[engl] Mid 80's Swedish neo garage teen punks the Crimson Shadows set the standards for the garage scene to come playing all original material in a time when most similar bands relied heavily on covers. They also understood that the clothes are as important as the music. During the short life span the Crimson Shadows released two self produced 45’s, and due to demand a few more records were released after the demise. The second ’45, “Even I Tell Lies”, stands as one of the classics of the whole eighties garage wave. It’s The Crimson F****** Shadows! is the definite collection of this legendary band containing a slew of horrific hits plus two previously unreleased tracks culled from a 1986 rehearsal tape.

[engl] Sixties UK freakbeat legends get a new legit re-release of their complete available recordings and Guerssen is the proud new home for them. A real cult freakbeat & psychedelic group, well-known for such all-time classics as “Path through the forest” and “Try a little sunshine”, Factory released only a couple of 45s (both of them obscenely rare and paid big$$$ when rarely showing up). Here we get the 4 tracks appearing on these 45s, plus a couple tracks taken from acetates (killer covers of Family’s “Second generation woman” and Fairport Convention’s “Mr. Lacey”), as well as a new mix of “Path through the forest” that includes the original, different psychedelic effects that were supposed to make it to the original release but were dropped out by the MGM label supervisor. Remastered sound (only beware, “Second generation woman” comes from a destroyed acetate!) and with liner notes by Factory’s producer Brian Carroll.

[engl] Rarest 60s Garage Album by North Carolina students from early 1967 Great LP sized full glossy Inlay w/pic and liners 300 copy repress with 3 different handmade, lavish front covers of 100 copies each Even too rare for Pokora but finally received a 6–star rarity scale at his 7001 book LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over–used assertion that a band’s cover versions measured up to the originals, then it is true of The Horde. Why? These five 19–20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people’s mindset of the mid–sixties. This is one of the sharpest local ’60s garage albums

[engl] Rarest 60s Garage Album by North Carolina students from early 1967 Great LP sized full glossy Inlay w/pic and liners 300 copy repress with 3 different handmade, lavish front covers of 100 copies each Even too rare for Pokora but finally received a 6–star rarity scale at his 7001 book LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over–used assertion that a band’s cover versions measured up to the originals, then it is true of The Horde. Why? These five 19–20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people’s mindset of the mid–sixties. This is one of the sharpest local ’60s garage albums

[engl] Rarest 60s Garage Album by North Carolina students from early 1967 Great LP sized full glossy Inlay w/pic and liners 300 copy repress with 3 different handmade, lavish front covers of 100 copies each Even too rare for Pokora but finally received a 6–star rarity scale at his 7001 book LP contains a blend of exciting originals and well chosen, inspired covers, played in a raw, crude and frantic style. If ever it were true that the over–used assertion that a band’s cover versions measured up to the originals, then it is true of The Horde. Why? These five 19–20 year old students from all over the United States did not only blaze a trail for 60s rock in then conservative North Carolina, they also had a general attitude that finds its origins in the young people’s mindset of the mid–sixties. This is one of the sharpest local ’60s garage albums

[engl] Featuring Ray Kennedy and Roger Huycke from legendary garage band The Wilde Knights (of ''Beaver Patrol'' / ''Just Like Me'' fame), King Biscuit Entertainers rocked the Northwest music scene between 1968 and 1971, building up a reputation as one of the better live bands from the Pacific Northwest Ballroom circuit. Along with releasing a bunch of 45s for several local labels, the band recorded lot of stuff at their own state- of- the art home studio which never saw the light of day. This retrospective features a selection from their unreleased tape archive plus rare 45 sides, 1967- 1970, including the fantastic garage- jangle 45 they recorded under the Genesis name. Music ranges from British influenced mod- psych to early hard- rock with stunning guitar and vocals. The raw sound and production brings to mind similar bands like Brain Police.

