[engl] Ear–splitting hard–rock / proto–doom–metal from the early 70s! Electric Funeral were a pioneering Swiss hard–rock band who sadly never registered any studio recordings at the time. Formed in the late 60s by Edi Hirt (drums), Pierrot Wermeille (bass), Alain Christinaz (guitar) and Dominique Bourquin (vocals), they were influenced by bands like Deep Purple, Black Sabbath and Led Zeppelin. Famous for their loud (they played behind giant stacks of Marshall amps) and powerful shows, their sound was too heavy–sounding for a regular label to offer them a contract. "The Wild Performance" is made of private live & rehearsal tapes recorded in 1970, very raw and lo–fi but it’s the only testimony of their brutal sound. First released in 1991 as a very limited (now heavily sought after) LP, here’s an expanded edition with newly remastered sound and four killer bonus tracks, taken from reels and tapes recently found in the band’s archives. These tracks were also recorded in 1970 except for "My Destiny" (1973). Sound is still lo–fi but slightly better than the original "Wild Perfomance" tracks, especially on the killer "You Can Help" (proto–punk á la Electric Eels!), "My Destiny" and the alternate version of "To Be One". *2LP expanded edition including previously unreleased tracks

[engl] A classic in the collecting circuit since ages, the sole release by UK group Elias Hulk was out in 1970 on the Youngblood label. Raw hard- rock, adding some Eastern and blues- rock elements as well. First ever licensed vinyl reissue, 180g vinyl in a one- off 500 copies pressing. Insert with photos and extensive liners by Andy Morten. Repro of the original poster.

[engl] Blastin underground hard- rock from Canada, 1971. Ultra raw guitars and lots of attitude. Think Black Sabbath and Elias Hulk!! Ellison were formed in Montreal in late 1967 by Vincent Marandola, Richard Arcand, Robert Cager and Christian Tremblay. The band started playing quite frequently in and around Montreal, and actually played a few other gigs in Quebec. They recorded their one and only LP in 1971, originally released on Trans- World Records. Here's a welcome reissue of this rare and sought- after album. Newly remastered sound. Insert with liner notes and photos. LP housed in an old- school- style tip- on sleeve. "They come across as cavemen with big amps, which of course isn't a bad thing within a heavy rock framework...One of the best hard rock LPs from anywhere in the world..." - Clark Faville

[engl] Ertlif was formed in 1970 by two ex–members of Egg & Bacon, lead guitarist Dany Andrey and bass player Teddy Riedo. They were joined by keyboard player James Mosberger (The Only Ones, The Countdowns), drummer Hanspeter ’Bölle’ Börlin (The Countdowns) and lead guitarist Martin Ruder: the cream of the Basel music scene from that time. The band name was derived from a mysterious medieval magician and alchemist. They were inspired by Pink Floyd, Yes, Procol Harum, Van der Graaf Generator and Genesis amongst others. A strong rhythm section and twin lead guitars blended with the Hammond organ created the characteristic Ertlif sound. In August 1971 they were the only Swiss band invited to the "Pop Meeting 71" in Münchenstein, Germany. Soon after, Ruder left the band. In November 1971, Richard John Rusinski, an experienced singer from England (ex–Autumn Symphony), joined the band. Riedo and Beni Hauri (the band’s roadie) had been experimenting with oscillators, noise generators, ring modulators and other devices since 1969. In early 1972 they introduced these electronic sounds into the band’s closing number "Classical Woman" so becoming pioneers of electronic music in Switzerland. They also became the first Swiss band to use a Mellotron. The band’s instrumental virtuosity established them as one of the country’s top acts and a phenomenal live band and they were one of only a few Swiss groups to be offered a recording contract. In August 1972 their album and a 45 were completed in only four days. The records were launched in October generating radio interviews, television appearances and a great deal of press coverage. The promotional tour began with sold–out shows on three consecutive nights at the legendary Atlantis club in Basel. Ertlif continued performing until 1978, when they disbanded. In 1992, they reformed with the original band members and continued playing live. In 2001 they released a new album on CD. With a new line–up, Ertlif have been active until last year when founding member Teddy Riedo sadly passed away. This album is dedicated to the memory of Teddy, who was the brainchild behind this new Ertlif reissues. This double LP contains: –The first Ertlif album from 1972, featuring the original tracklist and sound taken from the original master tapes. – A bonus LP consisting of previously unreleased 1971 demo recordings, done at the band’s rehearsal studio without overdubs. With these demos, Ertlif were offered a recording contract with Tell Records. Also included as bonus is "Plastic Queen" from 1973, taken from the album "Heavenly and Heavy – Mixed Swiss Rock Candies".

