[engl] Fabulous US hard-psychedelic album by NOAH, recorded in 1972 but never released at the time. Expanded to a double set including the SOUND BARRIER (pre-Noah) sought-after garage-psych 45s plus unreleased demos, ’67-71. Master tape sound and insert with rare photos and liner notes by Plastic Crimewave. RIYL: BLUE CHEER, SIR LORD BALTIMORE, FRACTION, IRON BUTTERFLY, STEPPENWOLF… Formed in the late 60s in Salem, Ohio, out of the ashes of two garage bands, the Markees and the Sound Barrier (of the legendary “Hey, Hey” 45 on Zounds), Noah consisted of Mark Scheuring (guitar & lead vocals), Larry Davis (drums), Paul Hess (bass & backup vocals) and Danny Hall (keyboards & backup vocals). In 1972 the band recorded in just two days a concept album titled “Brain Suck” at Cleveland Recording studios with engineer/producer Ken Hamann (of Grand Funk Railroad and James Gang fame). Noah’s music was dark and heavy, dominated by killer Hammond organ, hard guitar and powerful vocals. This is truly a major find for anyone into hard psychedelia. In the words of Steve Krakow (Plastic Crimewave): “it conjures the heavy, doomy vibe of Blue Cheer's "Fruit and Icebergs" suite; the bluster of Sir Lord Baltimore (but maybe with Keith Emerson on keys); and a biker ferocity found on the Fraction Moonblood Lp. I'm also imagining Steppenwolf, Iron Butterfly, or Vanilla Fudge on some bad drugs with a Mothers-like malignance”. The LP sessions were never released properly (in fact a truncated vinyl edition with some songs missing and late Sound Barrier demos added was released in 1995 by Al Simones on his Head Records label, without the band’s knowledge) so this is the first time that the “Brain Suck” album is released as originally intended by the band. *Double LP edition in gatefold sleeve. *Disc 1 features the original “Brain Suck” album by Noah, as originally recorded in 1972. *Disc 2 features late Sound Barrier (pre-Noah) demos from 1968 (which are KILLER, prime cut garage-psych with ripping fuzz and organ) plus the two Sound Barrier 45s from 1967/68 on Zounds / United Audio and a couple of cool previously unreleased Noah home demos from 1971.

[engl] Orang- Utan were in fact a London based band called Hunter, featuring vocalist Terry ''Nobby'' Clarke (of psych- pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 and DeLane Lea studios. In a bizarre twist of events, their producers / managers ran with the tapes to the US, where they placed the album on Bell Records under a new band name: Orang- Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin- guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff? First ever legit reissue done in co- operation with the original band members. Insert with liner notes by Jeremy Cargill (Ugly Things / Got Kinda Lost), telling the bizarre story of the band for the first time, and rare photos.

[engl] First ever vinyl reissue of this prog/psych masterpiece by cult Arabian band Osiris, their first album originally released in 1982. A killer blend of 70s sounding hard progressive / psychedelic sounds with long ripping Mini- Moog & analog synth attacks smashed into mellow vibes & Arabian folky touches, hard lead guitar, exotic percussion, floating rhythm section, English vocalsFormed in the tiny Bahrain (Persian Gulf) in the late 70s, the Osiris story goes back to 1969, when talented brothers Mohamed and Nabil Alsadeqi formed a funk / rock band named Witch. The band broke up when Mohamed left to pursue his studies in Texas, while his brother Nabil left for London. Upon returning to Bahrain in 1 the two brothers decided to form the first progressive rock from Bahrain. It was not easy to find similar minded musicians in their town but they succeeded with help from Mohammed Shafii (bass), Sami Al- Jamea (keyboards), Mohamed Amin Kooheji (guitar, bass, vocals) and Abdul Razzak Aryan (second keyboards). Mohamed and Nabil began working out an original repertoire which would fuse musical complexity, melodic richness and Arab culture. They chose the name OSIRIS from Egyptian mythology not only for its sound but also for its references to Arab culture, youth and fertility. But the definitive Osiris line- up came up when they added a charismatic singer named Isa Janahi. Osiris made their live debut at the end of 1981. Isa wore flashing coloured clothes and capes and captivated the audience with his presence on stage. The group also used lasers, a light show and smoke, bombs, all deftly handled by friends of the band. ''Osiris'' was recorded at the only 8- track studio in Bahrain at the time. It was recorded and mixed in just three days. As there wasn't any record pressing plant in Bahrain, the band had to press the albums in Philippines. 1000 copies were sold locally at Bahrain but a few made it their way to USA and the UK, appearing in some rare records list by ''those in the know''. Osiris music will not only please those into classic prog- rock in the Camel, Yes or Pink Floyd vein but also those for looking for exotic psychedelic sounds and beats.

