Pop & Rock Vinyl New Releases - News

Highly collectible 7" vinyl from goth punk legends 45 Grave! Includes rare demo versions of the band's best loved songs including "Party Time," which was featured in the 1985 horror classic Return Of The Living Dead, and MTV hit "Evil!" Available in SILVER vinyl!

(Remastered Edition)

Described by TIME Magazine as “gloomy and sexual yet lively and introspective”, Garbage’s second studio album Version 2.0, released in 1998, was heralded as a bold progression from their self-titled debut album and went on to sell over four million copies worldwide, matching the success of its predecessor. Formed in 1993 comprising of members Duke Erikson, Steve Marker, Butch Vig and Shirley Manson, Garbage have gone onto sell over 17 million albums worldwide over a 28 year career.

This 2LP Gatefold & 2CD Digipack release, alongside the repress of their debut album Garbage (1995), is the first time the newly remastered album has been made available via BMG, ahead of their new studio album No Gods No Masters, to be released on Infectious Records in June 2021.

Man muss sich nur kurz mit dem Indie-Rock-Trio unterhalten, um die innige Wärme ihrer starken Verbundenheit zu spüren, die drei jungen Musikerinnen sind beste Freunde. Diese persönliche Nähe schimmert auch auf ihrem Debütalbum "Versions of Modern Performance" durch. Penelope Lowenstein (Gitarre, Gesang), Nora Cheng (Gitarre, Gesang) und Gigi Reece (Schlagzeug) machen alles gemeinsam, vom Songwriting über den wechselnden Gesang und den Tausch von Instrumenten bis hin zum Sound- und Visual Art-Design. "Versions of Modern Performance" wurde mit John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) im Electrical Audio-Studio aufgenommen. "Es ist unser erstes Album. Wir hatten bei Agnello sofort das Gefühl, dass er wirklich respektiert, was wir zu tun versuchten", sagt die Band. Horsegirl spielen auf dem Album gekonnt mit Texturen, Formen und Schattierungen und zeigen ihre Vorliebe für Improvisationen und Experimente. Der Opener "Anti-glory" ist schillernder Post-Punk-Song. "Dirtbag Transformation (Still Dirty)" und "World of Pots and Pans" haben einen rauen Pop-Charme. "The Fall of Horsegirl" besticht wiederum durch seine scharfen Konturen und einem kantigen Sound. Man kann in ihrer Musik Elemente der Independent-Musik der 80er und 90er Jahre hören, die Sounds die Horsegirl so sehr lieben - die schraddelige Melodik dessen, was man früher "College-Rock" nannte, den kühlen und sprudelnden Space-Age-Glanz der 90er-Jahre, das laute Dröhnen von Shoegaze, die sparsamen Hooks und Rhythmen von Post-Punk. Sogar ein bisschen No-Wave ist mit dabei. Horsegirl vermischen die Einflüsse zu einem Sound einer neuen Generation, für die die 90er-Jahre Lichtjahre entfernt zurückliegen und gleichzeitig doch so nah sind.

"Off-kilter melodies, dense instrumentation and lyrical explorations of the darkest side of the human condition" -- The Guardian

With B FLAT A this much acclaimed quartet from Gdansk, Poland have
produced their most epic and visceral statement to date.

A universe where echoes of Can, Syd Barrett and Fugazi lovingly collide. Cryptic and possessing of a great moral force, Trupa Trupa is a band for these times, whether we are ready for them or not.
The frst single "Twitch" is already out and is receiving strong airplay from BBC6 Music. Clash magazine wrote "Polish art-rock group Trupa Trupa return with the storming 'Twitch.' The band's imposing physicality is matched to some truly ground-breaking artistry - imagine a kind of Eastern European answer to Swans and you'd be close. With their intense live shows and crunching studio output,
Trupa Trupa have built an imposing catalogue, one with an international reach."

UK GIGS
19.02.2022 – UK – London – Lexington
21.02.2022 – UK – Brighton – Green Door Store

Happenstance can be a fortuitous element. A union funded single discovered in a dusty store, a long disbanded band found, leads to unreleased post punk dubs in a box of unreleased demos.

Formed during the mid-80s in the downbeat town of Walsall, their music a blend of disparate influences from 50s crooners, blues and reggae to Killing Joke and The Bunnymen; Ron's Neighbours were out of step with the perfect pop of the C86 indie generation.

Their only single - "To The Fight" - a split 7" was supported by the Trade Union Resource Centre, while many gigs were benefits for striking miners, leading to a loyal local following.

Engineered by Ozzy Osbourne's brother Tony, tracks were recorded at an 8 track bedroom / home studio, while a terraced house served as rehearsal space. Here Ron Next Door was born. When a tape recorder was left running it captured the long-suffering neighbour for posterity. His outburst gave the band and song, its name.

