• 01. Head embers
    02. At the top of the stairs
    03. Summertime children
    04. In the morning
    05. Dusty road
    06. Pepper Palace (Bonus Track)
    07. 2025: Alone am I
    08. Softly
    09. I travel along
    10. Not well liked
    11. With a tailored image
    12. The sun is shining for me
    13. Sixteen Tons



    [engl] Coming from the same Minneapolis 60s scene which spawned bands like The Litter, Thundertree evolved from garage band The Good Idea. In 1970 they released their sole album for the Roulette label: a perfect example of the transition from psychedelia to hard- rock and early progressive sounds. Killer fuzzed out guitar, organ, powerful vocals?Including hard- psych classics like ?In the morning? or ?Room at the top of the stairs? along with the monstruous 17 minute long ?2025? suite. For this, the first ever legit vinyl reissue of Thundertree, we?ve included two previously unreleased tracks: ?Pepper Palace? (a great psychedelic number) plus a storming cover of ?Sixteen Tons?, which was the signature song on Thundertrees live shows. Both tracks were recorded at UA Studios, Minneapolis, in 1970.
  • cover


    Time Will Come

    Starting out life as Peter and the Silhouttes, these happening cats kicked off their career in 1965 and a year later they unveiled a single called ''Claudette Jones,'' which can be heard on ''Tol-Puddle Martyrs.'' An aggressive rocker sporting a deadly vocal and a hook to slit your wrists for, ''Claudette Jones'' reminds me of a prime Pretty Things pounder, due to its insistently driving beat and hard-edged bluesy approach. When Peter and the Silhouttes changed their name to Tol-Puddle Martyrs, they also altered their style a bit, spicing their material with a groovy paisley fragrance. Released in 1967, ''Time Will Come'' features a round of cynical lyrics addressing the turbulent mood of the day and carries a rather haunting pitch that slashes right through your psyche. The vocal delivery on the tune is strong and convincing, while the taut instrumentation really locks it all together. The flip side of ''Time Will Come'' is just as effective. ''Social Cell'' boasts a catchy melody similar to Johnny Rivers' ''Secret Agent Man,'' and like ''Time Will Come,'' the tune is charted of thoughtful verse that finely captures band leader Peter Rechert's flair for writing top-flight observations. It should also be noted that Tol-Puddle Martyrs were a fantastic pop band. Their music does indeed flash plenty of commercial appeal, making the tracks on this record the kind of stuff you won't soon forget. Forever lodged in your brain these songs will be! The band's pop influence is especially evident on a single they issued in 1968, as the whimsical ''Love Your Life'' flickers with dapper Kinks aspirations. Smart arrangements and a sincere passion for the music, they performed are additional assets to be found in the recordings of Tol-Puddle Martyrs. Totally excellent tunes from yet another totally excellent sixties band from Australia!
  • 01. Happy face
    02. Beginnings
    03. Get a gun
    04. Catfish
    05. Got to keep travelin? on
    06. Lets keep the children on the streets
    07. Motor Citys burning
    08. Getting? off


    Street suite

    [engl] 1969 US bluesy psychedelic rock made available on vinyl again, with the original gatefold cover, insert with detailed liner notes, 350g carton cover and 180gr vinyl.
  • cover


    Takes from oblivion

    The genius creativity of Fabrizio Cecchi embody itself in the Trip Hill project that has reached with ''Takes from oblivion'' its second work. The album has its roots in the american psychedelic music1967/69 and looses itself trough space-temporal expansion, lysergic temptations, acustic distorsions and sounding hallucinations that make ''Takes fom oblivion'' an absolute masterpiece of the italian psychedelic. 180 gr. vinyl, heavy quality sleeves.
  • 01. Behold & See (Gilded Lamp Of The Cosmos)
    02. Mind Flowers
    03. Where You're At
    04. What You're Thinking Of (Jazz Thing)
    05. Fragmentary March Of Green
    06. Genesis Of Beauty (In Four Parts)
    07. Fifth Horseman Of The Apocalypse


    Behold And See

    [engl] I love the late 60s psyche rock scene, especially from the USA. ULTIMATE SPINACH from Boston / Massachusetts are one of these jewels buried in the dust of oblivion quickly after their musical activities were put to an end around 1970. Well, let’s check this one out, their second album from 1968. It couldn't start better: A groovy, relaxed rock tune with a slight blues and even country rock feel on which a snotty, yet haunting female voice spits out a straight verse melody and gets joined by her bandmates for the lush melodic and flown off chorus. Nice howling acid guitars add some power to this actually quite easy piece. Next comes a sluggish acid blues with utterly fuzzed out guitar dementia and vocals tortured by LSD induced nightmares, backed with a few trippy organ lines and stumbling and tumbling drum patterns. It should be one of the most striking pieces of acid rock that will have ever hit your ears. ULTIMATE SPINACH though take a few different directions on their “Behold and see” album, including gently flowing tunes with heartwarming melodies, classic west coast rockers with these loopy ambulance siren like guitars, a bit of a garage feel and big but still dreamy chorus melodies and even peaceful flower pop with a fundament of jazzy rhythmical structures and mind caressing melodies that could easily be taken from a hard bop classic released 6 or 7 years prior to this. I would have thought about a Californian band right away if I would not know it better. ULTIMATE SPINACH often walk on the very border to the pop side of psyche and sometimes cross this line well knowing what they’re doing. But when they turn back into the promised land of colorful dreams and braid your mind with organ lines of pastoral beauty, you will lose the ground beneath your very feet. Lovers of THE ZOMBIES, THE BOW STREET RUNNERS, JEFFERSON AIRPLANE, THE GRATEFUL DEAD but also BRIAN AUGER TRINITY will wallow in sheer rupture when this album rotates in their stereos.
    EAN 029667414821
  • 01. 17 Diamond Studded Cadillacs
    02. Passion Seeds
    03. Gun Fighter
    04. Rainbows
    05. Don't Run
    06. And I Need You


