[engl] The 5.6.7.8's are a Japanese rock trio, whose music is reminiscent of American surf music, rockabilly and garage rock. They frequently cover songs from American rock and roll. All members are from Tokyo, Japan. The 5.6.7.8's first started performing as a quartet in Tokyo, and recruited guest performers during their Australian tour, once even utilizing a male member, "Eddie". They first officially became a trio in 1992, before touring Australia. The 5.6.7.8's made a brief appearance in the 2003 Quentin Tarantino film Kill Bill Volume 1, where they were shown playing barefoot in an izakaya. In 2012, they appeared at the "Girls Got Rhythm" fest in St. Paul, MN alongside artists such as Ronnie Spector, The Muffs, Nikki Corvette and L'Assassins.

[engl] Archie and the Bunkers is Emmet (drums/vocals) and Cullen (organ/vocals). Formed in Cleveland, Ohio, in 2013, the teenaged brothers began recording music in their basement, self-producing their first two EPs with a raw garage-punk sound that draws heavily from their diverse musical influences, ranging from jazz organ greats like Jimmy Smith, and Richard ‘Groove’ Holmes, to punk icons Dead Boys (they opened for original member Cheetah Chrome earlier this year), The Stooges, The Screamers, and more. On stage, the siblings attack their songs with a frenetic energy that whips the audience into a frenzy. The unique growl of fouteen year old Cullen’s whirring, overdriven organ and the driving beat of sixteen year old Emmett’s four-piece drum kit leave gig-goers in shock at the sonic assault levied by a group made up of just two boys. As a local reviewer wrote, the boys “sometimes draw initial attention from a crowd because of their tender years. But their ages belie the talent and powerhouse show they put on every time they hit a stage.” The 12 songs on this, their debut album, were recorded at the famed Ghetto Recorders in Detroit, with legendary producer/engineer Jim Diamond capturing that unique Archie sound that’s been dubbed ‘Hi-Fi Organ Punk.’ Fourteen-year-old Emmett, however, prefers to describe their sound as, ‘rock’n’roll that’s been peeled back to its raw foundation’. Having played a number of high profile gigs in recent months, including support to The Sonics at the Beachland Ballroom in their home town this summer, these kids are scorching hot and ready to break out, not just out of Cleveland, but internationally. ‘The novelty of their ages drops away the minute they begin to play,’ says Matt Fields, manager at the Beachland. ‘These guys are frickin’ stars, man. They are total pros. The first time I saw them my jaw hit the floor. Every time they play, within two songs everybody at the bar has left their seats to go stand in front of the stage to watch and listen to them. I haven't felt this strongly about a new band in a long time. They have no pretention, no inhibition. They are just having so much fun with the music. They are mind-blowing players. And such nice kids."

[engl] 60s garage- psych moody monster! ''Out Of The Bachs'' was released in 1968 as a private pressing of 150 copies and it's one of the rarest USA 60s garage / teenbeat albums ever. The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album as a testimony for their fans before splitting up. Recorded and mixed in just 10 hours at a makeshift studio, ''Out Of The Bachs'' offered 12 amazing self- penned songs with a sound ahead of its time. Pure teenage- angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks. Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time Lag label reissued it in 2011, remastered from a pristine original vinyl copy. Out of print for many years, we present a new vinyl reissue using the same audio master as the Time Lag edition. File next to Rising Storm, Fantastic Dee- Jays, The Savages Best audio source just like the ultimate, OOP Time- Lag reissue Insert with detailed liner notes and rare photos

[engl] The Bitter Seeds were one of the pioneering bands from the early Monterey music scene. Leaded by flashing guitar player Leonard ''Pooch'' Paschini, they were active from 1966 to 1970, gigging regularly at such legendary venues as Bull's Eye Tavern, Longshoreman's Hall, Matrix, Fillmore, etc, sharing stage with famous bands like Grateful Dead, Jefferson Airplane, Iron Butterfly or Steppenwolf. In 1967, The Bitter Seeds recorded their only 45, issued under The Rock Shop name, as they wanted to avoid confusion with The Seeds. ''State of your mind'' b/w ''Is that your halo'' was released on the Rowena label and it's a brutal garage- psych double sider. The following year the group recorded four studio tracks which have remained unreleased until now. These are perfect examples of the transition from R&B- garage to early psychedelic sounds which many San Francisco ballroom bands experienced at the time. An exciting find for any lover of lost West Coast psychedelic sounds. For this Bitter Seeds / Rock Shop retrospective, we've also unearthed some wild live recordings from 1966 with good sound quality. And amazing document which had been buried until now.

[engl] Imagine the Stones back in the days when they still had balls (and teeth)? 4 albums in and Atlanta's swankiest garage-soul-rnb are still the cat's pajamas! Taking inspiration from the 60s mod movement, and early UK R&B then combining with it a garage-punk attitude there's no one really like them out right now. These days, it’s not enough to merely claim The Rolling Stones and The Kinks as influences. Everyone loves The Stones and Kinks, thanks to Martin Scorsese and Wes Anderson films, respectively, just like every band claims to be influenced by such 60?s and 70?s music. Yet, The Booze make it all believable. Having toured as Muddy Waters Jr.’s backing band and opening act, this Southern Rock outfit have etched out their own sound “marrying a motherlode of 60s R&B/Mod with a Stonesy switchblade swagger.” My Old Kentucky Blog. Songs like „Wild One“ and „The Scene“ sure are raw hits in the face. Along come sweet mellow ballads such as “Down on your Luck” or “New York City Women”. To be honest, we at Lonestar Records think this is one of our best records so far. We love it!

