could easily be pulled from the Rock 101 playbook, but Magi was more than mired in muscle and machismo. Magi displayed the general insouciance, hormones, and discontent of their age, but also a concerned and wounded heart underneath the veneer, much less common to the field. While essentially a meat-and-potatoes hard rock record, the album flies closer to the early ‘70s beginnings of the genre (with nuance and psychedelic hangover in tow), when the definition was less rigidly and generically defined, and is additionally expertly sequenced across its eight strong tracks, improved by a masterful mix and remaster by T. Dallas Reed (Electric Wizard, Iron Claw, Mos Generator, Orange Sunshine, Poobah, Saint Vitus, Treepeople, Truth And Janey, et al.), utilizing a reel-to-reel from the original recording sessions. In-depth and informative liner notes by Jeremy Cargill (Got Kinda Lost / NTS Radio) and Patrick Lundborg. As the uncredited seeker who penned the original rear sleeve text expressed... “Energy is apparent, the subtleties are there, listen, there’s no question how they feel! Feel it with them! Feel the Magi!” “…quite contemporary in style for its 1976 release year. Regional and local bands tend to lag behind dominating music trends by a few years, but Magi’s sound seems entirely in line with then popular acts like Aerosmith, early Kiss, and maybe Ted Nugent.” – Patrick “The Lama” Lundborg (The Acid Archives)

Ugo Busoni's “Valvole” is a classic example of the so-called library music records released – between the end of the Sixties and up to the Nineties – in Italy as in the rest of the world, in order to provide 'background music' to be used in the editing of news broadcasts, radio and newsreels. These were records made by highly experienced composers and musicians who, in a very short time and with limited or non-existent budgets, had to make music to be synchronized to images. For obvious reasons, they had to be tracks of short duration, characterized by a certain didactic 'formalism' that allowed an immediate choice for their main use. The titles given to the compositions had to recall a specific topic or setting that would make the choice of technicians easy for synchronization. Tokyo, Uscita Da Scuola, Raid, Polvere Cosmica, Su Una Nuvola, Controspionaggio and Starne are, not surprisingly, some of the titles of the tracks of this album published more than forty years ago by Nuova Idea. Sounds from the Far East, folky and rock guitars, psychedelic rhythms, avant-garde tunes, cosmic echoes and much more are some of the elements of one of the most indecipherable records of that historical period, reissued for the first time on vinyl by Musica Per Immagini with a brand new artwork.

1972 Debut album by cultish japanese combo ! This unbelievable psychedlic/progressive rock band came together the same year after Shigeru Narumo and Hiro Tsunoda shelved their project Strawberry Path (they had a sole album release in 1971 and eventually a 7 inch). Their sound is pure adrenaline, a stormy hard blues kinda thing, with heavy Hammond organ riffs and more than a freakbeat influence. Partially informed by contemporaries british bands like Deep Purple or Uriah Heep, they opened to more gentle and sophisticated arrangements in the soulful ballad ‘I Love You’ with an epic string section. The hypothetical single ‘Plastic Fantasy’ could have been an alternative dancefloor classic with that Traffic/Brian Auger feel in the end.

Blue vinyl. With insert. Limited edition. Original inner sleeve

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.

Still sealed. Tiny wear. Limited numbered edition. Picture Disc. 2020 reissue.

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

2015 remastered reissue. Still sealed.

Previously unreleased live and studio recordings mainly from the Spotlight Kid and Clearspot album and tour eras together with a gatefold album sleeve inner double spread of many previously unpublished rare photographs of Don and the Magic Band.

guess who's back?

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series. “Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany.

First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001. We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session.

As for the music itself we again refer to Julian Cope´s review and remarks from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995): “When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards. 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues ! Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality. The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it.

Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic. 7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers. The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions. In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though, Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W. Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away. In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

180 gram vinyl!

180 gram vinyl!

First ever reissue of this elusive private pressing from 1970 by British singer/songwriter Keith Noble (a founding member of pre-Pink Floyd bands Sigma 6 / The Abdabs and co-composer of Chad & Jeremy’s hit ‘A Summer Song’). Mr. Compromise, originally released as a tiny demo pressing on the custom Eden label (home also of other psych-folk rarities like Mourning Phase), showcases the versatile songwriting talent of Noble: jazzy-bossa pop, Kinks/Hollies/Byrds styled full electric numbers and haunting psychedelic folk not unlike Al Stewart or Incredible String Band. Featuring Keith’s friend from the pre-Floyd days Rado Klose (one of the earliest members of Pink Floyd) on lead guitar. After the album release, Keith Noble dedicated his life to architecture and teaching and he also wrote several musicals. Sadly, he passed away in 2014. This long awaited reissue of “Mr Compromise”, has been possible with help from the Noble family.

Tolonen’s 2nd solo album from 1973 reissued in its original gatefold format with insert including new interviews with all key players – Tolonen, Esa Kotilainen, Häkä Virtanen, Måns Grundstroem.

100 copies available only.

Tolonen's 1975 album Hysterica was nearly an international hit, with the band scheduled to appear on a major international tour. However, things didn't work out and the album remains a cult item. Some songs from it, such as Silva The Cat and Windermere Avenue, are perennial favorites on compilations of Tolonen's best work.

This edition features newly done interviews with Tolonen and other key players such as Esa Kotilainen and Häkä Virtanen. The cover is expanded to gatefold format.