    17 diamond studded cadillacs

    [engl] Complete recordings (1969- 1974) of legendary US Acid- Punk band, famous for appearing on the seminal psych compilation ''Endless Journey'' back in the 80s. But Unsettled Society were a total mystery until now. The band came from the New York suburbs and were famous locally for their powerful stage shows, full of strobe and psychedelic flashing lights. In 1969 they released their first 45 for the Charm label: ''17 Diamond Studded Cadillacs'', which is pure acid- psych, lo- fi basement insanity. It was coupled with ''Passion Seeds'', a killer moody, atmospheric psych ballad. Between 1972 and 1974 they released two more 45s in a fantastic heavy psych vein, the last one recorded under the Thunder Head name. All of them are included here with sound taken from the original tapes. Fold- out insert with lot of amazing unseen photos and detailed liner notes by Charm Records boss Pete Huntley.
  • 01. Pipeau Javanais
    02. Le Gourou De Garges Les Gonesses
    03. Atchoum
    04. Pourquoi Viens-Tu Sitar
    05. Non Lo So
    06. Timide
    07. Nirvana Juste En Bas De Chez Vous
    08. Précipice Emiko


    8 Petites Pièces De Variété

    [engl] Originally released in 19.
  • cover



  • cover


    Baltimore'S Teen Beat

    Reissue of ultra-rare early 60??s Dome Records classic LP compilation of Teen Garage Bands from the Baltimore, MD area. Ralph Johnson, president of Wedge & Dome Records, was also the sponsor of many ''Battle Of the Bands'' shows throughout Maryland. These shows helped them find the bands that hadn??t already found them, since the grand prize for these shows was to have one of their songs on this album. The second prize at these shows was that they would pay 50% of their expenses to get a track for the album. These bands made up the Baltimore sound of the sixties- Baltimore??s own contribution to the Garage Band Sound. Thanks to Get Hip Records, this material is now available again. The original pressing of 500 copies of this LP went out of print in 1966, and original copies now sell for $200 and up if you??re lucky enough to run across one!
  • 01. Marisol - Corazón Contento
    02. Rocío Dúrcal - Creo En Ti
    03. Karina - Ya Verás
    04. Gelu - Pinta Mi Mundo
    05. Los Stop - Molino Al Viento
    06. Sonia - Aquí En Mi Nube
    07. Rosalía -Si Llegara El Amor
    08. Adriángela - Nunca Hay Bastante
    09. Massiel- No Sé Por Qué
    10. Silvana Velasco - Prima O Poi
    11. Lorella -Tendrás Que Llorar
    12. Soledad Miranda - La Verdad
    13.Los Mismos - Voy A Pintar Las Paredes Con Tu Nombre
    14. Las Chic - Pon Un Anillo En Mi Dedo


    Beat Girls Espanol! 1960s She-Pop From Spain

    [engl] The feminine side of Spanish pop, including some great 1960s examples of the “Torrelaguna sound”. Having already put out collections spotlighting the girl singers of 1960s Japan, France, Italy and Sweden, we now turn our attention to sunny Spain. The influence of hit records from the USA and the UK in the early 60s resulted in a musical style the French called yé-yé. Spain also adopted the term to describe this new type of beat-oriented pop, while maintaining its own musical identity via sexy rhythms and an underlying current of drama and flamenco. The aptly named Hispavox was considered the most important Spanish record label, mainly because they had a talented team of producers, arrangers and studio musicians who between them created the “Torrelaguna sound”. Furthermore, they had Karina, who was known as the queen of Spanish yé-yé with her angelic looks and voice, and Las Chic, one of the few girl groups on the Spanish recording scene. Zafiro entered the market with a series of young female vocalists, including Adriángela and the dynamic Marisol, a child actress turned pop star who spent much of the 60s on the silver screen. The Belter label also recorded many girl singers, among them screen siren Soledad Miranda – star of several horror films – and Sonia, who recorded a feminine rendition of the Rolling Stones’ ‘Get Off Of My Cloud’. Other noteworthy artists include Rocío Dúrcal, who achieved international fame as an actress and a singer, Gelu, who rather specialised in covering Petula Clark hits, and Massiel, who differed from most of her peers by writing many of her own songs. All of these and more are featured here in this compilation of predominantly uptempo recordings by the choicest female artists active in 1960sSpain. The collection is available in 14-track LP and 24-track CD formats. The LP version is pressed on 180g white vinyl and packaged in a heavy-duty sleeve with an inner bag featuring a 3500-word note and copious colour illustrations. The CD edition comes with a bumper 24-page booklet containing expanded notes and extra illustrations.
    EAN 029667007115
  • 01. Orietta Berti - Le Ragazze Semplici
    02. Mina - Cartoline
    03. Caterina Caselli - Il Volto della Vita
    04. Patty Pravo - Il Paradiso
    05. Gigliola Cinquetti - Zero In Amore
    06. Lisa Gastoni - Una Stanza Vuota
    07. Milva - Tamburino, ciao
    08. Meri Marabini - E' Proprio Inutile
    09. La Ragazza 77 - Il Beat...Cos'è?
    10. Ornella Vanoni - Il Coccodrillo
    11. Catherine Spaak - Se Mi Vuoi, Mi Vuoi
    12. Rita Pavone - Il Treno
    13. Vibeke - A Me Piace Lui
    14. Iva Zanicchi - Come Ti Vorrei


    Bellissima! 1960s She-Pop From Italy

    [engl] Comprising soaring big beat ballads, the occasional guitar-driven nugget and other feminine pop gems of the stylish Italian variety, this much-anticipated follow-up to “Ciao Bella!” (one of Ace Records’ best sellers of 2015) offers further proof that there is musical life beyond the shores of English-speaking countries. “Bellissima! More 1960s She-Pop From Italy” comprises an equal mix of superstars and obscure artists, performing songs of both Italian and overseas origin. Living legend Mina sings ‘Cartoline’, one of several numbers custom-composed by maestro Bruno Canfora to show off her fantastic vocal technique, and her arch rival Milva delivers the stomping ‘Tamburino, Ciao…’, another top-tier Italian original, while highlights of the selections by lesser-known vocalists include ‘È Proprio Inutile’ by Meri Marabini and ‘Il Beat... Cos’è?’ by La Ragazza 77, groovy covers of the Hollies’ ‘You Know He Did’ and Sonny & Cher’s ‘The Beat Goes On’ respectively.
    EAN 029667008310
  • 01. Love Song With Flute - Caravan
    02. Moon Bird - The Roger Webb Sound
    03. Early Morning Eyes - The Parlour Band
    04. Pamela - Scotch Mist
    05. The Prisoner (Eight By Ten) - Spring
    06. Last Cloud Home - The Orange Bicycle
    07. JLT - T2
    08. Til The Christ Come Back - Bill Fay
    09. Refugees - Van Der Graaf Generator
    10. Very Nice Of You To Call - Aardvark
    11. Big White Cloud - John Cale
    12. Bottles - Belle Gonzalez
    13. Watching White Stars - The Way We Live
    14. Windfall - Offspring
    15. Never Let Go - Camel
    16. Wise Man In Your Heart - Daevid Allen
    17. O Caroline - Matching Mole
    18. Edge Of The Sea - Prelude
    19. Evening Shade - Alan Parker and Alan Hawkshaw