Experimenting with drum machines, the resultant jam track, here in its "Alternative Mix", languished unheard until now. Ron's 'Black Country' tones lead to driving bass / percussion against crashing Stratocasters and repeating, refrained vox - a post punk dub turned symphony.

The B side, Sitting On Top of the World, is an indie anthem, becoming their theme, a blend of grandiose and banal that characterised their songs.

Fire Records kündigt mit "Ultraviolet Battle Hymns And True Confessions" ein brandneues Album von THE DREAM SYNDICATE an, das am 10. Juni erscheinen wird. Das kryptisch betitelte Album wirft viele Vorurteile über Bord. THE DREAM SYNDICATE haben ihre frühen VELVET UNDERGROUND-Einflüsse weit hinter sich gelassen und sich mit britischem Glam, deutschem Prog und mehr beschäftigt. Das neue Album hat eine Krautrock- und ENO-ähnliche Atmosphäre mit einem von NEU inspirierten rhythmischen Groove und einem kalifornischen, sonnengebräunten Glanz, der in den klassischen psychedelischen, melodischen Farbton eingewoben ist. Die Leadsingle "Where I'll Stand" beginnt mit klassischen elektronischen Krautrock-Synthies, die sich zu einem klassischen DREAM SYNDICATE-Vibe verbinden - nicht unähnlich dem Song "Tell Me When It's Over", der den Auftakt zu "The Days Of Wine And Roses" - ihrem Debüt-Full Length-Album aus dem Jahr 1982 - bildete - mit einem Hauch von BOWIEs Eröffnungssong auf "Scary Monsters" "It's No Game". Als THE DREAM SYNDICATE in den frühen 80er Jahren aufkamen, erklärte Frontmann STEVE WYNN "we're playing music we want to hear because nobody else is doing it" - und fügte hinzu: "I'll compromise on what I eat or where I sleep, but I won't compromise on what music I play."Beides ist wahr. Die Band war und ist auf ihre Art immer noch kompromisslos. THE DREAM SYNDICATE - bestehend aus Sänger/Songwriter/Gitarrist STEVE WYNN, Schlagzeuger Dennis Duck, Bassist Mark Walton, Leadgitarrist Jason Victor und dem jüngsten Mitglied CHRIS CACAVAS an den Keyboards (GREEN ON RED, CALEXICO, GIANT SAND, JASON MOLINA) - nahmen "Ultraviolet Battle Hymns And True Confessions" mit Hilfe von Gastauftritten von Stephen McCarthy (von THE LONG RYDERS) und Marcus Tenneys ausdrucksstarker Saxophon- und Trompetenarbeit auf. THE DREAM SYNDICATE wird in diesem Sommer auch durch Europa touren. "Atmospheric rock music veering between noise and subtlety-so compelling." - Pitchfork "This dream isn't over." - Classic Rock

The Epitaph debut from pop punk upstarts, MAGNOLIA PARK
Contrary to what some may say, pop punk is alive and well in 2021, and groups
like MAGNOLIA PARK are making sure it stays that way. Hailing from Orlando,
Florida, MAGNOLIA PARK is a five- piece consisting of lead vocalist Joshua
Roberts, guitarists Tristan Torres and Freddie Criales, bassist Jared Kay, and
drummer Joe Horsham.In recent years, experimental sounds and more personal
lyrics have dominated the pop punk scene. While staying true to the genre's roots,
the members of MAGNOLIA PARK bring their own twist to the table with louder,
angrier vocals and a fusion of genres ranging from hip-hop and emo to hardcore
and alt rock.

The impressive new LP from Cypress Hill, Back In Black, is the group's
10th studio album - They are arguably one of the most successful hiphop groups of all time, celebrating 30 years of non-stop touring
They are the biggest-selling Latin hip-hop group in the world and the first hip-hop
group to have sold multi- platinum albums, having sold over 30 million albums
worldwide.Cypress Hill are considered to be among the main progenitors of West
Coast and 1990s hip-hop, and the group has received critical acclaimed for their
first five albums. As well as this, all of the group members advocate for and are
very vocal about the medicinal and recreational use of cannabis in the United
States. In 2019, Cypress Hill became the first hip-hop group to have a star on the
Hollywood Walk of Fame.

Cypress Hill will join heavy metal giants Slipknot on the 2022 Knotfest Roadshow
(April 2022 tour).

28th April 2022 marks the 50th anniversary of the release of David Bowie’s STARMAN, the first single from THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS. To celebrate, Parlophone Records is proud to announce release details to mark the album’s Golden Jubilee.