[engl] 300 copies in an 4c offset 350g/m² inside out cover – glued sticker – handnumbered – clear/black streaked vinyl

[engl] “Obrint portes, abriendo puertas, opening doors”. Everything's ready for take of. It's been three decades since the needles of fringe caring kids landed on the tracks of their Barcelona Blues EP, and Brighton 64' new album starts up with an elevators off-voice telling us that NOW is the time. Esta vez va en serio, (This time it's for real) the Gil brothers and their accomplices Fontich and Peralbo warn us in the title, in the first song we find explosions of fetishes and words, names of things we can touch and enjoy. The flame of their followers is still burning, somebody has kept the fire untouched all these years with details we can trace in “Solo hasta el final” (“On your own till the end”): Red shoes, my peculiar haircut, friends, Chuck Berry, snooker. The boys from the bomb house surf through all these references where we find small anti-aircraft refuges to keep us safe from all things falling. They are the Sísifos of punk and Mod Revival and for as much as they change, grow up and show us, even when on different stages and at different times, their talent for composing, they will never say no to the lights on the runway, where they will carry on spinning and spinning. Esta vez va en serio is a manifesto of all that is important in life, but always conscious that even a tailored suit can stop fitting you when time goes by, but that doesn't mean you have to start wearing a track suit, you just have to get something new, in times of noise with no melodies, we have to look for essential things that never fail (yes, “Los Besos sin Final” (“Never-ending Kisses”) or “Soy un tanto antiguo (…pero creo en el amor)” (“I'm a bit old-fashioned (…but i believe in love)”), but we must also take a look at the calendar and realize that some years just won't come back. “Los Amantes del Compás” (“The Compass Lovers”) for example, “Dime donde están los amigos, los amantes del compás, los chicos borrachos de ritmo y de noches sin final” (“Tell me where your friends are, the compass lovers, the rhythm drunk kids and the never ending nights”), is the perfect nostalgic song. And you have to be able to look for serenity in the rhythm of “La Magia de la Calle” (“Magic of the night”): “No quiero que me hables de lo que fui….la casa de la bomba nunca la vi” (“Don't talk to me about what I once was… I never got to see the bomb house”). Brighton 64 are back to open doors, they are back to kick us with old shoes looking newer then a pair bought today. And then…gas, cos if a person doesn't use what they have, what ever it is that makes them do what they do, they are in serious trouble of their motors not starting at all. This time it's for real, Brighton 64 are hitting the best target yet again, the one that has the best pop melodies embedded with fire. Miqui Otero

[engl] This band could be your life and for many kids in the eighties they were. Brighton 64 was the best band to come out of the mod trenches: inspiring, energetic, vibrant, and fierce. They had the best songs and the most colourful clothes; the most unforgettable lyrics and the most elevated vision: They take from the PAST and create something NEW. In Barcelona you won’t find anyone like them, and, lucky enough for us, they have just released Fotos de Ayer (1982-1987), the ultimate compilation album by Brighton 64, coordinated by Kiko Amat (a fan since he was fourteen) with the help of BCore and the Gil brothers Albert and Ricky. The band had released compilations before, but not like this one: This album has the best cover, the best selection (they have recovered songs that were under EMIs hold and have never been on previous compilations, all from the 12” La Casa de la Bomba and their second album ‘El Problema es la Edad’, with an inserted fanzine with different texts by famous fans (Álex Cooper, Miqui Otero, Carlos Zanón, Miqui Puig, Felipe and many others) and a deluxe inside sleeve. It’s the total B64 document, no more, no less. In Fotos de Ayer your find superlative hits from the bands different periods. From La Casa de la Bomba and El Problema es la Edad they have chosen “La casa de la bomba”. Pure “Summer fun” and anti-adult diatribe, without doubt their most emblematic song; but also –amongst others- unbeatable brass section (“La canción del trabajo”, with Tommy Hunt arrangements), real soul stompers with blue eyes (“El mejor cocktail”, a tribute to soul music with an immortal chorus line: “Otis, Jackie Wilson and Sam Cooke”) and lyrical touches of R&B (“Llueve en mi corazón”), or great pop hits (the spectacular “(Club Negro) La calle 46”, where Makin’ Time meets The Bangles. From Haz el amor (Twins, 1985) they include “La próxima vez”, a song that sounds both like Vapors and the Jam (“A bomb in Wardour Street”) or Dinarama, Parálisis Permanente and Pistones (“Las siete menos cuarto”). In the exciting “Conflicto con tu ayer” blows a Motown breeze, but more Dexys / “Town called malice”, not at all retro. There are no hymns full of pop art missing (“Explosión Juvenil #17”) or ties to similar bands (“Fotos de ayer” by Los Negativos). And from the beginning of the beginnings they have taken the magnificent and mod revival hymn “Barcelona blues” from 1983 and “No volverán” (Side B of the second single “Deja de tocar a mi chica” also from 1983), an early and emotional cry for the friends they had lost. And of course the favourite “En mi ciudad” that until today had only been recorded on a demo. And there’s even more! Fotos de ayer talks of excellence, the young years, extreme passion and pride, all that Brighton 64 ever meant to their teenage fans. And of course, with the greatest songs. No one ever falls in love like that again.

[engl] 500 numbered copies. Cover printed on Letter Print.

[engl] A captivating album, filled with Cosmical Pop and Rock, plenty of wonderful vocals and chorus, stuffed with good ideas and good taste. A record built on a base of excellent songwriting and armed with an accurate production by Santi Garcia, where the Charades show their inheritance from glorious bands like Love or American Spring and also Beachwood Sparks or the most acid Breeders.