    Bob Stanley & Pete Wiggs Present English Weather

    [engl] The autumnal sound of Britain at the turn of the 70s, looking out through wet window panes to a new decade with a mixture of melancholy and optimism for what might come next. With the Beatles gone and the pound sinking, a new and distinctive sound emerges, led by flutes and mellotrons. Available in 18-track CD and 19-track double LP formats. The LP version is pressed on 180g vinyl in heavy-duty gatefold sleeve. It’s hard for me – and I’m guessing I’m not alone here – to shake the Get Carter theme from my head whenever I cross the Tyne rail bridge on a journey up from London. The city may have changed dramatically since the film was shot at the turn of the 70s, but the weather hasn’t. One day last autumn I was working in Newcastle. With an afternoon to kill, I did what I usually do with a couple of spare hours in an unfamiliar town – I sought out a record shop. It would at least protect me from the rain, which was getting steadily heavier. As I flicked through the racks I was trying to identify the record that was playing, an album with a hint of Crosby, Stills and Nash but an identifiably British pall hanging over the sunny harmonies. It was by Shape Of The Rain, and had a sepia sleeve which was an attempt to suggest the Old West even though it was clearly a shot of a post-industrial Britain that still felt closer to the War than it did to punk, just six or seven years down the line. Outside the Newcastle rain was getting ridiculous. I was stuck in the shop. There was no one in there apart from me and Craig, the lad behind the counter. Once he’d twigged that I was genuinely interested in the Shape Of The Rain LP he pulled out T2’s “It’ll All Work Out In Boomland” and stuck it on the Hacker turntable. The sound was warm but slightly awkward, slashing guitars that recalled 1966 and frenetic drums hemmed in by warm brass, minor chords, and the kind of hazy nonchalant English vocals reminiscent of Caravan, or More-era Pink Floyd; not an easy listen, but absorbing. Then he revealed albums by the Parlour Band, Aardvark and Spring. All of them were melodic, melancholy, with jazz and folk touches and the same similar shrug of resignation, their collars turned to the wind of 1970 and the end of the Aquarian dream. Enveloped in this post-psychedelic cocoon, sheltering from the rain, these records made a lot of sense together. I had childhood flashbacks of cafés with steamed-up windows, occupied by workmen in donkey jackets; hippies and bikers on Box Hill; odd music on Radio 1 on a Sunday afternoon that had a sense of serious intent but without knowing what for. While America may have licked its wounds at the turn of the 70s by turning to singer-songwriters, purveyors of homilies like “teach your children well”, Britain wasn’t so ready to give up the trappings of psychedelia. And while the UK counter culture may have shed its “faith in something bigger”, it wasn’t about to chuck out the mellotron. This is how the day after the 60s felt: damp, fuzzy-headed, neither optimistic nor pessimistic but more than a little lost. British bands would mirror the ennui of the new decade with a new kind of music. Any song on this collection could have been on the soundtrack of Bronco Bullfrog, Barney Platts-Mills’ film about bored youth trying to get its kicks in crumbling 1969 East London; each of them could have been the title song for the same director’s Private Road, with its young couple holed up in a country cottage, directionless, travelling without a destination. The post-psychedelic, pre-progressive age was brief, but rarely has contemporary music summed up a sense of place and time so perfectly. Some of these songs pre-date and post-date this era but all of them share an atmosphere. Plenty of the acts on this compilation only got to make one album. Some got to make many more, but even with the bands who became leviathans of progressive rock, their debuts tended to be more focused, more human-sized; significantly, they pre-dated the term, and therefore the connotations of “prog”. English Weather was also the name of a record shop I loved when I first moved toLondon, out in Crouch End which, back in the mid-80s, was deep bedsitter land. The shop was run by Dark Star magazine’s Steve Burgess – a major influence on my tastes and my writing, Steve put me onto records such as Mellow Candle’s “Swaddling Songs”, Fairfield Parlour’s “From Home To Home” and the now-venerated Spring album: “It may look like prog”, he said of Spring, sensing my scepticism at the peak of prog’s unfashionability, “but it's beautiful”. He was right. I hope he’d have liked this selection.
    EAN 029667005517
  • 01. La Victime (Part 1) - Karl Heinz Schäfer
    02. Hélicoptère - Mireille Darc
    03. Les Aventures Extraordinaires D'Un Billet De Banque - Bernard Lavilliers
    04. Roses And Revolvers - Janko Nilovic
    05. L'Élu - Ilous & Decuyper
    06. La Métaphore - Jacques Dutronc
    07. Dommage Que Tu Sois Mort - Brigitte Fontaine
    08. Les Gardes Volent Au Secours Du Roi (Alternate version) - Jean-Claude Vannier
    09. Looking For You - Nino Ferrer
    10. Chanson D'Un Jour D'Hiver - Cortex
    11. Viens - Françoise Hardy
    12. Couleurs - Léonie
    13. Leslie Simone - William Sheller
    14. Litanies - Triangle
    15. Baleines - François De Roubaix
    16. Encore Lui - Jane Birkin
    17. Evelyne - Serge Gainsbourg
    18. Lilith - Léonie
    19. Ystor - Ys
    20. Chanson Pour Que Tu M'Aimes Un Peu - France Gall
    21. La Victime (Part 2) - Karl Heinz Schäfer
    22. La Chanson D'Hélène - Romy Schneider & Michel Piccoli