[engl] Not each krautish album comes from a German band. Remember BRAINTICKET who in fact were Swiss with a Belgian mastermind? PATER NOSTER on the other hand who play an organ driven solemn progressive rock with a heavy edge come from Austria and really enlighten the heart of all fans of dark and often morbid rock music. It might be a good idea to overhear the pronunciation and the whole lyrics and take the vocals as another instrument adding some color to the whole picture. The voices are indeed quite charismatic and memorable. So are the compositions. The late 1960s psychedelic scene has surely made an impact on this band and the fuzzy lead guitar, creeping rhythms and wicked keyboards often create a climate of sheer dementia with the mournful voice of the singer on top. The record sounds as if the band was jamming in a giant church hall and therefore has a really gloomy mood. There are quite a few freak outs to be experienced along the way and in most cases they turn into some epic space trips that recall the greatest early TANGERINE DREAM and PINK FLOYD processions just with a funeral atmosphere. I may have never heard such a mournful album before which even sounds tragic when the lyrics center on the average working day of an average man. Well, this is some very special record indeed and will strike you deep inside. When you have gotten past the unique vocals the sheer beauty of the lead guitars and keyboard sounds will swallow you alive. Could progressive rock get more demented than VAN DER GRAAF GENERATOR? Oh yes, this is the vivid proof. Made by freaks for freaks.

[engl] Released in 1980 as a private edition of 300 copies, “Time and Money” finds outlaw rock hero Ray “McKay” Pierle abandoning the rural rock sounds of his famous “Into You” album for a more hard-rock approach. Twin guitar attacks charged with fuzz-wah and catchy songs full of memorable hooks and melodic vocals. Recorded mostly at Ray Pierle’s home-made studio and mixed by Moe Whittemore at the legendary 700 West studios in Indiana, resulting in a warm, fabulous analog sound.

[engl] First ever vinyl reissue of this Swedish private pressing from 1979. Heavy twin-guitar fuelled underground hard-rock with prog/psych touches! Heavy cardboard sleeve, master tape sound and insert with rare photos, lyrics and liner notes. Plebb was founded in 1976 in the small town of Mönsterås (Sweden). The band name was based on the initials of the first band members names. The “P” for “Pemce”. “LeB” for “Leif Bergqvist” and the last “b” for “Balder”. They were just teenagers (16-18 years old) and in 1977 guitar player Leif Bergqvist was replaced by Peter Martinsson and then the band started to develop their sound and began to write their own songs influenced by their favorite musicians. After recording a private cassette, the band decided to make their first album. So in 1979, they recorded “Yes It Isn’t It” with almost no budget at a makeshift studio using two locations: the attic of a local biker club and a school. It was produced by bass player Tommy Gustavsson and only 485 copies were pressed on the band’s own label, Plebb Records, sold mainly locally to friends but also in some shops in consignment.

[engl] The 70s were the decade of progressive rock music of all calibers. And it seems not one country of this world was spared when the new kind of sound spilled over like a giant wave of inspiration. Even the European Eastern Block countries where rock music was regarded as subversive by the authorities had their share of rock bands with a hippie, heavy or freaked out direction. We recall OMEGA from Hungary, SBB from Poland or MODRY EFEKT from the Czech Republic and of course PHOENIX from Romania. The latter were the biggest rock music export of their home country but there were others with them building a solid spine for the still young and expanding rock scene. One of these nowadays rather unknown forces was PROGRESIV TM, a band not to categorize too easily. They loved big melodies with a yearning approach for the vocals, mixed up blues, folk, jazz and playfully twisted rock patterns. The guitar had a scratchy and fuzzy distortion that came close to what Tony Iommi ripped off his fretboard on the very early SABBATH albums even when the composition itself rather felt like a relaxed and jazzy ballad. What you get here on this debut album released in 1976 is a really captivating, well produced and even better played piece of rock music combining influences from everything that was cool at the time the band was formed, around 1972. Folky and catchy heavy rock like GOLDEN EARRING or JETHRO TULL, dreamy Eastern rock like OMEGA and PHOENIX, utterly grinding guitar power like early BLACK SABBATH and some wicked progressive freakouts along with jazzy breaks. If you are looking for a hot blooded and steaming, yet relaxed unique rock album from the 70s and can get along well with a band singing in its native tongue rather than English, grab this masterpiece.