On 17th June 2022, 50 years and one day after the original U.K. release date, THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS will be issued as a limited edition 50th anniversary picture disc, featuring a half-speed master and a replica promotional poster for the album.

THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS is the breakthrough album that catapulted David Bowie into the international spotlight. Over the past 50 years it has remained a touchstone record, growing in stature with each passing year. It is now ingrained in popular culture, its undeniable influence spanning musicians from Arcade Fire to Lady Gaga, to Harry Styles’s androgynous fashion sense to Noel Fielding’s shirts on The Great British Bake-Off to Ziggy make-up challenges on Tik-Tok.

David Bowie laid to rest the Ziggy Stardust persona in July 1973 at his infamous last show with the Spiders From Mars at London’s Hammersmith Odeon, but Ziggy’s impact reverberates to this day.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

Phantasy are proud to present the vinyl re-issue of Mystery Jets’ seminal 2008 album ’Twenty One’. Produced by Erol Alkan, the beloved LP includes hit singles ‘Young Love’ and ’Two Doors Down'.

The LP reissue is available to pre-order now!

“Of all the messages we’ve received from our fans over the intervening years, the single question that has come up more than any other, is ‘When will Twenty One will be released on vinyl again?’. Much to our frustration, our response has never been anything more than a helpless, resounding shrug. That is, until now.

The year being 2021, and all the band being firm believers in the powers of numerology, we felt there would be no better time of telling you that for the first time since its release, Twenty One will finally be available to own on vinyl again. As well as reissuing the original album, we have also dug through the archives and compiled a special selection of never-heard-before outtakes, demos and rarities from that era to accompany the deluxe version of the album.

We are delighted to be reissuing the record via Phantasy, the label founded by Erol Alkan, who produced Twenty One and mentored us to make an album we’re still immensely proud of. This is the record you have been asking for, and the one we always wanted you to hear.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

"Turn To See Me" is yet another step forward for The Dining Rooms, an artistic duo that never lacked creativity. This ninth album of theirs is a further confirmation: an intense record, inevitably influenced by the events of the last two years and therefore imbued with dark and melancholy sounds, but at the same time positive and aimed at a hopefully better future. Once again, there are numerous collaborations and blends of various musical genres (hip-hop, folk, jazz, electronic, trip hop) that do not, however, betray the 'cinematic' trademark of the Milanese outfit.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Wick Records is proud to present Michael Rault, the eponymous new album from one of the most talented songwriters in the game. A remarkable re-imagination of '70s pop perfection, the album began to take shape during a time of endings. Michael, on the cusp of turning 30 and freshly off the road promoting 2018's A New Day Tonight, had just ended a romantic relationship, and cut ties with his management and touring band. Returning home to Montreal where his van was already buried in six feet of snow, he hunkered down in his bedroom studio and began writing. Over the span of five months he penned most of the album. From the drug-fueled, dance floor slow-stepper, "Neither Love Nor Money", to the introspective "Inside Your Heart", to the tongue-in-cheek playfulness of "Champagne", the body of work he created in this epoch of uncertainty is proof of just how crucial that time of endings really was. Bruised but certainly not beaten, Michael delivers a lush, timeless collection of songs - continuing his increasingly profound exploration into the worlds of progressive pop, psych folk, yacht rock and beyond. Trust us...you're gonna love it!

Key Selling Points
• Sophomore album on Wick Records.
• Indie Only Blue Galaxy vinyl Covered by Paste, Pitchfork, Stereogum and many others.
• “Hook after hook after hook” - PASTE

Wick Records is proud to present Michael Rault, the eponymous new album from one of the most talented songwriters in the game. A remarkable re-imagination of '70s pop perfection, the album began to take shape during a time of endings. Michael, on the cusp of turning 30 and freshly off the road promoting 2018's A New Day Tonight, had just ended a romantic relationship, and cut ties with his management and touring band. Returning home to Montreal where his van was already buried in six feet of snow, he hunkered down in his bedroom studio and began writing. Over the span of five months he penned most of the album. From the drug-fueled, dance floor slow-stepper, "Neither Love Nor Money", to the introspective "Inside Your Heart", to the tongue-in-cheek playfulness of "Champagne", the body of work he created in this epoch of uncertainty is proof of just how crucial that time of endings really was. Bruised but certainly not beaten, Michael delivers a lush, timeless collection of songs - continuing his increasingly profound exploration into the worlds of progressive pop, psych folk, yacht rock and beyond. Trust us...you're gonna love it!

Key Selling Points
• Sophomore album on Wick Records.
• Indie Only Blue Galaxy vinyl Covered by Paste, Pitchfork, Stereogum and many others.
• “Hook after hook after hook” - PASTE

First time authorized reissue of this killer slice of privately-pressed Midwestern hard rock.