    Bob Stanley & Pete Wiggs Present Paris In The Spring

    [engl] In May 1968, Paris was burning. Out of the student uprising came a new wave in French music that matched the country’s mood – darker, and more introspective than yé-yé, France’s cultural revolution allowed the previously separate worlds of chanson, jazz, pop and film soundtracks to blend into each other. Laden with strings and sample-ready rhythm tracks, this new sound was exemplified by Serge Gainsbourg’s “Histoire De Melody Nelson”, but it wasn’t an isolated classic – this was a golden age for French pop. Amid the student demonstrations and riots that stretched from Chicago to Grosvenor Square in 1968, France came the closest of all western countries to a genuine revolution. The Sorbonne was occupied. There was a general strike. The government planned to station tanks at Issy-Les-Moulineaux on the south side of Paris. President De Gaulle fled the country, hiding in Germany’s French embassy. The uprising may have superficially concluded with nothing more dramatic than fresh elections, and an ongoing conservative government, but the events of that May are seen as a turning point in the country’s social history – pictures of the barricades are still potent images. Lines were drawn politically, culturally, socially – pop music, naturally, was not exempt. The music that emerged from France between 1968 and the mid-70s was an extraordinary blend of several previously independent strains – French chanson and yé-yé, American jazz and funk, British chamber pop – shot through with the era’s underlying mixture of optimism and darkness. Prior to 1968, French pop had been dominated by yé-yé, the country’s unique brand of upbeat pop whose most famous names were the photogenic couple Johnny Hallyday and Sylvie Vartan – it was a world of primary colours, mini jupes and discothèques (a French invention, after all), which appeared not on singles but beautifully packaged EPs. One of yé-yé’s biggest stars, and the only one to have commercial success in the UK, was Françoise Hardy: “We, the singers, were far, far fewer in number than today, and there were fewer radio stations. It was also the heyday of [monthly pop magazine] Salut Les Copains, and the press played an extremely important role – it could promote beginners. However, we were not very popular with the previous generation, or with some journalists, who wanted to pinch us over our ignorance. We often came from relatively poor working class backgrounds, while the next wave of Alain Souchon, Véronique Sanson, Michel Berger, Julien Clerc came from the bourgeoisie. I felt oddly legitimised in the early 1970s.” If yé-yé was all about the noise of teenage life, then traditional French chanson was all about the words, which the French took very seriously (Dylan meant a lot more in France than the Beatles or the Stones). Poetry and the lyrics of chansons were sacrosanct, and would never have been tainted by what was regarded as the basic silliness of pop. Before 1968 you wouldn’t include serious lyrics in a song unless you were a chanson heavyweight like Charles Aznavour, Jacques Brel, Georges Brassens, Léo Ferré or Barbara. The differences were largely generational; the worlds of jazz, chanson and pop rarely trod on each other’s toes. By 1970, though, Léo Ferré was working with a rock group on a concept album about anarchy and sexual liberation. This bleed between genres was unthinkable before 1968. Serge Gainsbourg – a jazz pianist with a chanson past and a pop present – was in a position to play a key role in soundtracking France in flux over the next five years. The seriousness and observation in French chanson leaked into pop almost as soon as the student uprising and the ensuing strikes that paralysed the country began. The uprising coincided with a major change in the French record industry. Prior to 1968, almost all French music was released on four-track EPs, and albums simply gathered tracks from these EPs. The album market as we know it didn’t exist in France before 1968. Given the chance to stretch out on a full-length album, and given the political climate, musicians quickly began to think in terms of song cycles. Was there anything in French pop prior to May ’68 to suggest the imminent sea change? 1966 had seen the rise of the beatnik Michel Polnareff; the sardonic, impeccably groomed Jacques Dutronc; and the Dylan-channelling student protest singers Stella and Antoine, who had a running spat with Johnny Hallyday and ended up on the receiving end of Hallyday’s 1966 hit ‘Cheveux Longs Idées Courtes’. A year on, Dutronc was ridiculing flower power on the terrific ‘Hippie Hippie Hourrah’ while Gainsbourg, a songwriter who had always been the salt in the caramel of yé-yé, went a step further on France Gall’s ‘Teenie Weenie Boppie’: “What are these flowers with exquisite colours that drift with the current? It’s Mick Jagger in the Thames, drowned in his fine clothes.” What yé-yé had tended to avoid – with gentle exceptions like Antoine, Polnareff and Stella – was the growing underground of disillusioned youth, but clearly there was discontent fomenting. It made sense that the more adventurous acts working in French pop would want to expand their musical palette in the new era, moving closer to both the literary bent of chanson and the progressive and psychedelic sounds of Anglo-American rock. The album was seized upon as a means of expression for already established acts; the result was such era-defining records as Michel Polnareff’s “Polnareff’s”, Françoise Hardy’s “La Question” and Serge Gainsbourg’s “Histoire De Melody Nelson”. The unsettled national mood also dictated more darkly accented music for films and TV. The result was a hipper background noise, free of accordions, which skilled practitioners like Gainsbourg, his arrangers Alain Goraguer and Jean-Claude Vannier, and jazz musicians like Karl Heinz Schäfer and Janko Nilovic were more than happy to produce. Film director Jacques Poitrenaud has talked about “the arrival in 1968 of a new generation of composers, represented by [Jean-Claude] Vannier. His writing was scholarly, unusual, and influenced by pop.” Typically these writers used a feline rhythmic groove, a hovering Hammond organ, unsettling fuzz guitar, and a full string section to carry their radiant melodies. Without a doubt, after May ’68 it was fashionable and desirable to be seen as left-wing. Not everyone was on board. Some yé-yé stars, like Johnny Hallyday, were quite keen to distance themselves from the state of near-revolution. Others abandoned music altogether: Hugues Aufray, the folk singer who had introduced Dylan to France with his cover versions and sang for Martin Luther King, went into retirement and didn’t re-emerge until 1972; Antoine, erstwhile king of protest, recorded the disillusioned ‘Ramenez-Moi Chez Moi’ (Take Me Home), then gave up singing to sail around the world. With so much going on, and so many new possibilities for French music, they weren’t really missed.
    EAN 0 29667 00811 2
  • 01. Elvis Presley with The Blossoms Clean - Up Your Own Back Yard
    02. Della Reese - Brand New Day
    03. Dion - Abraham, Martin And John
    04. Frank Sinatra - The Train
    05. The 4 Seasons - Saturday's Father
    06. The Beach Boys - 4th Of July
    07. Anita Kerr & The Anita Kerr Singers - Wine In The Wind
    08. Bing Crosby - What Do We Do With The World?
    09. The Everly Brothers - Lord Of The Manor
    10. The Four Preps - Hitchhiker
    11. Lou Christie - Paint America Love
    12. Ray Stevens - Mr. Businessman
    13. Eartha Kitt - Paint Me Black Angels
    14. Roy Orbison - Southbound Jericho Parkway
    15. Bobby Darin - Questions
    16. Paul Anka - This Crazy World
    17. Mel Torme - Take A Letter Maria
    18. Louis Armstrong And His Friends - Give Peace A Chance
    19. Eugene McDaniels - Cherrystones
    20. The Tokens - Some People Sleep
    21. Buddy Greco - Cardboard California
    22. Dean Martin - Do You Believe This Town?
    23. Johnny Tillotson - Welfare Hero
    24. Teresa Brewer - Save The Children
    25. The Brothers Four - Revolution


