[engl] In the late 60s, a bunch of mysterious psychedelic exploitation albums were released by the budget Crown label in the US. Issued under different band names (The Firebirds, Underground Electrics, 31 Flavors?) , they were recorded by an anonymous group of studio musicians. ?Hair? by 31 Flavors is the counterpart to ?Light My Fire? by The Firebirds. Along with demented raw garage covers of ?Hair? and ?Aquarius?, it contains some of the heaviest, fuzzed out exploitation sounds ever committed to vinyl. You can hear echoes of Blue Cheer, Hendrix and Sabbath, featuring proto- doom, heavy- psych bombs like ?Distortions of darkness One of the best of the psych- ploitation LPs, with more fuzzzz than a dozen 1971 private press hardrockers. Great raw live feel, wild playing and excellent fuzz riffs? Patrick Lundborg (Acid Archives)

[engl] The 40 Watt Banana, formed in 1968, was a unique band in New Zealand, the only group that ventured into the esoteric realm of Indo–Afro psychedelic music. "Peeled" includes their sought–after 45 from 1971 (the sitar–psych–dancer "Nirvana") plus previously unreleased recordings full of sitar, tabla, sarod, tanpura, trumpet, recorder, effects, tape echo... Formed by Kevin Clark and Dave Parsons, initially as a jazz combo playing in restaurants, they soon incorporated elements of Indian and African music to their sound, after some soul searching and spiritual experiences. The result was an atmospheric, spacey, improvised sound. In 1971, they released their only 45 for the HMV label. It featured a great sitar–psych track, "Nirvana", similar to other psychedelic jazz–pop–funk experiments from the time such as "Mathar" by Dave Pike Set. But during the late 60s and early 70s, the band also recorded other stuff which has remained unreleased until now.

[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] Blind Owl Wilson was a truly great guitarist and vocalist whose deep well of psychedelic blues songs were buried amongst the catalog of major label rockin’ blues band Canned Heat. Blind Owl served as Canned Heat’s guitarist and would chip in a song here and there as a front man. A couple of those songs became huge hits in the 60’s – “Going Up The Country” and “On The Road Again”. Blind Owl’s songs for Canned Heat stood in stark contrast to the bands blustery blues rock – his was a gentle and nuanced voice and the themes of his song were all about personal heartbreak, grasping for cosmic understanding, and ecological justice. Here we have an LP of Blind Owl’s songs from Canned Heat’s records –left to sit alone and take you somewhere unexpected. Blind Owl’s personal vision quest can be heard throughout these songs. “Poor Moon’ tells the tale of Alan’s heartbreak as he watches the moon being misguidedly bombed by man, ‘My time ain’t long’ confronts death, “Parthenogen in 3 Blind Owls’and ‘Parthenogen childs end’ take you to the psychedelic limits, and oh yes, we have the hit tunes on here too. Co-release with Sutro Park records. A true psychedelic masterpiece!

[engl] Blind Ravage were formed in Montreal in the late Sixties by well- seasoned musicians, including keyboard virtuoso Serge Fleury and ace guitar player Jean Charbonneau. In 1971 they released their only album on the Crescent Streel label. Hard- rock with bluesy overtones, heavy guitar playing, punkish vocals and swirling Hammond organ. Nine original songs plus a killer hard- rock version of ''Susie Q''. Here's the first ever vinyl reissue, featuring remastered sound and insert with linernotes.

[engl] Writing somber songs that you want to play over and over agian or pop tunes that never comes off corny and singing them with perfection without sounding con- trived takes a unique voice. César Vidal from Swedish psych/60s/garage/indie-act Caesars aka Caesars Palace has that voice and he makes it all look so easy. The tracks on his debut solo album are ageless and could have landed softly into any decade from the 60s and onwards. There are hints of just about everything from jangly psych pop, British invasion, surf, shoegaze, lo-fi and punk, all delivered with the golden voice of a sad angel. César Vidal is a seasoned player after years with his band but here he really gets to stretch out and take full command of his entire musical universe without com- promising. Give a grain of sand lots of time and a pearl takes form in an oyster. César Vidal delivers not only a pearl but a necklace of perfect songs on this stunning solo debut. There are no fillers here, only killers.

