[engl] Evolving from The Sweet Feeling, a band who rubbed shoulders with The Beatles and most of the stars of the nascent Swingin? London scene (due to band member Steve Brendell work for Brian Epsteins Nems Enterprises), Ruperts People were the quintessential UK 60s mod- psych band. They had the look, they had many famous friends (Paul McCartney was one of their biggest fans) and a set of terrific tunes. But somehow they never made it big time. On this vinyl compilation (1966- 69), you?ll find most of their legendary 45 sides, from freakbeat / mod- psych anthems - ?Hold On? and ?Dream in my mind? - , to amazing psych pop numbers - the phasing fuelled ?I can show you?, ?Charles Brown? and ?All so long ago? (the later taken from their first 45 under the Sweet Feeling name) - plus delicious flower- power / baroque psychedelia - ?Prologue to a magic world? and ?Reflections of Charles Brown. Some rare recordings have also been included: ?Flying High? is a previously unreleased instrumental taken from a demo acetate, that makes it here on vinyl for the first time. ?Reflecting? and ?You can?t always get what you want? are live tracks recorded in 1969 and show the most progressive sound of the band with long guitar / organ passages. The confusing Ruperts People story (with links to bands like Les Fleur De Lys and The Iveys / Badfinger) is set straight on the extensive liner notes by band member Rod Lynton, included on a 4- page insert along with many unseen pictures. Remastered sound, old- styled backflap sleeve. 180gr vinyl.

[engl] Reissue of their classic 1965 debut album! THE soundtrack for every 60's beat party! Feat. three bonus tracks.

[engl] It does not usually happen that I get to listen to some gentle garage psyche with a dreamy west coast flair and tons of awesome fuzzed out guitars with lyrics in Korean language. And it does not often happen that the music has not been recorded and issued before 1977 when it clearly sounds like the best psychedelic power pop and garage stuff you could get in the UK and USA ten years earlier. In this case, SAN UL LIM, one of the most popular acts on the Korean scene has exactly this typical 1966 garage sound with fuzzy axes and some thin but sympathetic Farfisa organs. They released this debut album back in 1977 while the compositions actually have been conceived from 1971 to 1975. They heavily remind me of THE ZOMBIES, even though SAN UL LIM play in a way more direct fashion but they do have these heartwarming vocal melodies and are all in all gifted players. Their music presents the step from early beat to the heavier and darker garage rock which finally transcended into psychedelic rock and fans of this proto garage beat with psychedelic tinges that came out from 1965 to 1967 should go wild about this album. Other acts I could take as references are THE FLIES (UK, Pre T 2) and THE PETARDS (Germany). A lovely flashback to the golden age of music.

[engl] Yikes, this is great joy. Not so long ago I wrote a review on the reissue of their 1977 debut album and here we go with its successor from 1978. What this Korean garage / psyche rockers have created here is still more related to the music that has been played and celebrated mostly in the USA during the second half of the 60s. In a year where disco, punk and early heavy metal ruled, this flowery and trippy pop sound with fuzzed out guitars on flashing rhythms might have been outdated already despite the fact that the original US garage sound had a renaissance among collectors not long before and compilations like “Pebbles” were in high demand among new fans of this genre. One may doubt that these hunters for vinyl treasures even made the slightest effort to take a look towards Eastern Asia where SAN UL LIM came up with exactly that type of music. If they had sung in proper English, folks, people could have told me they were from California and this album was released in 1966 or 1967 at latest. They have a sense for pop melodies and beyond that for soulful ballads with heart warming melodies. Nice and sleazy organ sounds (Farfisa, not Hammond) add more color to the rather simply structured, yet effectively striking tracks and when the fuzz sets in even slower tunes start to turn into simmering maelstroms of utterly checkered harmonies. This is for sure not the only direction SAN UL LIM take on their second album. Some folky singer / songwriter elements have slipped inside their song selection and definitely remind you of a warm summer weekend in August 1969 when 500.000 gathered for the most important music event ever at Yasgur’s farm. Despite having chosen this rather straight direction for their music SAN UL LIM consisted of skilled musicians who execute their compositions with an obsessive feel and still with an iron discipline. The band had matured ever since the release of their debut album “Vol. 1” the previous year and you can hear this from the more excessive and obsessive playing, the increased rawness of the guitar fuzz and the slightly deeper, more thought provoking and sometimes even more aggressive melodies which digressed from the pure feel good pop music. What you get here is a delightful mixture of what was awesome at Western shores in 1966/67 and despite being a bit late SAN UL LIM still have the balls to shed the fire of passion in a way THE SEEDS, THE DOORS, THE STRAWBERRY ALARM CLOCK, THE ANIMALS, THE SHADOWS OF KNIGHT and even Nick Drake, Roy Harper and Bert Jansch did it a decade and even longer ago. Retro garage sound with style and soul, who could resist that?