    Bob Stanley & Pete Wiggs Present State Of The Union - The American Dream In Crisis

    [engl] The sound of a country trying to work its way out of a crisis. By 1968 there was a growing consensus that something had gone horribly wrong with the American dream. With urban riots, Vietnam, the assassinations of Martin Luther King and Bobby Kennedy, and ever-climbing divorce rates, the American way of life was under scrutiny from all sides. The nation’s youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country and wonder what the hell was happening. This album includes rare classics (the Beach Boys’ ‘4th Of July’), lost masterpieces (Roy Orbison’s seven-minute ‘Southbound Jericho Parkway’) and forgotten gems by some of the biggest names in the business (Elvis Presley’s ‘Clean Up Your Own Back Yard’). Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra’s ‘The Train’) and the break-up of the nuclear family (the Four Seasons’ ‘Saturday’s Father’, Mel Tormé’s ‘Take A Letter Maria’), to eulogies for fallen heroes (Dion’s ‘Abraham Martin And John’), sympathy for Vietnam vets (Johnny Tillotson’s ‘Welfare Hero’), the church’s institutional racism (Eartha Kitt’s intense ‘Paint Me Black Angels’), the hypocrisy of establishment figures (Dean Martin’s ‘Do You Believe This Town’) and even questioning the ethics of the space programme (Bing Crosby’s terrific ‘What Do We Do With The World?’). It is now shocking to read that, as recently as 1968, the Bureau of Land Management proposed to build dams in the Grand Canyon; Richard Nixon would sign an executive order setting up the Environmental Protection Agency in December 1970. His administration then commissioned the Documerica photography project, which launched in 1971 – the year Marvin Gaye sang about “fish full of mercury” in a Top 10 hit – and it showed, shockingly, how the American way of life was trashing the landscape and poisoning the population. It provides the artwork for this album, a condensation of what America’s older generation were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968. BOB STANLEY
    EAN 029667008716
  • 01. The Brothers - Part Of The Union
    02. Small Wonder - Ordinary Boy
    03. Ricky Wilde - The Hertfordshire Rock
    04. The Kinks - When Work Is Over
    05. The Sutherland Bros Band - Sailing
    06. Adam Faith - In Your Life
    07. Phil Cordell - Londonderry
    08. Stud Leather - Cut Loose
    09. The Troggs - I'm On Fire
    10. Mike McGear - Kill
    11. Lieutenant Pigeon - And The Fun Goes On
    12. Mungo Jerry - Open Up
    13. Matchbox - Rod
    14. Marty Wilde - She's A Mover
    15. Hawkwind - Urban Guerrilla
    16. Edgar Broughton Band - Homes Fit For Heroes
    17. Bombadil - Breathless
    18. Robin Goodfellow - Why Am I Waiting
    19. Cockney Rebel - What Ruthy Said
    20. Paul Brett - Clocks
    21. The Troll Brothers - You Turn Me On
    22. Climax Chicago - Mole On The Dole
    23. Barracuda - I Feel So Down
    24. Wigan's Ovation - Northern Soul Dancer
    25. Stavely Makepeace - Don't Ride A Paula Pillion
    26. Pheon Bear - War Against War
    27. Roly - Roly Pin
    28. David Essex - Stardust


    Bob Stanley & Pete Wiggs Present Three Day Week - When The Lights Went Out 1972-1975