[engl] Previously unreleased ’74–75 homemade recordings by Swiss prog /psych legends Ertlif. Raw, in–your–face hard–progressive sound with ultra–loud fuzz–wah guitar plus Hammond, Mellotron, synths, powerful (English) vocals... A great find for anyone into underground psychedelia.

[engl] Got Kinda Lost Records presents the first in a series of exhumations from the realm of privately- pressed hard rock LPs, with our second label release from Southern California group Eternity. If you're forever searching for lost treasures, and yearn for a time when hard rock was free of pretense, look no further- Got Kinda Lost Records presents the wasted, basement hard rock of Eternity. Originally recorded in 1979- '80, and released on a private label in 1981, many songs originate from an earlier period in the '70s, giving the release an ''out of time'' quality. Led by the confidant vocals of Wallace Stoneking and the ''human- riff'' creativity of Frank Monroe, Eternity created a groove- oriented, no frills brand of hard rock, capturing the flair of their heroes existing a decade prior- and within this set Wallace Stoneking tells of all the surreal interactions and experiences that colored their time together. This set is sure to please fans of 70s proto- stoner, hard- rock, ''out of time'' private press treasures, and your uncle who still drives that '72 Camaro. Recommended for fans of Blue Cheer, Black Sabbath, Nazca Line, Led Zep, Magi, Leaf Hound, and Stagefright. 24- Bit Remastering. Includes one bonus track taken from a non- LP 45. Extensive interview and liner notes with group singer/songwriter Wallace Stoneking, conducted by Jeremy Cargill (Ugly Things Magazine / Got Kinda Lost Records).

[engl] Fabulous UK psych & proto prog, recorded in 1970 at IBC Studios (Factory, Who, etc) and originally pressed only as a handful of ultra–rare test pressings. Melodic vocals, killer Hammond + distorted guitar and fabulous songs. With connections to Scots Of St James, Hopscotch, Fleur De Lys, Glencoe, Studd Bump...Remastered sound, insert with detailed liner notes and rare photos / memorabilia. New artwork by artist Sara Gossett. Five Day Rain was formed when Rick Sharpe (guitar), Clive Shepherd (bass) & Dick Hawkes (drums), from power trio Iron Prophet, met organ player Graham Maitland (Scots of St. James, Hopscotch, Fleur De Lys...). The original intended name for this new band, "The Entire Building Is About To Collapse", was soon discarded in favor of Five Day Rain. Thanks to a mutual friend, they were recruited by the producer / engineer team of Brian Carroll & Damon Lyon–Shaw, famous for their work at IBC Studios with some of the top bands from the Sixties. Drummer Dick was replaced by Kim Haworth and sessions for the FDR album began at IBC in late 1969. Guitar player John Holbrook (Baba Scholae) was invited to play some leads and the great Sharon Tandy and members of America did some backing vocals. The result was a perfectly recorded and executed finished album comprised of 10 songs. Showcasing the stellar work of Rick and Graham on guitar/organ on tracks like "Marie’s A Woman" and the long instrumental "Rough Cut Marmalade" , the FDR sound is a great example of the transition from post–mod psychedelia to early prog. Once the album was finished and a few test pressings in blank sleeves pressed, the whole project was abandoned due to some disagreements with the producer, so the album was never actually released. In the late 80s, copies of the original test pressing were discovered by psych collectors and bootleg reissues appeared on the collectors market. It wasn’t until 2006 that an official reissue, done with involvement from the band members, was released by the Nightwings label from Italy. After many years out of print, we present a long overdue new vinyl edition of the Five Day Rain album.

[engl] Founded by ex- members of Procol Harum, Freedom were a legendary British psychedelic hard- rock band. This is their fourth album, originally released for the collectable Vertigo label in 1971. Powerful hard- rock / bluesy sound with loud wah /distorted guitars, long tracks, wasted vocal?recommended to fans of Clear Blue Sky, Budgie, Jodo

[engl] Classic, raw UK blues–hard–rock from 1973 featuring powerful guitar player / vocalist Nicky Moore. From original masters. Insert with full band history by Pete Sarfas of Audio Archives plus rare photos and memorabilia. With a name taken from a Thelonious Monk album track, Hackensack became in the early 70s one of Britain’s hardest rocking and hardest working acts and are still remembered fondly today by those who experienced their unforgettable, powerhouse live shows. "Up The Hard Way" was their debut album, recorded in late ’73 at De Lane Lea Studios, Wembley , and released the following year on the Polydor label, housed in a fab sleeve by Jim Fitzpatrick. Musically, it’s a varied album which goes from hard–rock to blues and rural rock. Includes a 8–page insert telling the comprehensive history of the group from their Gas Avenue roots in 1969 to 2019, plus many rare photos and memorabilia. This is the first ever official vinyl reissue, a must for all fans of a band who deserved to be as big as Free, touring with them twice, yet ultimately let down by Island Records.