[engl] Hailing from New York, the band was led by singer Anne Sarofeen, who's described in the album's own liner notes as 'a lady both fierce and gentle, whose music knows truth, tragedy and beauty'. We don't really know if she's fierce or gentle, but her incredible voice has often been compared to that of Janis Joplin, Ellen McIlwaine and Mariska Veres (of Dutch stars Shocking Blue); unfortunately rock history is cruel and she never received the credit she deserves for being right at the top with other unique female singers. She has also composed half of the songs on the album. The album offers 9 songs in a Bluesy, Heavy Psychedelic vein, which to a certain extent remind us much of Jefferson Airplane. Most of the songs are the band's own compositions, with the only exceptions being a take on Martha Velez' 'Swamp Man' and a cover of Rocky Mountain Blues, well chosen covers that fit perfectly the band's identity. Certainly recommended to fans of Janis Joplin, Affinity's Linda Hoyle, Jefferson Airplane or basically any strong, dominating female voice in Psychedelic Rock!

[engl] 1965 and 1966 were the years when the underground at last exploded and first influences of psychedelia were showing in the music of many nowadays hardly remembered cult bands such as THE SAVAGES originating from the Bermuda islands. Along three 7" singles the band only released one full length record in 1966, “Live'n'wild”, recorded live at the Hub, a nightclub part of the Princess Hotel in Hamilton / Bermuda. The sound quality is quite awesome and the interaction with the audience brings quite a few very entertaining announcements next to a collection of great tunes, three of them cover versions. This album all in all is absolutely rare. It is hard to find any original copy at all. But here we go with a brand new reissue that brings back the original album to a garage beat loving audience. Strangest point here is the song “He's a man”, a cover version of Icelandic 60s rockers THOR'S HAMMER with lyrics in English written by THE SAVAGES. “We gotta get out of this place” by THE ANIMALS was quite an obvious choice for a young garage band to include in their live set, the third cover version on this album is a more powerful rendition of THE DRIFTERS' “On broadway”. Nice choices but only the icing on the cake for the self penned tunes presented a band that was up on the same level as most of the more popular garage beat heroes of the day and with “The world isn't round, it's square” THE SAVAGES had written one of the most wicked proto punk orgies of their era that became one of these cult tunes that are the reason a band survives in the memory of at least a few die hards over the decades and it still sounds fresh and furious while the great “Quiet town” for example is an early psychedelic pop tune. The overall mood of this record is certainly joyful but you can feel the teenage angst and anger of these youngsters streaming from every note of their songs. I suppose if they got hold of a fuzzbox already all their guitars would have been utterly distorted but even with no distortion on their axes there is enough dirt here to make “Live'n'wild” an ultimate experience in 1960s garage rock on par with THE SEEDS, THE MUSIC MACHINE or THE SORROWS.

[engl] Originally released in 1982.

[engl] SHAG was born from the ashes of garage band The Shags (of ''Stop and Listen'' fame). In the late 60s, they moved from Milwaukee to California, where they played at all the major venues and ballrooms, supporting famous bands like Jefferson Airplane and The Who. In 1969, the band recorded a demo at Pacific High Recordings in San Francisco, at the same time as the Grateful Dead were recording their classic ''Working Man's Dead'' album there. The demo was in fact a fully finished album of bombastic psychedelia, acid- rock and proto- prog with loud fuzz- wah guitars, long tracks, crazy percussion and killer flute. Here's the first ever vinyl reissue of these lost recordings. Master tape sound, insert with liner notes and photos.