    [engl] Britain wasn’t on its own in having a thoroughly miserable 1973: O Lucky Man! and Badlands both found a great year to premiere; Watergate brought America to a new low. But America didn’t still have back-to-backs and outside bogs. Tens of thousands of Britons were still housed in wartime pre-fabs. The bright new colours of the post-war Festival of Britain and Harold Wilson's talk in the 60s of the “white heat of technology” now seemed very distant as strikes, inflation, and food and oil shortages laid Britain low. What had gone wrong? And what did pop music have to say about it? Many of the year’s biggest acts had set out on their particular journeys in the most idealistic years of the 60s (Yes, Genesis, the Moody Blues) and still held traces of that era’s promise. For acts such as Bowie and Roxy Music who had emerged in the new decade, one way out of the British malaise was to look into the future, embracing modernism and the space age beyond, a world of electric boots and mohair suits. Another was to draw heavily on the revered 50s, retreating to rock’s unsullied roots while remaining ostensibly current – Wizzard, Mott The Hoople and even the Rubettes managed to reshape the 50s to their own ends, much as Springsteen did in the States, although beyond them lay Showaddywaddy, Shakin’ Stevens, and a sickly nosedive into nostalgic yearning. This left a small rump of acts diligently soundtracking Britain’s present, not with a wagging finger but a fuzzy guitar, a primitive synthesiser, and a pitch-black sense of humour. Quite often these records were cut in home studios – many featured the same basic synth (just the one) that Roxy’s Eno and Hawkwind’s DikMik used; the guitarists still played blues progressions picked up from the Stones; and they sometimes touched on glam – the era’s brightest, newest noise – found inspiration in its disposability and its energy, but didn’t have the luxury of a Chinn and Chapman or a Mickie Most to sprinkle fairy dust on their final mix. And outside the studio door were the strikes, the cuts, economic chaos, teenage wasteland – these musicians created music that, intentionally or not, echoed their surroundings. It wasn’t glam, but it emerged from what Robin Carmody has called “the glamour of defeat, the glory of obliteration”. The songs on “Three Day Week” amplified the noise of a country still unable to forget the war, even as it watched the progressive post-war consensus disintegrating. We hear shrugs and cynicism, laughter through gritted teeth. Comparing it to the richness of records made just five or six years earlier, you might think musical instruments had been rationed, and that everyone has one eye on the clock, cutting corners to get the recording finished before the next power cut. You picture engineers in donkey jackets, with a brazier by the mixing desk. You hear odd electronic explosions, quacks and squiggles. The pub piano is predominant, with its brown ale, Blitz-spirit, grin-and-bear-it jollity. And under many of these tracks is a barely concealed frustration (sexualised on the Troggs’ ‘I’m On Fire’) and even anger (how else to read ‘Urban Guerrilla’, or the howling and the hand grenade at the end of Stud Leather’s ‘Cut Loose’?). Think of “Three Day Week” as an extended, musical Play For Today. The Three Day Week itself – which only lasted eight weeks, but was the nadir of a four-year-long depression – had been a result of the Tory government’s limit on pay rises in October 1973 and the miners strike that followed. Back at the start of 1972 the miners had struck for higher pay and won, averting Prime Minister Edward Heath’s threat to introduce a three day week in manufacturing and industry to hold on to energy reserves. By late 1973, though, the miners had slipped from top of the industrial wages league to 18th. Amid strikes by civil servants, medical staff, railway and dock workers, the miners went on strike again. The Three Day Week proper lasted from New Year’s Day to 7 March 1974. TV shut down at 10:30. Power cuts and blackouts in homes across Britain meant the sales of candles and torches soared. Old soldiers tutted. The Army were on standby. And, nine months later, there was a spike in the birth rate. For the younger generation, however, the Three Day Week is not remembered as a period of woe. Power cuts were fun! Who wouldn’t like the idea of a three day week? More time to play! It was also easy for kids to confuse pop culture and politics when the Prime Minister was Ted Heath and the leader of Britain’s biggest union, the TGWU, was Jack Jones. Even the TUC’s leader Vic Feather sounded like the bassist from a RAK act. There is also the folk memory of the period being a high-water mark for the power of trade unions, who seemingly always struck for higher pay and won, a dreamtime for many on the left. The second miners strike brought down the Tory government – what a time to be alive! Margaret Thatcher was only education secretary at this point, the hated “milk snatcher”, and no one had a crystal ball to see what the Tory reaction might be several years down the line. The records on this collection were almost all released as 45s, sent to shops in cost-cutting plain white paper bags, and – thanks to the oil shortage caused by the Arab-Israeli conflict – pressed on thinner vinyl than you’d have had ten years earlier. On every level, they felt as if they were being recorded and released under wartime restrictions. Many of these tracks were B-sides, recorded in haste, with no commercial forethought or relevance to the A-side, because, as Peter Shelley recalls, “You’d made the wild assumption that no one would ever play it”. Why did the music end up sounding this way? There had been a general sense of decline in Britain since the turn of the decade – not only in industry but in film, art, fashion, and in people’s expectations. You could trace its roots further back to 1968, when the collapse of the Ronan Point tower block in East London sounded a death knell for modernist dreams. Or to 1967, a year for which Swinging London has prevailed in popular memory over Cathy Come Home, but which should be remembered for the devaluation of the pound and the capital's nationalistic dock strikes as much as Alexandra Palace’s 14 Hour Technicolour Dream. By 1972, everything new – be it a brick wall or a terylene suit – was a shade of brown or orange, and the smell of sweat and odour-hugging man-made fabrics (not only clothes but carpets and curtains) was dominant. The worsted mills of Bradford and cotton mills of Manchester were fast disappearing, and the mix of wet wool, chimney smoke and boiled cabbage that Shena Mackay recalled being London’s olfactory default in the 60s had been replaced by weeks-old fag smoke, BO, and something plasticky you couldn’t put your finger on. Few of the songs on “Three Day Week” are politically direct: the Edgar Broughton Band had been Ladbroke Grove rabble rousers at the tail end of the 60s, but their ambitions sound entirely blunted on the monochrome hopelessness of ‘Homes Fit For Heroes’; Phil Cordell’s ‘Londonderry’ is diffuse, but it was an odd place to single out for a song title in 1973; Pheon Bear appears to be losing the will to live even as he shouts himself hoarse on ‘War Against War’. The ambivalence of the Strawbs on ‘Part Of The Union’ – a #2 hit – is entirely in keeping with the pub humour and shrugging cynicism of the era. So there is a little agitation here, but there is plenty of gleeful irreverence. One more drink? What have we got to lose? The government’s on its knees and we might all be out of work tomorrow. Quick, somebody, get on the piano before the lights go out again. BOB STANLEY
    EAN 029667009317
  • 01. Brunetta E I Suoi Balubas - Baluba Shake
    02. Mina - No
    03. Ornella Vanoni - Il Mio Posto Qual'è
    04. Caterina Caselli Con Gli Amici - Sono Qui Con Voi
    05. Isabella Iannetti - Un Amore Inutile
    06. Catherine Spaak - La Notte È Fatta Per Rubare
    07. Rita Pavone - Il Geghegè
    08. Carmen Villani - Questa Sinfonia
    09. Patty Pravo - Ragazzo Triste
    10. Rita Monico - Non È Mai Tardi
    11. Mina - Se Telefondo
    12. Nada - Pà Diglielo A Mà


    Ciao Bella! Italian Girl Singers Of The 60s

    [engl] Connoisseurs of 1960s girl-pop have been well served in the CD era, particularly those with a preference for American or British singers. Good music, of course, is not exclusive to the English-speaking world, and collections devoted to the female vocalists of France, Japan, Spain and Germany are also available, but to the best of my knowledge their Italian counterparts have not been anthologised. If “Ciao Bella!”, released as a 24-track CD and a 12-track 180g white vinyl LP in gatefold sleeve, is the first of its kind, let’s hope it’s not the last. In a country known for its song festivals, most notably the prestigious event held annually in Sanremo, lushly orchestrated ballads have always been especially popular, and a few exceptional examples are featured here. We open, however, with a selection of uptempo titles. The CD version begins with Brunetta’s prized dancefloor-filler ‘Baluba Shake’ and closes with ‘Cuore’, a dramatic beat ballad by freckle-faced firebrand Rita Pavone. Star of the show is the prolific Mina, queen bee of Italy’s female singers, with three tracks: ‘No’, a jangly folk rock nugget; ‘Più Di Te’, a cover of the Tracy Dey/Bob Crewe classic ‘I Won’t Tell’; and ‘Se Telefonando’, a sophisto-pop opus courtesy of maestro Ennio Morricone. Other highlights include the sitar-embellished ‘Il Mio Posto Qual’è’ by Ornella Vanoni, a convincing cover of ‘Baby Please Don’t Go’ by beat girl Caterina Caselli, Gigliola Cinquetti’s superbly orchestrated Eurovision-winner ‘Non Ho L’età (Per Amarti)’ and breathy-voiced actress Catherine Spaak’s bossa-flavoured ‘La Notte È Fatta Per Rubare’.
  • 01. The Mystic Moods -Cosmic Sea
    02. Life - Cat’s Eyes
    03. Alan Bown - Moanin’
    04. Red Parish Group - Dynomite
    05. André Brasseur - Saturnus
    06. Black Buster - Bump The Bump - Part II
    07. Biltze - Wu Ying Chiao
    08. The People Next Door - Husband And Wife
    09. Diabolic Man - Diabolic Man
    10. Performance - Red Bullet
    11. Dance Machine - Virgin Ballet
    12. Pharaoh - Ramses - Part I