[engl] Debut, double album by musician/sci–fi writer Julian Jay Savarin. Originally released on Miki Dallon’s Youngblood label in 1970, this is a classic since the early days of record collecting. Hammond dominated, spacey, psychedelic prog–rock with long tracks, cool female vocals and a cosmic, sci–fi concept vibe. This reissue features the original gatefold sleeve, master tape sound in 180g vinyl, and detailed liner notes by Andy Morten (Shindig!). Essential to anyone into early UK prog–rock!

[engl] Sole album released in 1970 by this US hard-rock / psychedelic band, recorded at the famous Record Plant Studios in New York and produced by jazz musician Ahmad Jamal. Organ dominated hard progressive sound with powerful / soulful vocals, hot lead guitar and atmospheric / swirling Hammond. File next to Child, Valhalla, Atomic Rooster, Vanilla Fudge, Iron Butterfly, H.P. Lovecraft, Day Blindness, Arthur Brown…

[engl] The second and best of the albums released by this British group, originally on Larry Pages Penny Farthing label in 1970. The impressive opening track ?Out of Uranus? kicks off this great album, filled with acid- rock and blues- rock with an aggressive production and in- your- face guitar riffs all over. Also features a couple tracks more into psych- pop, all pretty well executed.

[engl] Unreleased US album from 1972 now for the first time available on vinyl. Originally from Louisville, KY, Leslies Motel line- up included several members from The Oxfords as well as Blues Project drummer Roy Blumenfeld. They played explosive, bluesy hard- rock with powerful vocals and stunning guitar / organ, in the same vein as early Allman Brothers or Ten Years After. Remastered sound from the original master tapes, insert with liner notes and rare pictures. 180gr vinyl.

[engl] In 1969 Bracknell based blues rock outfit Levee Camp Moan released what was destined to become one of the most sought after UK private pressings of the period. Issued on the County Recording Services label (SVVS 132), a small run of discs was pressed up and sold locally at gigs as well as being handed out to friends. Housed in an obligatory custom built sleeve that had a snapshot of the group pasted onto the front, this LP marked out their status as one of the most exciting bands to emerge out of the thriving local underground scene in the Bracknell Delta. The group had taken their name from the old blues number and the band members, manager and assorted roadies took up residence in a local farmhouse known as Peacock Farm. It was there that LCM would rehearse into the small hours thumping out a mixture of blues standards as well as their own compositions until they had become a tight unit ready to ’take on the world’. Influences ranged from the urban blues of Otis Rush, Buddy Guy and Junior Wells to Muddy Waters, Skip James and beyond. The more or less contemporary white blues of the time, Canned Heat, Savoy Brown and Paul Butterfield also served as a major source of inspiration. From their humble roots LCM quickly built up a following on the British Blues circuit, frequenting the likes of the Marquee, Crawdaddy, Klooks Kleek, Eel Pie Island and Rikki Tik club. On the college circuit they toured extensively with Chickenshack, Canned Heat and Muddy Waters with performances being of a high enough standard to generate record company interest. Unable to secure a record deal, they had no other choice but to do it themselves. And so it was in the winter months of early ’69 that LCM entered Virgin Sound in nearby Windsor to lay down eight tracks recorded on a four track machine. At the time of its creation the term private pressing would have had little or no relevance in musical circles and the significant thing to remember is that in such cases there is no record company interference and what the band was able to produce under these conditions was the archetypal private pressing, raw, under produced and thrillingly primitive. The project successfully captured the spirit and aggression of an exciting new band and the original artefact is now a zeitgeist of that remarkable era. After Levee Camp Moan, Ian Campbell went on to carve out a busy musical career performing with, amongst many others, the Nashville Teens, Arthur Brown’s band and Mungo Jerry. Bassist Dave Stubbs played with a host of notables including gigs in Eric Clapton’s band and lengthy tours with Uli Jon Roth (ex Scorpions).

[engl] Epic & doomy atmosphere in the best early 70s tradition with great use of Mellotron, flute, killer hard guitar...imagine a mix between BLACK SABBATH and JETHRO TULL with a dose of KING CRIMSON and BLACK WIDOW. Includes insert with liner notes and photos and download card of the full album plus two bonus tracks. "In Anadi’s Bower" was the follow up to "Underground And Beyond" and featured new singer Jon Ruder. The band’s idea was to make another "Underground And Beyond", to record more of the band’s 1970 – 1973 material fast and rough. But this time they chose to use a producer, Rolf Kjernet, and they also had a bigger budget and more studio time. All the basic tracks of guitar, bass and drums plus guide–vocals were recorded live in the studio on analog equipment. Just like before on "Underground And Beyond". Even the 11 minutes "Little Child" does not have one single edit of the basic tracks they recorded live–in–the–studio. "We were completely into making it good and really enjoying ourselves in one go. Still, it was also an escape. There were some greening of the grass and auras of the trees seen in the dim light of midnight. Outside. May "Darkness" bless the child that takes no more and let it play in Anadi’s Bower. In Norway, maybe?" – Thore Engen (Lucifer Was)