[engl] If Tages was Sweden’s Beatles then The Shakers were Sweden’s Stones. They were a little darker and a little more dangerous, but alas very short lived. Tracks Remain compiles the band’s best tracks remastered, of which several has never before been released on vinyl.

[engl] Breezy Sunshine-Pop / Soft-Rock / Psych-Pop from California, 1970, featuring Peter Clark a.k.a Chet DeMilo. Crystal clear recording, awesome vocal harmonies, superb musicianship, bossa & blue-eyed-soul-jazz touches,folk-rock moves… In 1969 Chet Demilo was appearing at Donkin's Inn, Marina Del Rey, where he met Arnie Marcus and Ray Hames, who together were to become part of an incredible slice of history. Donkin's became the hottest and most famous destination in Southern California for the next seven years, and Chet was the magnet that started the new singles scene in Los Angeles with Marina Del Rey as ground zero. Arnie sat in on bongos with Chet from time to time, and Ray, who was managing an apartment complex that housed 200 flight attendants, just happened to have a unit available!! Chet moved in, and he and Ray started working on songs together. Chet suggested forming a vocal group with Arnie and SST was born. For three months they practiced the intricate vocal harmonies and in early 1970 cut the album, "Soft Soul Transition". A thousand records were pressed, and an album release party was held at Donkins where SST gave their one and only performance that night! There was interest in the project at Burt Bacharach's Blue Seas Music, but it was not to be and SST faded away...until more than 20 years later when the SST album was discovered by a new generation of DJs and collectors looking for cool and groovy sounds from the 60s-70s.

[engl] Fully remastered and with EIGHT MORE unissued cuts, tons more liner notes and COLOR PHOTOS of these Connecticut garage gods!! GATEFOLD SLEEVE plus THICK color INNER-SLEEVE! Additional notes by MIKE MARKESICH, NED CAREY and producer TOM ZAGRYN! 16 tracks of garage/folk-punk GENIUS plus a BONUS 7” with 2 more tracks!

[engl] Stockholm-based Steampacket was formed in the autumn of 1965. After three gigs in Sweden in the spring of 1966, the band went on touring in England, discovered that there was already a Steampacket which included Rod Stewart, changed its name to The Longboatmen but called themself Steampacket II back in Sweden. The band released eight singles but oddly enough never an LP. Today, the singles are collectibles and Take her any time one of the 60s best Freakbeat / Garage fuzz tracks ever. Now Steampacket’s gems are coming together for the first time on LP. Studio recordings, live recordings and previo- usly unreleased material with Mikael Ramel.

[engl] The Treeberrys are celebrating great and absolutely stylish 6t's pop, you wouldn't find it made much better even way back in 1966 and love being very authenic and they're taking it to the max. You will feel the spirit of the Beatles on every little chord the guys around mastermind Hiroaki Watarai are playing.

[engl] Here's a new album by the japanese favorite chorus group, and it includes their newest hit, ''My Girl'' It's a new kind of song for the Treeberrys. All the things you've heard until now have had that great rockin' british beat - the style that made these fabulous young performers just about the biggest thing in the country. ''My Girl'' is entirely different. It's a wonderful ballad, and if you haven't already heard the guys do it, you have a treat in store for you. This song is fast becoming the romantic ballad of the day, and it's making thousands of new friends for the boys. And for the old friends of the Treeberrys there's plenty of that good old british beat too. As you already know, they're fabulous - all the way!

[engl] Hailing from Florida, The Tropics were one of the finest 60s garage bands. Their memorable concerts are still remembered today by the lucky ones who saw them at the time. Between 1965 and 1969, they recorded some explosive and now legendary 45s which are prime examples of garage- rock, teen- beat, folk- rock and proto- psych sounds. Here you?ll find most of those 45 sides along with some rare, previously unreleased on vinyl tracks. Including the classic ?As times gone? (covered by The Fuzztones) and many more. Remastered sound in mono, insert with detailed liner notes by Jeremy Cargill (Ugly Things) and rare photos.