    Cosmic Discotheque - 12 Junkshop Disco Funk Gems From The 70s

  • 01. Komety - Chain Of Fools
    02. Papel Novák & Vox - Kocicí král Felix
    03. Flamingo - Zlom vaz
    04. Discobolos - Kyvadlo
    05. Golden Kids - Nestuj a pojd (u nás máme mejdan)
    06. Helena Blehárová - Závrat
    07. Karel Cernoch - Už tu nesmím zustat (Uptight, Everything's Alright)
    08. Bezinky - Jedeme dál
    09. Petr Spáleny - Lesní víla
    10. Flamengo - Poprava blond holky
    11. Blue Effect - Blue Taxi
    12.Václav Tyfa - Loutna ceská: Domácí vojna mezi telem a duší
    13. Atlantis - Nikdy nebudu tvá
    14. Eva Pilarová - Léto, léto
    15. Viktor Sodoma - Vysoká hra
    16. Jazz Cellula - Polobotka
    17. Josef Laufer & Their Majesties - Útek z hladomorny
    18. Framus Five - Around And Around
    19. Jitka Zelenková & The Gondolán Brothers - Já nechci mít
    20. George & Beatovens - Lež bláznivého básníka
    21. The Bluesmen - Story o velké lásce
    22. Karel Gott - I've Never Been So Young
    23. Ferdinand Havlík Orchestra - Beat
    24. Mahagon - Ve svetle petrolejky
    25. Waldemar Matuska - Barbarella (An Angel Is Love)


    CZECH UP Vol. 1

    [engl] Garage and beat music fans are always fond of digging deep in the vaults of Latin American 60s labels in search for obscure bands to feed their appetite for rare recordings. While most of the unearthed stuff usually consists of cover versions of hits sung in their native Spanish/Portuguese language, we have a totally different case here. The members of The Walflower Complextion were actually American teenagers, children of US Government staff, attending high school in Bogotá, Colombia.Somehow they got a deal with local label Daro and released their first LP in 1966. The album shows an evident influence of the British Invasion bands, featuring four Stones covers and other classics such as 'Long Tall Shorty' via The Kinks, but it is in their own originals and instrumentals where the band showcases the best of their talent. 'Blue Bells', a druggy garage delight, or 'Chris's B's', leaning towards early surf music, display the raw sound of this bunch of teens: beautiful vocals, psych guitars, wild drums and tambourines shaken in the background.Although they recorded two albums (only distributed locally) and even appeared on Colombian TV, the band did not last long... They broke up in June 1967 after some of the members finished high school, and little else is known about the next steps in music of Fred and Rick Sampson, Chris Kryzs, Pat Sinex and Mark Lusk. Despite their short career, The Walflower Complextion have gained a cult status among those into Colombian bands such as Los Speakers or Los Young Beats. A must for garage collectors!
    EAN 8435008863050
  • 01. Olympic - Bláznivej kiki
    02. Hana Ulrychová - A co má bejt
    03. Mahagon - Prameny poznání
    04. Framus Five - Hold On, I’m Coming
    05. Apollobeat - Nocní Modlitba
    06. Beatings - We’d Be Happy
    07. Valerie Cizmárová - Byls má bój
    08. Gustav Brom Orchestra -Písu krídou zprávu
    09. Blue Effect - Snakes
    10. Shq - V Obore
    11. Metronom - Divný Pán
    12. Synkopy 61 - Bytost Podivná
    13. Jazz Q - The Wizard
    14. Vulkán - It’s Always Ever The Same
    15. George & Beatovens - Zahrada za domem
    16. Flamengo - Zavrazdil jsem lásku
    17. Eva Pilarová - Padni na kolena
    18. Flamingo - Tvuj prítel vítr
    19. The Soulmen - I Wish I Were
    20. Barnodaj - Dzungle
    21. Hana Zagorová - Rokle
    22. Karel Cernoch - Trznice sveta


    CZECH UP Vol. 2

    [engl] Welcome to the second Vampisoul set of trouvailles from the Supraphon vaults, a series of compilations that we launched in 2016 under the title “Czech Up!”. It’s a concept that we had in mind ever since we began our collaboration with Supraphon over ten years ago, but that wasn’t initially possible to accomplish due to – luckily temporary – licensing restrictions. In the meantime, just as Supraphon is steadily progressing with revalidating their immense back catalogue, we’re now able to move along with them, picking up their cherries as they keep popping up on the notional surface.The Supraphon label was established in the early 1950s in former Czechoslovakia and has been continuously active ever since. While it’s always been highly esteemed by music connoisseurs for its excellent classical music releases, Supraphon’s pop, rock and jazz music catalogue, although comprising around 60,000 unique tracks, remains for the most part a big unknown to the international audience. Today it also incorporates the complete back catalogue of Panton, another Czechoslovak label launched in 1967 that operated independently until the late 1990s.On “Czech Up! Volume 2”, we’re again presenting an array of astounding songs from the otherwise inglorious decade of political and social gloom in Czechoslovakia, a decade that actually started shortly after the invasion of the Warsaw Pact armies in 1968. Here’s your chance to meet up with some eccentric fools, wry sarcasm, fountains of cognition, lovers approaching, lovers leaving, faunal fables, bizarre beings, wizardly seasons, ordinary oddities, unearthly gardens, morbid dreams, pretense obedience, melancholy windscapes, wishful thinking, exotic jungles and eerie ravines… So whether you’re hanging loose, shaking a leg, sampling some of this’n’that, or just opening your mind and ears widely, here’s 22 more tracks that won’t let you down while you’re czeching up.
    EAN 8435008863203
  • cover