[engl] If you're continuously searching the margins for lost artifacts of the pop pantheon, you can find your daily dose in late period exponents of pure, lean, Beatlesque early '70s power pop, Promise. Originally issued in 1980 on the Boulder, Colorado, area band's own Cumulus label, their eponymous debut is filled with melodic, beatific blasts of pure pop, replete with ringing, jangly guitars, and rollicking crunch. Co- led by singer songwriter's/guitarists Curt Mangan and Danny Mey- with aid provided by the just right rhythms of bassist Randy Jones and drummer Gary York- the group created an album with precious little allying it to the punk- inspired power pop or prescient ''New Wave'' of the time, instead choosing to hone in on a classicist pop sound highly indebted to those famous moptops from Liverpool. Abetted by the fact some of the group's members had been playing together since their teenage combo's of the mid- '60s the album carries an ''out of time'' flair across surging rockers and mournful balladry.

[engl] US private pressing from 1970. Bluesy hard- rock / psychedelic power trio in the Cream and Mountain vein. Raw, in- your- face sound with crude guitar / organ battles and some drifting, mellow moments. First ever vinyl reissue. Remastered sound, insert with linernotes.

[engl] The album here has originally been issued in 1983 and contains a wild and captivating crossover between Celtic and South American folk from the Andes plus many elements of traditional music from Southern Europe and some more contemporary singer / songwriter aspects with a mystical atmosphere. The playing skills of all participating musicians are enormously high and the distinctive vocals by multiple voices capture your attention in just a second when you take a closer listen to the twelve songs on this album. One or another step into pop music with a slight psychedelic edge that manifests in the use of a saxophone here or synthesizer there carries the compositions into the present time and makes certain that this is not just a fairy tale from ancient days but definitely vivid music to blow your mind with. From harmonium to pan flutes you will find all kinds of instruments backing the beautiful acoustic guitars and haunting voices. QUINTAL DE CLOROFILA remind me of a South American version of THE INCREDIBLE STRING BAND and several gypsy and folk acts from the South or South East of Europe. The whole album has a rather epic feel and drags you deeply into a colorful world of sound. Truly majestic and unearthly enchanting.

[engl] Obscure hard–rock / proto–metal beast from Belgium, originally released in 1978 as a private edition of 300 copies. Dangerous, aggressive sound with wall of fuzz guitars and manic speed drumming. Highly recommended to anyone into "Raw Power" era Stooges, "Back in the USA" era MC5, Pink Fairies, early Motörhead, Hawkwind, Acid Archives US obscurities like White Boy & The Average Rat Band, early NWOBHM bands and compilations like "Bonehead Crunchers". The S to S album is one of those obscurities that have remained unknown to collectors of hardrock for many years. We present the first ever reissue with the band’s story told for the first time. S to S emerged out of the ashes of local band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums. After the demise of Etna, the Cannella brothers decided to form a power–trio: S to S was born. Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state–of–the art studio with their own hands and soon after the recording of the S to S album started. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions. A friend of the band played occasional keyboards and Michel, the producer, played sax on "I’m fool", the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hardrock featuring layers and layers of fuzzed–out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs. The album was completed in early 1977 but remained in the shelf until the following year. The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting them. Only 300 copies were pressed on their own Overcome label. Meanwhile Mirco formed a punk band named Acétylène but decided to concentrate on S to S soon after. S to S continued right into the 80s with some changes in their line–up, playing many successful shows in Belgium, changing their style towards a more heavy–blues–rock sound, before splitting in 1982.