[engl] Imagine it is 1967 and you hold a record in your hands with some guys on the cover dressed in what was fashionable among youngsters at the time standing in a patch of palm tree forest and a rolling band logo in light blue above them. It could be anything for sure but you know that it might be promising. Now you get to know that these guys are from Los Angeles and since you are aware of the vibrant Californian scene now your interest awakes. And here is where the fun begins. What might have been just one album out of so many equally good ones from 1967 - there were a hell of a lot struggling for your attention - the first fuzzed out rocker already sends your soul into a state of simmering excitement and the further you explore this piece of morning maniac music the more colorful aspects of their creativity will enchant you. Dark or at least gruff rock tunes with a quite heavy fuzz guitar take turns with melodic tunes that have these lush clean guitar harmonies you rather expect from THE BYRDS but since you are also aware that both bands originate from the same city and scene it is no wonder that CLEAR LIGHT got heavily influenced by their compatriots. They still try out different twists and turns on psychedelic pop and rock, early heavy stuff and garage sounds. Their melody writing is just captivating. The most outstanding track on this album to me is “Mr. Blue” for its remote structures far from the typical pop tune. It starts with a sluggish roll on the floor tom that reminds you of a scene where a convict slowly walks up to the gallow while the judge reads the sentence and indeed there is a voice that speaks to “Mr. Blue” and tells him about his fate. In between the track turns into a classic heavy garage rocker with a catchy chorus line and with each verse there are more and spookier guitar howls joining the speaking voice. The grand finale of “Mr. Blue” is an instrumental explosion of pure garage psychedelia. A piece like this is quite typical for the era but also above awesome as in many cases. More colorful pop with changing rhythms and memorable melodies will come hereafter. Contemporary rock acts that were playing in a similar league musically for sure were THE SEEDS, THE BYRDS, THE COUNT FIVE, THE SHADOWS OF KNIGHT, BLUES MAGOOS, so you will know what to expect from CLEAR LIGHT. And they used to have everything a band needs to become a major act on the scene back then. So let us drag this classic back to the light and inspire younger generations with their brand of stormy harmonies and forceful fuzz guitars on body shaking rhythm patterns.

[engl] Ultra- crude basement garage psych and acid- boogie- blues from 1969!!! Who was the mysterious Cosmic Michael? Nobody knows for sure?rumour goes that he was a freak from New York who later relocated to the West Coast after living the Woodstock dream. That's all we know about him. But before vanishing without trace, Cosmic Michael self- released a couple of primitive, home- made albums on his Bliss label. This is his first one, DIY stoner bluesy garage psychedelia with crude organ, guitars and vocals. Featuring underground classics like ''Cosmic Michael Theme'' (covered in 2013 by neo- psych band Psychic Ills) and ''Now That You've found it'' among others. First ever vinyl reissue, original artwork, insert with reproduction of the original poster plus pasteable reproductions of original LP labels like those that came with the original release.

[engl] This series of live albums comes from the KSAN radio station vaults and features material recorded and broadcasted at several occasions at either the Filmore Auditorium or the Avalon Ballroom in San Francisco during the years 1966 to 1968. Some of the hottest rock bands of the era got captured there on tape. Now we move straight to ?Vol. 3? of this series and it begins with a set of three songs by none less than COUNTRY JOE & THE FISH fronted by legendary singer / songwriter and former G.I. Country Joe McDonald who created the probably most notorious Anti Vietnam War tune ever, ?I feel like I'm fixin to die? which is unfortunately not included here. Three songs build the first half of the A Side of which the first two can be located on the studio versions on the 1967 albums ?Electric music for the mind and body? and ?I-feel-like-I-m-fixin-to-die?. The ?H ? Bomb ? Song? is a cool acid-gospel tune with a pure jam around the actual song. Next come THE BYRDS with another three tunes from their ?Younger than yesterday?, ?The Notoriouos Byrd Brothers? and ?Dr. Byrds & Mr. Hyde?, some very stoned announcements and a little discussion if they might play another song which in the end happens to the excitement of the audience. MOBY GRAPE whose founding formation featured Alexander ?Skip? Spence, former drummer of JEFFERSON AIRPLANE rage through a set of kicking power rock, psychedelic blues and jam tunes. The last track features their friends BIG BROTHER & THE HOLDING COMPANY. This whole album perfectly aligns the spirit of the day when the world stood at the edge of the third world war which partly got fought in South East Asia already and thousands of young Americans died in the jungle while on the other side of the ocean a whole generation of youngsters stood up to free themselves and generations to move away from the strict traditions. So this album does not only guarantee musical joy in abundance but also takes you back to a time when the young minded were more determined to go new and better ways and everything seemed possible for everything was free to be tried. The music here is a proof how songs can work as a vehicle that carries your spirit everywhere. The sound once again is rough but clear, the performances of all three bands are way more loose as those on their studio tracks but this precisely is the final ingredient to make this album a memorable and well loved experience.