    Free Flight Unreleased Dove Rec. 1964-69

    Dove Studio opened it??s doors in St. Louis Park, Mn. in the spring of 1964 and lasted until 1970. During the six year span the studio literally recorded hundreds of groups of all different kinds of music genres. Contained on this album are 27 gems of unissued rock and roll material, beginning with hard-driving Mike Waggoner and the Bops in ??64, and ending with probably the strangest recording session that ever occurred on Dove??s premises- Michael Yonkers in 1969. 15 different bands are represented in this package, each showcasing a different musical style. Starting things off with straight-ahead R&R are the Bops, Magpies and Mercymen, all of which owe a tip of the hat to Chuck Berry and Buddy Holly. R&B was a strong influence in the Twin Cities during the mid-60??s and the Lancers and the Nite Caps do their part to keep the style flowing. Since the Trashmen were out on the road most of ??64, the Underbeats took over as ''top-dog'' combo in their absence. Four unreleased tunes by the group are included here. Two of the top instrumental bands from the state, the F.B.I. Idiots (Gregory Dee & The Avanties in disguise) and the Titans show their wares, along with the female-led Marcia & the Lynchmen. In early 1966, Sir Laurence & The Crescents recorded a powerful, Raiders-like, open throttle rocker which has remained unissued ??til this day. Psychedelia/Punk was no stranger to the state of MN as witnessed by the Fragile Zookeeper, the Calico Wall, and an unknown, unnamed acetate of mammoth proportions included herein. Rounding things out is the Chad & Jeremy-like Longman & Fogel and the truly bizarre Michael Yonkers, who thought he was receiving transmissions through his guitar from aliens! In all cases, the bands contained on this project walked out of their respective sessions with acetates or mastertapes in hand to proceed with as they wished. Thankfully their musical legacy had survived the past three decades to finally see the light of day. Includes huge booklet with extensive liner notes, photos, etc.
  • cover


    Fuzz, flakes & fhakes Vol. 6

  • cover


    Fuzz, flakes & fhakes Vol. 7

  • 01. Reparata And The Delrons - Panic
    02. The Angels - Louie Louie
    03. The Darlettes - Here She Comes
    04. The Teardrops - Here Comes Loneliness
    05. Mousie & The Traps - It's All In The Way (You Look At It Baby)
    06. The Drake Sisters - Smoke From Your Cigarette
    07. The Fashionettes - Losin' Control
    08. The Charmaines - I Idolize You
    09. The Angelos - Backfield In Motion
    10. Pat Powdrill & The Powerdrills - Together Forever
    11. The Kavetts - I've Got A Story To Tell You
    12. The Ikettes - Camel Walk


    Girl Zone!

    [engl] To bridge the gap until the next volume of our long-running “Where The Girls Are” series is ready to roll, we’re releasing this vinyl-only compilation of cherry-picked girl group treasures to keep genre zealots at bay. The collection kicks of with Reparata & the Delrons’ storming ‘Panic’ – too “out there” for mass consumption in 1968, it seems – and closes with ‘Camel Walk’ by Tina Turner’s foxy back-up girls the Ikettes, a dancefloor fave on London’s alt-cabaret circuit. Other highlights include first-time reissues of the Angels’ unlikely stab at frat rock staple ‘Louie Louie’, a lush Gold Star-cut rendition of the Mellows’ doo wop classic ‘Smoke From Your Cigarette’ by identical triplets the Drake Sisters and ‘It’s All In The Way (You Look At It Baby)’ by Mousie & the Traps, a trio of Eva Longoria lookalikes from Chicago. Housed in a heavy-duty sleeve sporting an ultra-rare shot of the Drake Sisters, the album is pressed on 180g lava red vinyl and comes with printed inner bag featuring a 2500-word track commentary and some terrific photos. In other words, it’s not just great to listen to but a good read and gorgeous to look at too. / Mick Patrick
    EAN 029667003919
  • 01. Girls Take Over - Hi Heel Sneakers
    02. The Clingers - Gonna Have A Good Time
    03. The Plommons - Last Train To Liverpool
    04. The Wrongh Black Bag - Wake Me, Shake Me
    05. The Debutantes - Little Latin Lupe Lu
    06. Kathy Lynn & The Playboys - I Got A Guy
    07. Karen Verros - You Just Gotta Know My Mind
    08. The Chymes - He's Not There Anymore
    09. The Delmonas - Lies
    10. The Tomboys - I'd Rather Fight Than Switch
    11. The Lady-Bugs - How Do You Do It
    12. The Hairem - Like a Snake


    Girls With Guitars Take Over

    [engl] A deluxe vinyl-only collection of guitar-wielding all-girl bands, drop-dead female frat rock and axe-centric she-pop. Pressed on 180g tomato red vinyl in heavy-duty sleeve, with a swanky inner bag sporting a fact-filled 3500-word track commentary and an array of rare photos. Pride of place on this gorgeous to behold release goes to a bevy of gen-u-ine all-gal combos. The eye-grabbing front cover features a great shot of Girls Take Over – sisters Cindy, Rinie and Wendy Wilhelmi and their pal Geri Gibson – who open the show with their one and only single, a fabulously raw and pounding rendition of Tommy Tucker’s ‘Hi Heel Sneakers’, recorded in “some guy’s attic” in Milwaukee circa 1969. The group She also released a sole 45, yet amassed sufficient shelved recordings to eventually fill an entire CD, including the ominous ‘Like A Snake’, an early effort taped when they were still known as the Hairem. Mormon sister band the Clingers, on the other hand, boast a sizeable discography, the gem of which is their Kim Fowley-produced version of the Easybeats’ ‘Gonna Have A Good Time’. Genre faves the Debutantes of Detroit also knocked out a few 45s, of which their version of frat rock staple ‘Little Latin Lupe Lu’ is a highlight. From much further afield –Sweden, in fact – the Plommons feature with their latter-day cult favourite ‘Last Train To Liverpool’. Completing the collection are the jangly ‘He’s Not There Anymore’ by the teenage Chymes from the suburbs of Los Angeles; Karen Verros’ much-prized freakbeat bauble ‘You Just Gotta Know My Mind’; Kathy Lynn & the Playboys’ self-penned rocker ‘I Got A Guy’; a version of Gerry & the Pacemakers’ ‘How Do You Do It’ by the short-lived Lady-Bugs, alias the Murmaids with Jackie DeShannon helping out on lead vocals; the Delmonas’ Milkshakes-backed update of the Knickerbockers’ ‘Lies’; a version of the Blues Project’s ‘Wake Me, Shake Me’ by the Wrongh Black Bag, a band fronted by the young Christine Ohlman of later Saturday Night Live fame; and the cod-Merseybeat ‘I’d Rather Fight Than Switch’ by the Tomboys, a one-off studio group led by beloved session singer Jean Thomas.