Insert features in-depth and informative liner notes by Jeremy Cargill (Got Kinda Lost Records / NTS Radio), culled from interviewing several band members.

Introduction penned by the late Patrick “The Lama” Lundborg (The Acid Archives)

Remixed and remastered from original sessions reels.

Featuring Tom Stevens (of LONG RYDERS fame) on bass!

First time authorized reissue of Rust Belt hard rockers MAGI’s (pronounced ˈmā-ˌjī) 1976 privately-pressed, hard rock nugget, Win Or Lose, originally issued on the infamous Uncle Dirty’s Sound Machine label. Win Or Lose carries similar glimmers to other vulgar, pre-PC, mid-Amerigan rock whose stock-in-trade boy meets girl early rock’n’roll topicry could easily be pulled from the Rock 101 playbook, but MAGI was more than mired in muscle and machismo. MAGI displayed the general insouciance, hormones, and discontent of their age, but also a concerned and wounded heart underneath the veneer, much less common to the field.

While essentially a meat-and-potatoes hard rock record, the album flies closer to the early ‘70s beginnings of the genre (with nuance and psychedelic hangover in tow), when the definition was less rigidly and generically defined, and is additionally expertly sequenced across its eight strong tracks, improved by a masterful mix and remaster by T. Dallas Reed (Electric Wizard, Iron Claw, Mos Generator, Orange Sunshine, Poobah, Saint Vitus, Treepeople, Truth And Janey, et al.), utilizing a reel-to-reel from the original recording sessions. In-depth and informative liner notes by Jeremy Cargill (Got Kinda Lost / NTS Radio) and Patrick Lundborg.

As the uncredited seeker who penned the original rear sleeve text expressed... “Energy is apparent, the subtleties are there, listen, there’s no question how they feel! Feel it with them! Feel the MAGI!”

“…quite contemporary in style for its 1976 release year. Regional and local bands tend to lag behind dominating music trends by a few years, but MAGI’s sound seems entirely in line with then popular acts like Aerosmith, early KISS, and maybe Ted Nugent.”
– Patrick “The Lama” Lundborg (The Acid Archives)

RIYL: AEROSMITH, BÖC, ‘70s ALICE COOPER, ETERNITY, FOGHAT, GRAND FUNK RAILROAD, JAMES GANG, LED ZEP, LODESTAR, (early) TED NUGENT, ORANG-UTAN, et al.

Along with Smash, Cerebrum or Pan & Regaliz, Catalan band MÀQUINA! were one the truly pioneers when talking about the underground Spanish psych-prog scene from the late 60s.

“Why?” was their debut album, originally released in 1970 on the Diábolo label and housed in a striking surreal sleeve designed by band member Jordi Batiste. English vocals, wicked acid fuzz-wah guitars, Hammond organ, flute…including the legendary self-titled track, 24 minutes (split in two parts) of wild psychedelic improvisation.

Featuring Josep Maria “Tapi” Vilaseca (later of Tapiman) on drums, Josep Maria París on fuzz guitar, Luigi Cabanach on wah guitar, Enric Herrera on organ and Jordi Batiste on bass/flute/vocals.

Highly sought-after by psych collectors worldwide, here’s a long overdue new vinyl reissue of this cult album featuring newly remastered sound, original artwork and insert with detailed liner notes and cool photos.

*Newly remastered sound

*Original artwork in heavy cardboard sleeve + OBI

*8-page color insert with photos and detailed liner notes by Àlex Gómez-Font

Excellent vintage hard-rock made in Belgium in 1971 and originally released in the Triangle label. Their sound was clearly influenced by Deep Purple or even Uriah Heep, with killer guitar all over and good use of organ.

This has been considered as a key album in the hard-rock field since the early days of collecting, with originals fetching really some money!



High-quality reissue, hard-cardboard cover with original artwork, OBI and resealable sleeve, insert with liner notes and photos.

NORTHWEST COMPANY were one of the most hard-working bands from the Vancouver scene of the Sixties. Famous for their monster garage-punk double sider from 1967, the reverberating "Hard To Cry"/ "Get Away From It All", the group released seven singles between 1966 and ‘73. Eight Hour Day features a selection of those 45 sides, their cool & raw studio demos from 1966 and their final 7-minute long hard-blues live freakout "Police's Coming".

Including all-time garage classics like “Get Away From It All”, “Hard To Cry”, “Each Day”, "Eight Hour Day" and more!

Newly remastered sound, insert with detailed liner notes and cool photos / memorabilia.

70s Chicago-area based band Apocalypse used their double-neck guitars to create chamber prog suites about faraway castles.