[engl] Cykle was formed in 1968, North Carolina, when gifted musician and songwriter Jimmy Sossamon (previously in famous local band The Young Ones) heard a local group, the Glory Cykle. He was so impressed that he approached them about becoming their manager. The band -- guitarists Ralph Stevens and Jeff Hardin, bassist Grady Pope, organist Rick Wilson, and drummer/vocalist Ken Allen -- practiced at the studio Sossamon had built in his parent's garage, and by the end of the year, Sossamon took up the drummer’s seat to free up Allen as lead vocalist. Band’s name was shortened to Cykle and in early 1969 they began recording an album consisting entirely of Sossamon originals. The resultant eponymous LP was released later that year as a private pressing of 500 copies on the band’s own Label Records. But despite the 1969 release date, “Cykle” sounds straight from the 1966-67 garage-punk-psychedelic book.

[engl] Dengue Fever is what happens when musicians are record collectors, travelers, revivalists and extenders of tradition. At the inception of the band, they drew from the classic psych-surf repertoire of artists like Sinn Sisamouth and Ros Serey Sothea, whose modern, globalized musical visions made them targets during the Khmer Rouge genocide. Like the Cambodian artists who gave them inspiration, they understood that pop music is a hybrid. Just as American rock was refracted within the sounds of Phnom Penh during the 60’s and 70’s; Dengue Fever sent the music back through the looking glass of indie rock, Ethiopian jazz, and trans-national psychedelia. With love for the music and respect for a culture that belonged only to singer Chhom Nimol, they soon developed their own original songwriting and innovative sound that could only have been born in Southern California.

[engl] The jazz genre spawned a couple of quite colorful subspecies that were part of important pop cultural movements to let the ordinary man escape from the daily grind. Two of the most prolific pop jazz spheres were Exotica Music which accompanies with the Tiki Culture omnipresent throughout the 50s and early 60s and Space Age Music, a rather pop oriented accessible style with hints of swing and vocal jazz spiced up with quite mind altering sound effects. “Moon gas”, a cooperation between pianist / organist Dick Hyman and singer Mary Mayo, hits the center of the space age genre directly and shows a diversity of aspects from rather dreamy tunes with melancholic and really haunting vocal melodies courtesy of Mrs. Mayo to groovy, swinging compositions that invite you for an easy dance. Still you have to turn your mind from all these strange little sounds that whistle and sparkle around the rather uncomplicated easy listening jazz pop compositions. The songs alone would certainly be on par with the best contemporary hit tunes of their age but what really makes them outstanding is this combination with the sound world of a space laboratory or commando bridge of a starship. 1963 definitely was a year where the USA found themselves in a challenge with the Soviet Union about the predominance in space so this type of music fit well with the dreams of the average man to explore distant galaxies even it was only in his mind. About six or seven years later when psychedelic rock had reached a peak and the music was ready to leave the earth behind these early sounds were developed into space rock by groups such as Hawkwind. In 1963 we are still far away from this and what Dick Hyman, Mary Mayo and their fellow, yet unnamed band members create is a rather smooth and calm affair that still pushes your mind towards certain borders of reality. All these funny noises transport you into a world of huge computers with flashing lights onboard of interstellar space ships traveling from one galaxy to the next. You will get a feeling that this album contains nothing but vocal jazz music with a cooled down temper beyond all the arrangements of bleeping, rattling and swooshing. But I am certain you will be enchanted by all the sweet melodies right away and soon drift into a futuristic dream when you spin this little record. The musicians interact tight and professional while Mary Mayo sings with a very distinctive and harmonic style which pets your senses. If you want to take a relaxed trip to the stars I invite you to grab a copy of this classic album.