[engl] Sabattis were an underground hard- rock band from New York formed in 1968 by Jim Marvin (guitar & lead vocals), Gary Culotta (keyboard and vocals), Larry Wegman (drums) and Rocky Kaler (bass). Influenced by bands like Deep Purple, Mountain and Grand Funk, they gigged around town playing lot of psychedelic clubs and venues. In 1970, they recorded a demo with the intention of securing a record deal which never came. The demo tape was in fact a fully finished album recorded and engineered by a friend from the band, Mick Gauzaski, who despite using a homemade studio, managed to obtain a real pro sound. No wonder Mick is now a multiple winner Grammy award!

[engl] UK 1971 album released on the Youngblood label. Based in The Ten Commandments, though not proved to be Christian rock itself, the album is a nice progressive pop–rock disc showing influence of Deep Purple and The Moody Blues, with good dose of organ, guitar and brass. Fantastic reissue in a four–way foldout poster–type picture cover, housed in deluxe PVC outer sleeve. 180 gram vinyl, remastered sound from mastertapes, and insert with linernotes by Andy Morten.

[engl] Ultimate US hard- psychedelic / proto- prog burner from 1971. Obscure Sabbath- esque hard- rock band Salem Mass self- released their only album in 1971. Recorded at a beer bar converted studio, ?Witch Burning? consists of seven tracks full of ripping guitar, brutal Moog attacks, heavy keyboards, demented vocals and Satanic / Occult related lyrics, especially in the mindblowing ten minute long title track. First ever vinyl reissue featuring the original artwork. Newly remastered sound, insert with liner notes and rare photos / memorabilia.

[engl] Another stunning prog–rock masterpiece, still Hammond and keyboard/mellotron dominated but with a more hard–rock approach, featuring plenty of killer guitar riffs, powerful but melodic vocals courtesy of Lady Jo Meek (sister of Catapilla’s vocalist Anna Meek) and a solid, groovy rhythm section. A legendary album lovingly reissued featuring original artwork, master tape sound, 180g vinyl and detailed liner notes by Andy Morten (Shindig!)

[engl] It's still out there, the spirit of the working class. Maybe not necessarily where Marx had placed him. Today, the saturated middle class with their own home, double garage and annual vacation in Thailand stands on the assembly lines of Ford or BMW. The new working class delivers food under precarious conditions in the service of turbo-capitalism, drives bus night shifts, does the dirty work of a professor on a temporary assistant contract or wipes the butts of dementia sufferers for a little applause from the balconies of the higher earners. So new times, which of course are still the same as they always were. There are “those up there”. And there are the people who keep the store running, who straighten their backs and grit their teeth. And who urgently need a beer in the evening. Because the best place is still at the bar. Somewhere between Birth, School, Work, Death there are blues, sweat and beer. Fits pub rock. Pubrock is the grassroots movement of rock'n'roll. Born in the late 1960s and early 1970s, it brought music back from the oversized stages to the basement clubs and pubs, especially in the English industrial districts, where “workers” were actually still crowding around. Where people drank, laughed and argued. Where the motto was “pub fights, pub gets along” and huge keyboard towers, Mussorgsky adaptations and delicately blown fairy hair were laughed at in never politically correct expressions. Against the then omnipresent mantra of higher!, more complex!, more delicate! Pub rockers used the simplicity of the blues, gut feeling rhythm rumbling, cleaver riffs, brutally fast hooklines and clenched fists raised in the air. If you want, you can interpret pub rock as the anti-thesis to capitalism. Because although essentially “apolitical”, the lack of ambition for “bigger things” alone means the refusal of permanent growth. And what was forced by the oil crisis in the 1970s - the practical end of the suddenly unaffordable touring throughout the country - also meant, conversely, a return to one's own strengths and resources. “Act local” also meant “in the local pub in your neighborhood”. (A rogue who draws parallels to the current crisis of rock musicians, who are losing their tours in droves and who can hardly call themselves professionals anymore, because that would mean that they could somehow make a living from their music.) Back then, pub rock triggered the reboot of rock music, was the necessary initial spark and the stepping stone for punk and everything that came after. Sometimes later eaten by one's own children or swept under the carpet of history and largely forgotten - Kursaal Flyers, Dr. Feelgood, Eddie & The Hotrods, Brinsley Schwarz - but sometimes also matured into a central actor or mentor - Nick Lowe, Joe Strummer, Ian Dury, Elvis Costello. And despite the limited resources, pub rock was anything but provincial, it unhesitatingly usurped and "appropriated" what works in every pub in the world, whether in Connewitz/Saxony or Bozeman/Montana: country casualness, heavy rock depth , tinkling honky-tonk pianos, the fearless musical freedom of a Wurlitzer speaker. Since then, the only thing that has been important is that it has to work. And the people there, on this mini stage with their mini equipment, have to fit. To dirty toilets full of stickers and stupid graffiti, to puddles of beer, unwashed hair, worn out clothes. Even with Schneckenkönich everything seems a bit dirty and greasy; Hair, denim jackets, and anyway the music, which revolves around a few blues patterns and would inevitably be denounced as "authentic", "honest" and "handmade" in the three-part announcements that might be left in the local press. A friend of the band once called it “the finest working-class hippie shit” and that pretty much says it all. The rest is available at the counter in the evening.