Their lost 1976 LP (used as a demo), with male/female harmonies, violin, mellotron and fuzzed-out guitars/keys has been unearthed by Steve "Plastic Crimewave" Krakow. With their lenghty and tuneful musical odysseys, Apocalypse conjures the golden mid-70s progressive period of Renaissance, Soft Machine, ELP, Gentle Giant and Genesis.

Travel back in time with the Salvatori family. Way back to 1976, when he was in high school, Tom Salvatori teamed up with older brother Michael Salvatori, Michael’s wife Gail Salvatori and Tom’s classmate Scott Magnesen.

As Apocalypse they recorded an album of pure progressive rock magic called The Castle. Although the 5-song, 38-minute demo was an amazing showcase for their collective progressive rock leanings, The Castle remained an unreleased artifact until 2021 when the reel-to-reel master tape of the presumably long-lost relic was rediscovered by Michael in a dusty old basement storage bin. Music fans can be thankful that Michael’s rediscovery of the Apocalypse master tape has now led to a vinyl-only reissue of The Castle.

Sourced from the original masters

Insert with photos and liner notes by Plastic Crimewave

Artwork by Sara Gossett

NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + RESEALABLE OUTER SLEEVE.

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...

Legit reissue done in co-operation with the original band members.

Insert with liner notes telling the bizarre story of the band, and rare
photos.

"Quintessentially British hard-rock, transforming the blues in a way
American bands rarely did, and with a kind of vocal intensity that compares
to Free, Humble Pie et al"
- Aaron Milenski (Galactic Ramble)

Unissued recordings by this very LOUD power trio from San Francisco, modeled
after Cream, Blue Cheer or The Jimi Hendrix Experience.

Including their fantastic studio demo from 1968 plus raw & wild live tracks
from 1969.

Boogie (or The Boogie) was probably the first hard-blues / proto-metal group
that emerged from the San Francisco scene. This power-trio was formed by
Barry “The Bee” Bastian (Canned Heat, Lee Michaels...) on guitar/vocals;
John Barrett (The Rhythm Dukes) on bass and Fuzzy John Oxendine (Roky
Erickson & The Aliens, Jerry Miller Band...) on drums.

Comrades of Moby Grape (who even let Boogie use their rehearsal space) and
the Sons Of Champlin, they played at all the legendary venues (The Ark,
Avalon, Fillmore…) sharing stage with bands like Buffalo Springfield,
Quicksilver, Ace Of Cups, Flamin’ Groovies or Country Joe & The Fish. Their
explosive show at the Sky River Rock Festival (August, 1968, the first
outdoor multi-band Rock Festival held in the United States) to an audience
of 150,000 people, is still remembered today.

Sadly, their convulsed story, which includes undercover narks and marijuana
busts, left them with no record deal. But a studio demo - recorded in 1968
at Pacific High Recorders - including three tracks, “In Freak Town”, “To Me”
and a terrific, fuzzed out 7-minute long cover of “Wade In The Water”, plus
some live recordings from 1969, survived. Previously available only as part
of a private CD released by Barry Bastian, here’s the first ever vinyl
release.

PLAY LOUD!

*Hard cardboard sleeve.

*Insert with rare photos and detailed liner notes by San Fran rock historian
Bruno Ceriotti.

*Download card with the full album plus three bonus tracks.

"Arguably the greatest San Francisco's rock 'n' roll band of the 60's who
never released anything"
- Bruno Ceriotti

Also known as “Música Caliente (Hot Music)” and “Wild Safari”, this is the first album, released in 1972, by BARRABÁS, the acclaimed Spanish band created by FERNANDO ARBEX after the demise of BRINCOS and ALACRÁN.

A funk-rock / latin / afro bomb, loaded with worldwide hits like “Wild Safari” or “Woman”.

First ever reissue with original artwork, featuring remastered sound and four-panel color insert with detailed liner notes in English / Spanish & photos.

RIYL: SANTANA, OSIBISA, MALO, MANDRILL...

Barrabás was created by Spanish genius drummer, songwriter and producer Fernando Arbex after the split of his post-Brincos power-trio Alacrán. Busy with his productions and as songwriter for many artists, Fernando still had in mind the desire of international success. Highly influenced by the beginnings of funk music and the Latin-rock of groups such as Santana (influences that were also already present on Alacrán), Arbex formed Barrabás along with his Brincos bandmates Miguel & Ricky Morales on guitars, ace keyboard player Joao Antonio Vidal (from Madrid based psych band Los Grimm), Afro-cuban percussionist & multi-instrumentalist Ernesto “Tito” Duarte and Iñaki Egaña (Los Buenos, Alacrán…) on vocals/bass. The name of Barrabás came after Fernando watched the movie of the same name by Richard Fleischer.