[engl] Killer hard psych–prog from Norway! "Underground And Beyond" was the debut album by cult proto–metal band LUCIFER WAS, containing songs written in 1971–72 but not recorded until 1997. Fully 70s analogue & powerful sound with devastating distorted lead guitar & flute. Imagine a cross between JETHRO TULL, BLACK SABBATH and ATOMIC ROOSTER! Remastered sound, colour insert with liner notes by Klemen Breznikar (It’s Psychedelic Baby) plus rare photos. Established in 1970 in Oslo, Lucifer Was were a powerful psychedelic hard–rock / hard–prog band that lasted until 1975. During those years, they gigged locally and played at some big festivals but they never got the chance to register any recording. The band hibernated until 1996 when they reunited again for a live concert. The chemistry was still there so they entered a recording studio and recorded in just 18 hours their first ever album, "Underground and Beyond", featuring songs written in 1971–72. Their line–up included two flute players plus bass, drums and the killer lead guitar of Thore Engen. Originally released in 1997 as a picture disc LP, here’s the first ever standard LP reissue.

[engl] Turkish pshychedelic music fused with Anatolian Rock. Makas’ debut album is an awesome new approach to Turkish traditional music, contemporary way. Impressive nine track collection of progressive rock blended with Anatolian melodies with obvious strong influence of Baris Manço and, in lesser intensity, of all the other icons of Anatolian Rock.

[engl] Smokin? heavy- rock with early progressive & folkie, bluesy overtones from Virginia, 1971. Originally released on the same label as Polyphony.Powerful vocals, loud guitar and killer Hammond organ, flute...

[engl] The Master's Apprentices are bona-fide Australian rock legends. As Stan Rofe said, the Master's Apprentices were Australia's Rolling Stones. They left an indelible mark on Australian music, and along with the Easybeats and the Twilights, they were one of the"could-have-been" bands, who tried valiantly to break into the British and international charts. Like both those bands they were ultimately unsuccessful in their attempts, but one of the later members of the band, Glenn Wheatley, learned valuable lessons from their mistakes and has played a major role in the music industry and the media over the last 30 years.

[engl] Originally released in 1971, The Master's Apprentices' garage tinged debut album is one of the great Aussie albums of the 1970s. Also known as 'Choice Cuts'.

[engl] The cover promises sheer darkness and madness. A skull in a bird's nest on the back and a skull covered with candle wax on the front. The rather pastoral folky beginning seems to prove my expectations wrong but the heavy progressive organ driven rock of this German outfit comes close to what the artwork suggests. The first song knows to convince all naggers. Twisted passages with an atmosphere of sheer insanity and heavy rocking outbursts of the classic kind shake your soul and drag you into a world so different to ours. Some classic blues rock parts get thrown in for the good measure as well but the attention lies on progressive and heavy aspects. The second tune proves that their bassist is a real maniac as he really smokes in some of the more loose sections when he and the drummer create flashing rhythms upon which the lead guitarist can take off to other spheres. Being crazy must be of importance here but MCCHURCH SOUNDROOM take care to be dynamic as well to keep the listener's attention upright when it comes to the lengthy instrumental jam parts with duels and dialogues of guitar and bass or even a wicked drum solo. If you think that progressive metal was invented somewhere in the USA by the early to mid 80s you will find out how far from the truth that is. Well, all in all this is definitely one prototypical 70s heavy progressive outfits and it has the spirit of most UK bands of the years 1969 to 1971 including vocals with a flawless English pronunciation. If you listen beyond the melodies be prepared to find some weird rhythm patterns and if you go back to the surface you may trip away on solemn organ parts or let your mind end up in the darkest and dirtiest backstreet pub when you get struck by quite powerfully rocking jazz passages. Music can be more of a journey than just a superficial experience and this is given with MCCHURCH SOUNDROOM and their “Delusion” album which takes you on a trip into the remote areas of urban life. All of it in a quite heavy fashion. If you love bands like GRAVY TRAIN or early JETHRO TULL, you may enjoy this to the maximum.

[engl] Heavily organ and guitar doom–hardrock recorded in London in 1971 by same guys as hard–rockers ZIOR. A must for fans of early Black Sabbath or Leafhound. HQ carton cover, 180g vinyl, mastertape sound quality and insert with extensive linernotes by Andy Morten.