[engl] After his stint with Fapardokly, HMS Bounty and MU, Merrell Fankauser released his first solo album in 1976. Comprised of songs written a year earlier while Merrell and violin player Mary Lee were living in the jungle of Maui, this is a brilliant set of spiritual folk- rock and 70s orchestrated SSW light- pop. The album was recorded at various Hollywood studios, initially sponsored by a producer from George Harrison's Dark Horse label. In fact Harrison was so impressed with Merrell's songs that he expressed interest in playing slide guitar on ''Our Way To Hana''. Sadly, due to internal problems, Dark Horse backed off and Merrell found himself without a label to release the album. Finally, a couple of friends from Maui released it on the small Maui Music label. On the recordings, Merrell and Mary Lee were joined by several studio musicians, among them, drummer Bill Berg, who had played on Bob Dylan's ''Blood On The Tracks''. First ever vinyl reissue with tracks restored to their original running order and original artwork.

[engl] A Holy Grail item for psychedelic pop aficionados, Forever Amber’s The Love Cycle is, along with Dark and the first Complex album, one of a triumvirate of must-have private pressings from the UK. Sounding like a blend of Pet Sounds and Odessey & Oracle but with a charming, homemade, lo-fi vibe, The Love Cycle was a concept album masterminded by talented songwriter / arranger John M. Hudson (a kind of Brian Wilson figure), who found in Cambridge band Forever Amber the perfect vehicle for his songwriting ideas. The Love Cycle was recorded in the summer of 1968 at a makeshift studio, located in the basement of a music shop. Consisting of a song-suite revolving around the meeting, courtship and break-up of a young couple, the result was a stunning album filled with heavenly vocal harmonies, electric harpsichord and memorable hooks, including some intense psychedelic moments (the heavy phasing of “The Dreamer Flies Back” and more). Released in 1969 as a private edition of 99 copies, The Love Cycle remained buried until its discovery in the late 80s by psychedelic collectors. Bootlegged several times, the first official reissue came in 2007 thanks to David Wells / Tenth Planet. Out of print for several years, we’re thrilled to offer a new vinyl reissue of this essential psych album.

[engl] Originally released in 1970 but sounding more akin to ’67–68, "For Fox Sake" is a superb example of UK psych, highly recommended if you’re into APPLE, KOOBAS, ZOMBIES, OCTOPUS, SKIP BIFFERTY, SPENCER DAVIS GROUP, RUBBLES... First ever vinyl reissue with original UK artwork. Remastered sound and insert with photos / memorabilia plus liner notes by band member Steve Brayne. Formed in Brighton in 1968 with roots to the mod–soul scene, The Fox consisted of Steve (Stephen) Brayne on lead guitar & vocals, Winston Weatherill (ex–Gary Farr & The T–Bones) on lead guitar & sitar, Alex Lane on keyboards & vocals, Tim Reeves on drums and Dave Windross on bass. During their brief existence they supported The Herd and opened for David Bowie. Their sound was loud and righteous with great vocal harmonies, tight rhythm section and wonderful keyboard /guitar solos. After getting signed to a London management, they recorded their only LP in one session and they had it released in the UK on the Fontana label and on the USA on Crewe, featuring a different cover. Sadly, the band broke up following year and since the inclusion of "Butterfly" in one of the Rubbles comps several decades later, they’ve become a cult group among psych collectors. "Shed a tear for what might have been, play the album and play it LOUD! 49 years later, I hope you enjoy the echoes of the time. For Fox Sake!" – Stephen Brayne (The Fox)

[engl] Gene Rains is a hot tip within the tiki scene. His works are not as known as those of Martin Denny or Les Baxters, but musically they play in the same league. Rains colourful compositions write their own story. Once the record starts playing, you'll be taken on a orchestral journey through polynesian isles, treasures in the jungle, old stone gods and also take a short side trip with songs like "Chines Nights" or "Bangkok Cock Fight".