In 1971, the band entered RCA Studios in Madrid for the recording of their first album, sung completely in English. The result was a fabulous mix of funk, Latin music, rock and afro sounds, housed in a striking cover designed by famous Spanish singer-songwriter Luis Eduardo Aute. Songs like “Wild Safari” or “Woman” took the international dance floors by storm, even reaching the first positions in the US Black Music charts, being championed by legendary DJs like David Mancuso (The Loft). The album also contained surprises like the mid-tempo “Cheer Up” or the Canned Heat sounding boogie rock of “Rock and Roll Everybody”.

A groundbreaking debut album, essential to understand the roots of Spanish funk-rock, reissued for the first time on vinyl faithful to the original one.

“¡Soltad a Barrabás!” (Release Barrabás!) was the third album by the famous Spanish funk-rock band. Recorded in the US and originally released in 1974, housed in a shocking gatefold cover, this time the sound was 100% funk oriented and included big hits like “Hi-Jack”, covered by Herbie Mann.

After reaching worldwide success with their previous two albums and a lenghty South America tour, Fernando Arbex went even further with Barrabás: he wanted to register their third album in the US. So he managed to book MGM studios in Hollywood and the band spent a month in L.A. Fernando encouraged all the other Barrabás members to write songs for the planned album. The result was a fantastic pro-sounding recording (thanks to the work of sound engineer Humberto Gatica), where the band nearly dropped their previous Latin influences to concentrate on funk and black music. “Hi-Jack” rocketed to number one in the Billboard and Black Music charts in the US and soon after Herbie Mann released his famous jazzy cover. The album also included other ace tracks like “Tell Me The Thing” - much in the vein of Chicago and Blood, Sweat & Tears, “Suzie Wong”, “Lady Love”...

GATEFOLD SLEEVE + 4-PAGE INSERT

“Power” was the second Barrabás album, originally released in 1973. As well as their first album, this is another great example of funk-rock, but this time with glam, hard & psych touches, including some of their most celebrated songs: “Casanova”, “The Horse”, “Children”...

After reaching international success with their first album, the line-up of Barrabas experienced some major changes: Fernando Arbex, more and more involved as songwriter and producer for other artists, leaves the drum kit, being replaced by drummer José María Moll (from Juan & Junior’s backing band). From now on, Fernando will focus on songwriting & production duties for Barrabas. Also, due to an accident, bass player / lead singer Iñaki Egaña is forced to leave the band. A new powerful singer is found: José Luis Tejada (from Los No, a legendary beat band from Barcelona). And finally original guitar player Miguel Morales switched to bass.

For the album recording, Arbex decided to use the same studio where they recorded the first Barrabas album: RCA in Madrid. J. Cobos was again the sound engineer and Fernando was the producer and main songwriter. “Power” was the result, released in 1973 housed in a glam-tastic gatefold sleeve. Highlights are “Mr. Money” (pure funk-rock which entered the US charts); the atmospheric “The Horse”, the psych-funk of “Time To Love” or the catchy “Children”, which was a big hit in South America, especially in Venezuela.

*First ever vinyl reissue in original gatefold cover artwork design.

*Remastered sound

*Four-panel color insert with detailed liner notes in English / Spanish & photos.

Edip Akbayram's a frail guy who spent his childhood unable to walk, but once he grew up he was on Istanbul TV in a whitey-fro and knee length colored robes. Akbayram's voice is big & open, and it took him all across Turkey at the height of Anatolian psychedelia.

This 1st album collects precious singles from 1972-74, with dark melodies that descend in loose spirals, seemingly forever. Tunes taken from mystic Sufi poets who played the bağlama, but retrofitted with hard plowing electric bass lines, funky drums, fuzz-wah guitars and keyboards.

Remastered sound, insert / booklet with photos and liner notes by Angela Sawyer (Weirdo Records).

Technically his 2nd LP after a collection of singles, this benchmark record from 1974 taught Istanbul’s musicians & pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim & Baris Manco’s Kurtalan Ekspres) & an electrified baglama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, & hammer-ons that go on for-friggin-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house. Gatefold cover, insert with linernotes.

Technically his 2nd LP after a collection of singles, this benchmark record from 1974 taught Istanbul’s musicians & pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim & Baris Manco’s Kurtalan Ekspres) & an electrified baglama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, & hammer-ons that go on for-friggin-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house. Gatefold cover, insert with linernotes.

One of the hidden treasures from Venezuela, GRUPO GEYSER were pioneers in
fusing psychedelic rock with Latin & Afro Cuban rhythms.

Here's their first ever vinyl retrospective, including their four singles
originally released between 1970-73.