[engl] Special Version handmade limited on 50 copies!

[engl] Reissue with newly remastered sound of this teen basement psych–rock private pressing from the Midwest, 1973. Great distorted guitars, organ, melancholic vocals, raw homemade vibe, inventive songs and some cool Neil Young / Crazy Horse influences. File next to Rayne!

[engl] Reissue taken from the original mastertapes of this rare US' 72 hard- rock / heavy blues private pressing. Powerful jamming sound influenced by Black Sabbath, Led Zep, Grand Funk, early Blood, Sweet & Tears etc, with tasty guitar leads / organ and occasional horns. Insert with pictures and liner notes.

[engl] An early seventies Swiss band that showcases heavy blues-rock in fusion with the psychedelic influences of other swiss bands like Krokodil or Country Lane. With excellent guitar playing. The Spot LP is one of the rarest from the European underground scene for sure; it was pressed across the border in France under contract like the Splendid label stuff was (Pacific Sound, Aftershave, etc.), which makes it highly unlikely that it ever made it past an initial order of a few hundred copies for their local fan base. If you like heavy rock with searing distorted wah-wah guitar, this has it. If you like the juxtaposition provided by the short acoustic numbers on the Tractor LP, Spot does that as well.

[engl] Definitive reissue of this wild and heavy psychedelic hard- rock album from California, 1969, released in tiny quantities at the time. Ultra- loud guitars (think Blue Cheer or late 60s Who), melodic vocals and thundering rhythm section. Newly remastered sound, original artwork, insert with extensive line notes by genre expert Clark Faville and lots of rare pictures / memorabilia. Bonus track taken from a previously unreleased acetate.

[engl] Private hard-rock ultra-rarity from Texas exhumed for the first time. With only 200 copies released in 1975, the “Stud” album has become a holy grail for collectors. A mystery for many years (all the band members used pseudonyms on the album credits), many people failed to track the band down…until now!. Formed in 1974 in Houston, Stud featured the killer lead guitar of 17-year-old genius Tim Williams, the brutal Rickenbacker bass attacks of Paul Eakin and the solid as a rock drumming of George Lasher. The chemistry was born since they first starting played together and after many rehearsals, they decided they were ready to record their first album. So they entered the Barons Studios in Rosenberg and “Stud” was the result. Powerful hard-rock on songs like “A woman like you” or “Jim/Blues”, killer boogie-rock (“Captain Boogie”), hard-psychedelic jams (the 12+ minutes of “Stud”) and progressive hard-rock on the impressive “The war song”

[engl] Previously unreleased homemade recordings from 1971 by Barcelona’s hairiest power trio. Raw, in-your-face hard-rock and proto-metal plus some surprising psychedelic, Canterbury styled moves. Featuring the very first line-up of the band comprised of killer guitar player Miguel Ángel Núñez, the legendary Tapi (ex-Máquina!) on drums and Pepe Fernández on bass. Includes a cover of Black Sabbath's "Planet Caravan", a killer first version of "No Control" featuring Núñez on guitar (later recorded again for their first album with Max Sunyer), the proto-metal sounding "Hard Drive" (not released until now) and more!