[engl] REPRESS! 2018 EDITION! This is a recording of a cult event, THE GRATEFUL DEAD live at the Filmore Auditorium on November 19th 1966. Recorded before their first album came out, this record features three primeval versions of tunes from their debut record and eight goodies, standards and originals, that were not featured on any official studio and live recording up to 1970?s ?Working man?s dead?. We are right there, on this magic night in November 1966 when psychedelic rock was still something fresh and exciting and the emerging hippie movement had not exploded yet. That came half a year later with the invasion of Haight-Ashbury. But these recordings are not only of historical importance, their musical value lies on an amazing level. The band smokes on stage throughout the performance. The sound is muggy for sure but each instrument comes through as it should and the simmering duels of guitar and organ make your head swirl. This album will certainly make the young generation of 60s music aficionados go crazy. A new beautiful cover artwork and some good work on the overall sound quality restoration make this album a joyful experience. And be sure, something like this 17 + minutes version of ?In the midnight hour? will have rarely hit your turntable. The overall atmosphere is just haunting. Even their official ?Live / Dead? album will never reach this intensity. The release reminds of the early DOORS or IRON BUTTERFLY live recordings released in the last few years. A band at it's prime with the world to gain and nothing to lose.

[engl] Unknown until now US private pressing from 1969. Underground, psychedelic, electric jazz–rock / improv sound with mellow folk–rock moves and homemade / basement atmosphere. Mostly instrumental with some cut–up vocal sounds and effects. A mix of self–penned songs and amazing cover versions of classics like "Summertime", "Scarborough Fair" or "A Taste Of Honey" turned into hip, extended jams not so far away from the sound of the pioneering psychedelic ballroom bands from San Francisco. Electric & acoustic guitars, bass, drums, flute...Recommended if you like similar private psych–jazz obscurities like Elysian Spring. Named after an old Detroit blues LP, Hasting’s Street Opera was formed in Montclair, New Jersey by a group of young friends (Harry Wellott, Gordon Carlisle, Don Hathaway and Chris Nelson) influenced by blues, rock, jazz and the eclectic sounds emanating from freeform / underground FM radio stations: Blues Project, Butterfield Blues Band, Miles Davies, Pharaoh Sanders, Jethro Tull... Initially born as a blues band, HSO eventually evolved into a true improvisation collective unit. "Slippery When Wet" was recorded in 1969 at Don’s house using a portable recorder operated by their math teacher, the famous old–time music preserver Charles Faurot. It was a vanity pressing of less than 100 copies, housed in hand–made covers which were distributed among friends and family. For this, the first ever reissue, original band member and visual artist Gordon Carlisle has designed a new vintage styled cover using old photos of the band.

[engl] The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett- era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends?so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch?In the early- mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released ''The End Of The Line'', a self- released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk- rock sound. It featured one of the earliest known tributes to Syd Barrett on the song ''When the madcap meets the world''.

[engl] Second album by this Yugoslavian band from 1980, typical in sound, style and emotional expression for the classic Eastern European progressive sound. The symphonic aspect with straight but very mind blowing synthesizer harmonies and cheerfully grand guitar leads have taken over the scepter from the debut album’s more space rock oriented direction here. A colorful, very lush but still strong and visionary ocean of melodies and sounds capes opens up before your ears and invites you to dive deep into your imagination. IGRA STAKLENIH PERLI have indeed created a “garden of light”, for this is what the title would mean in English. This is a floating stream of majestic rock that recalls the greatest European fantasy prog acts of their era such as ELOY, OMEGA from Hungary, the earlier FAITHFUL BREATH and GDR greats such as BERLUC when it gets heavier or LIFT. And you can bet, IGRA STAKLENIH PERLI know everything about dynamics, so they turn up the volume and rock like wild beasts when the music demands it. So, folks, don’t be shy, don’t hesitate, take a seat and let the fantastic journey begin.