Los Geyser aka Grupo Geyser formed in Caracas, Venezuela, in the mid-60s by
brothers Publio and Ebenezer García. Initially influenced by the British and
American bands of the time, the band experienced different line-ups and they
gradually incorporated Latin / Afro-Cuban influences to their music, along
with instruments like bongos, tumbadoras or sax, thanks to musicians like
Roberto Monasterios.

Led by Publio García, who was the main songwriter, Grupo Geyser always
played their own songs, refusing to do covers. They got to release a few
self-produced 45s during 1970-1973 and they were pioneers in not only fusing
psychedelic rock with Latin and Afro-Cuban rhythms but also in
home-recording and multi-tracking with their song “La Súper Lombriz
Atómica”, recorded by brothers Publio and Ebenezer at their home studio
playing all the instruments themselves. The band even caught the attention
of famous singer Alfredo Sadel, who took them under his wing and received
interest from the US market.

This comp includes all their 45 sides: from heavy Latin-psych-fuzz-groove
(“Óyeme Guajira”, “Piénsalo Bien”) to freakbeatish psych with Farfisa (“Tú
Me Caes Mal”), bluesy acid psych (“Sodoma y Gomorra”) and more.

*Color insert with detailed liner notes by band member Publio Garcia and
photos

Considered one of the masterpieces of seventies psychedelic, his second album, released in 1973, is the result of a partnership with Tibério Gaspar (author of: "Sá Marina", "BR-3" and "Teletema").



The album was recorded at Rádio Gazeta Studios in São Paulo, with the participation of musicians already known as: Wagner Tiso on synthesizer, Luiz Claudio Ramos on arrangements and conducting, Lanny Gordin on guitar, Oberdan Magalhães on flute and Guilherme himself playing guitar and piano.



Guilherme died on August 7, 2018, at the age of 67, due to health complications. But the timelessness of his work has been revisited by the new generation of artists and audiences.

Hailing from Knoxville, Tennesee, Joel Fairstein has earned critical praise as Jazz pianist, composer, producer, and studio musician. His first album, "Umbra", an LP recorded at age 24 with eighteen sidemen has since become a sought-after collector item.

It includes an insert with interview and exclusive photos.

Second album by cult Norwegian heavy prog-psych band LUCIFER WAS, originally released only on CD in 2000.

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 Rude. 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 we 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 Anadis’s bower. In Norway, maybe?” – Thore Engen (Lucifer Was)

January 20, 2020 saw the surprise release of David Lynch's short What Did Jack Do? on Netflix. If you watched the grainy, police procedural over the last few days, you most likely found yourself saying aloud `who is Jack Cruz and how can I get more of his music?' Sacred Bones is announcing the release of the short's featured original song "True Love's Flame" by the primate star crooner of yesteryear; Jack Cruz. Not much is known about Cruz's career prior to his involvement with Lynch, but fortunately, we have not just one song, but two: 'Dancin' in the World of Love' is the B-side to the short's single_uncovered recently and an excellent example of Cruz's emotional prowess and magical, gold-dipped vocal cords. Both songs were written by Lynch and Dean Hurley with artwork carefully crafted by Lynch himself.

Along with Smash, Cerebrum or Pan & Regaliz, Catalan band MÀQUINA! were one the truly pioneers when talking about the underground Spanish psych-prog scene from the late 60s.

“Why?” was their debut album, originally released in 1970 on the Diábolo label and housed in a striking surreal sleeve designed by band member Jordi Batiste. English vocals, wicked acid fuzz-wah guitars, Hammond organ, flute…including the legendary self-titled track, 24 minutes (split in two parts) of wild psychedelic improvisation.

Featuring Josep Maria “Tapi” Vilaseca (later of Tapiman) on drums, Josep Maria París on fuzz guitar, Luigi Cabanach on wah guitar, Enric Herrera on organ and Jordi Batiste on bass/flute/vocals.

Highly sought-after by psych collectors worldwide, here’s a long overdue new vinyl reissue of this cult album featuring newly remastered sound, original artwork and insert with detailed liner notes and cool photos.

*Newly remastered sound

*Original artwork in heavy cardboard sleeve + OBI

*8-page color insert with photos and detailed liner notes by Àlex Gómez-Font

Originally released as a small private pressing in 1977 (now impossible to find), here’s the first ever vinyl reissue of this collectable hard-rock album by Marquee favourites NATIONAL FLAG.