Kummitus (Finnish for “Ghost”), a band from Tampere who were active in the mid- ’70s, is certainly one of the strangest entities in the history of Finnish rock music. Their original vision was to create a mystical band that builds on horror or hysteria and performs in costumes, frightening their live audience. The band had also considered remaining completely anonymous. However, the concept proved inadequate for various reasons. Keyboardist Hannu Latva-Hakuni recalls: “We quickly ditched the masks and costumes because we had to show up before the show during the load in.” Drummer Seppo Tammilehto has speculated that in the ’70s, musical skills were even more important than in later eras of rock music. “We were laughed off the stage because of these extra musical elements.”

The concept for Kummitus came from Heikki Kauppinen who had managed a booking agency called Ohjelmamiehet and sold Matthews’ gigs. “He proposed this idea to me in the very beginning”, Seppo Tammilehto recalls. Jussi Niemi from the town of Nokia became the band’s guitarist. Despite their young age, Niemi and company accompanied both Sammy Babitzin and Johnny Liebkind and played in Muska’s band for one summer. A stint in Arto Sotavalta’s Häkäpönttö was followed by military service. After that also Niemi had time to play in Matthews. “Then we moved on to plan Kummitus.”

As the band’s manager, Heikki Kauppinen designed Kummitus a light show together with Pekka Heinänen who was responsible for the costumes. Flyers saying “kummitus IS Coming” were distributed all over Finland. When the band hit the road in the summer of 1975, the light show was of course ruined by sunshine. Besides their then unreleased original material, Kummitus played cover songs mainly from British rock bands such as Rolling Stones and The Beatles.

Later on Heikki Kauppinen was contacted by Kari Kantalainen and Vesa Majanen, both coming from a journalist background, who wanted to produce Kummitus’ album. The record label Basf, who were more renowned for their cassette tapes fit for home recording, was found through Kauppinen’s contacts. The album was made in Pekka Nurmikallio’s Microvox studio in Lahti. Jussi Niemi recalls there being “two stereo recorders, so almost everything was played live. Even the choir sections were sung while we were playing. The vocals, however, were recorded separately. It was challenging, since there’s all sorts of soundscapes especially on side B.”

True to its name, Kahdet kasvot (Two Faces) clearly consists of two different sides. The straightforward and rocking side A is kicked off with ‘Paranoia’, composed by Niemi and featuring lyrics written by Tammilehto. The murky synth parts are a fine addition to the “robust rock music”, as the original pressing’s liner notes describe the song. As an uptempo rock song, Juhani Kivistö’s ‘Tuonen rock & roll’ may bring to mind early Coitus Int, whereas ‘Taivaassa taas’ and its devoted vocal performances share DNA with Kontra’s Finnrock. ‘Nauru haamuille’, written by Tammilehto, features proggy guitar patterns and a ghastly synth solo. ‘Se on ok’ was written by Niemi while the rest of the band was dining, with the purpose of making the album long enough to be sold at a full price.

The more experimental four-part entity of side B was, according to the liner notes, dedicated to “Spike Jones and an Englishman named Waters.” Pink Floyd influences are apparent in dramatic sound effects and certain details in the arrangements. ‘On the Run’ from The Dark Side of the Moon can be seen as one of the role models for the nightmarish track ‘Ilme’. The title track, written and sang by Tammilehto, is a catchy rock composition, and Kivistö’s ‘Kuudes päivä’ effectively mixes Floydian prog and blues nuances with saxophone-filled soul. The guest blower Lucjan Czaplicki played in Uranus, whose sole album Aamun hauta (1975) was also released by Basf.

The story of Kummitus continued for a while, albeit with obscure twists. “Due to certain difficulties, the band split up in the early summer of 1976,” Seppo Tammilehto recounts. “The group continued with a lineup that consisted of me, Olli Kivistö and Eero Peltonen. We backed up Mikko Alatalo under the moniker Manserock-76. This came to an end late in the summer when I reassumed the position of Alwari Tuohitorvi’s drummer. The group had become quite popular.” After the original Kummitus had split up, some other individuals played gigs under the moniker. Seppo Tammilehto has met a recently deceased musician and person of reduced mobility from Tampere, named Jukka Törmä, who used to play in the fake group. “With all due respect, he was a great guy. Törmä looked back on the gigs, where musicians were gathered before the performances, with a smile even if they didn’t work out at all. Kummitus’ manager Heikki Kauppinen had no idea who was arranging these shows. According to Törmä, the shows weren’t arranged for long and he stepped aside quite early.”

Even without the band’s unusual history, Kahdet kasvot would deserve a second coming as an original and interesting album. To cite Hannu Latva-Hakuni, “listening to the album now, almost 50 years later, I think we did a hell of a good job.”

“Lust for Life” is the second studio album by Iggy Pop, his second solo release and his second collaboration with David Bowie, following “The Idiot” earlier in the year. As well as achieving critical success, it was Pop's most commercially popular album to date, and remains his only Gold-certified release in the UK.

2023 repress

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.

First ever reissue of this elusive private pressing from 1970 by British singer/songwriter Keith Noble (a founding member of pre-Pink Floyd bands Sigma 6 / The Abdabs and co-composer of Chad & Jeremy’s hit ‘A Summer Song’). Mr. Compromise, originally released as a tiny demo pressing on the custom Eden label (home also of other psych-folk rarities like Mourning Phase), showcases the versatile songwriting talent of Noble: jazzy-bossa pop, Kinks/Hollies/Byrds styled full electric numbers and haunting psychedelic folk not unlike Al Stewart or Incredible String Band. Featuring Keith’s friend from the pre-Floyd days Rado Klose (one of the earliest members of Pink Floyd) on lead guitar. After the album release, Keith Noble dedicated his life to architecture and teaching and he also wrote several musicals. Sadly, he passed away in 2014. This long awaited reissue of “Mr Compromise”, has been possible with help from the Noble family.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!! Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

Limited To 2500 Copies Colour

180g vinyl

180 gram vinyl