*Sourced from the original masters

*Insert with liner notes and photos

“Defined by their good time guitar licks and blazing rhythms, this delight from the UK seemed poised to hit the big time, yet never did. They’re a riveting combination of Grand Funk meets Lynyrd Skynyrd, combined with the sensibilities and smart lyrics of The Doobie Brothers, along with the swagger of Neil Young & Crazy Horse…” – Jenell Kessler

National Flag formed in Kingston in 1973 and they were a big noise for brief period around London in 1975/76. They quickly developed a strong following especially at the Marquee club where they were resident band in summer 1975. Such was their live reputation they were invited to Tokyo and toured Japan in summer 1975 appearing on TV & Radio, headlining the infant Fuji Rock Festival & opening the World Rock Festival in Kyoto with the New York Dolls & Jeff Beck.

“Thank You & Goodnight” was recorded between 1974/76 at EMI Manchester Square, Decca Hampstead with Nick Tauber (Thin Lizzy) & Fulhams Milner Sound with a soon to be famous Julien Mendlesohn (Elton John, McCartney). Aprox. 100 copies were pressed as a homemade edition in 1977 and the album became a myth. Its reputation and rarity value has grown over the years and is now sought after by keen rock fans, Marquee fans and 70s record collectors AND its actually a real gem...Glorious. That same year, band members Danny Edwardson and Seamus Sell were also responsible for the KPM library album "Rock On", for which they used and recycled some riffs of National Flag songs.

National Flag should have been huge, but somehow they escaped a record deal, the anecdotes are endless but times were changing, the punk wave swept in and the band broke up playing their last gig in June 1977. Here’s the first ever vinyl reissue of their only album.

Originally released as a small private pressing in 1977 (now impossible to find), here’s the first ever vinyl reissue of this collectable hard-rock album by Marquee favourites NATIONAL FLAG.

*Sourced from the original masters

*Insert with liner notes and photos

“Defined by their good time guitar licks and blazing rhythms, this delight from the UK seemed poised to hit the big time, yet never did. They’re a riveting combination of Grand Funk meets Lynyrd Skynyrd, combined with the sensibilities and smart lyrics of The Doobie Brothers, along with the swagger of Neil Young & Crazy Horse…” – Jenell Kessler

National Flag formed in Kingston in 1973 and they were a big noise for brief period around London in 1975/76. They quickly developed a strong following especially at the Marquee club where they were resident band in summer 1975. Such was their live reputation they were invited to Tokyo and toured Japan in summer 1975 appearing on TV & Radio, headlining the infant Fuji Rock Festival & opening the World Rock Festival in Kyoto with the New York Dolls & Jeff Beck.

“Thank You & Goodnight” was recorded between 1974/76 at EMI Manchester Square, Decca Hampstead with Nick Tauber (Thin Lizzy) & Fulhams Milner Sound with a soon to be famous Julien Mendlesohn (Elton John, McCartney). Aprox. 100 copies were pressed as a homemade edition in 1977 and the album became a myth. Its reputation and rarity value has grown over the years and is now sought after by keen rock fans, Marquee fans and 70s record collectors AND its actually a real gem...Glorious. That same year, band members Danny Edwardson and Seamus Sell were also responsible for the KPM library album "Rock On", for which they used and recycled some riffs of National Flag songs.

National Flag should have been huge, but somehow they escaped a record deal, the anecdotes are endless but times were changing, the punk wave swept in and the band broke up playing their last gig in June 1977. Here’s the first ever vinyl reissue of their only album.

Lost-in-time, dreamy, mysterious sounding British psychedelia from the magical year of 1967, never released at the time.

Neon Pearl was created in 1967 by supreme drummer/songwriter Peter Dunton (The Flies, Gun, Please, T2…) with the intention of playing in Germany. Once there, they played a lot of gigs and were offered a residency at the Top Ten Club in Siegen. Their particular sound, mix of covers, original material (written by Dunton) and psychedelic improvisation, earned them local cult status. After some line-up changes, the band regrouped in London as a trio: Peter Dunton on drums/keyboards/vocals plus Bernie Jinks (Bulldog Breed, T2) on bass and Nick Spenser on guitar. This line-up recorded some studio demos, featuring tracks like “Dream Scream”, which was usually their final number in their live sets, where they extended it to 10 minutes or more. With no interest from record companies, Neon Pearl split, giving birth to Please, another cult band led by Peter Dunton.

Those demos were first recovered by the Acme label in 2001 and subsequently released as “1967 Recordings”.

Out of print for many years, here’s a new vinyl edition with newly designed artwork.

*Taken from the original masters

*Insert with liner notes and photos

“The music of Neon Pearl is not about complication or extraordinary guitar playing … Neon Pearl is about the steady redemption of warm fog, ethereal jangling guitars, dream laden lyrics and the altered state of consciousness it’s able to bring on though an elegant deep and pervasive sedative drone.” – Jenell Kesler

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.