[engl] For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that suplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS BRAZÕES and ASSIM ASSADO, he let us a amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia

[engl] Here's one the most obscure US private pressings from the late 60s / early 70s. For many years, The Misty Hush Revival name was only a rumour whispered in collector's circles, with only a handful copies known of the original album around today. Like The Bachs or The Index, this is one of those hard to describe albums which seem to live in a world of their own. Despite the late '72 release date, the music here sounds more late 60s than early 70s and the whole album has a cool, lost- in- time atmosphere. The group were in fact a club band from Staten Island but surprisingly all the tracks are originals, no cover versions, and they range from fragile, dreamy pop- psych numbers to raw garage, fuzzed- out jams and teen- beat sounds. Like Patrick Lundborg says on Acid Archives: ''A cool, atmospheric trip for fans of the tri- state late '60s club sound''

[engl] This is the first official and authorized re-issue of the Polydor International 1966 single release "complication / oh-how to do now" by the legendary avant-garde rockers monks. Original artwork, original master files.

[engl] Most people were introduced to the bizarre psychedelic sound of The Monocles (later The Higher Elevation) thanks to the inclusion of the bizarre ''The Spider & The fly'' and ''The Diamond Mine'' on the legendary Pebbles Vol. 3 (the ''acid- punk'' volume). These youngsters from Colorado formed in 1964 and they were famous for driving to gigs in a custom Cadillac hearse. Between 1965 and 1968, they released a bunch of singles for different labels: Chicory, Denco, Liberty. This retrospective collection includes the best of their 45 sides plus some previously unreleased on vinyl tracks.

[engl] Excellent Afro LP with lots of rock elements, razor sharp guitars and English vocals.

[engl] Famous for their freaked out ride down "Tobbaco Road" (included on the now legendary "A Fistful Of Fuzz" comp), Peabody Co. were a mysterious US band who left behind a set of 10" acetates, collected here for the first time. Late 60s acid–punk / garage–psych, featuring seven self–penned songs plus three terrific cover versions of "I Can’t Explain" (The Who), "Let’s Live For Today" (Rokes / Grass Roots) and the aforementioned "Tobbaco Road" (based on the Blues Magoos cover but including an extended crazed theremin/drum freak out!). NYC psych collector Mike Ascherman recalls how he came to acquire the acetates:

[engl] In 1967, a bunch of US and Argentinean kids recorded a magical album which has remained unknown for many years due to its extreme rarity, with less than a handful known copies to exist. Released in 1968 in Argentina by a label called Phonexa, the Schibbinz album could be regarded as the ultimate teen garage folk- rock album ever. An album of fragile beauty, full of teen charm, innocent vocals, jangly guitars, charming lo- fi sound and lost- in- time atmosphere. It has the look and sound that can only be found on some USA 60s private pressings like Rising Storm or Summer Sounds. But Schibbinz music is something else. So now we're proud to present this wonderful and mega- rare album to the world, in a production counting with the band's involvement and assistance. Master tapes are lost, but the sound has been carefully remastered from an original near mint copy. Extensive, detailed liner notes and lots of cool pictures from the band's archives are all included in a 4 page insert.

[engl] Sérgio Augusto Bustamante was a flight attendant. He flew by the Southern Cross, Panair and Varig. In the sky, above the clouds, he used to daydream about Elvis. One day, he came down from the heights and he added a "u" to the Russian name Sergei, which he took out from a friend. He put on his boots and with them he embarked in an exciting trail of Rock’n’ Roll. Like a dreamer, he let emerge in all its fullness the figure of a rebellious, argumentative, naive and, above all, authentic character. His true self, Serguei. With his colorful clothes, long hair, red contact lenses, and in his hands, the hippies’ flag of peace & love, the anti-commercial Serguei, through several decades, carried on his back the weight of a public image much bigger than the work he was able to produce. Marginalized by option, Serguei tried psychedelia, tropicalism, and even Brazilian folk music without, however, settling down in any musical style. Between 1966 and 1975, which correspond to his musically bolder period of time, his work materialized erratically through records released sporadically, which succumbed in the presence of the singer’s strong image. Archetype of Keith Richards rocker’s style but without the drugs (for many!), Serguei was just a caricature, whose work was just a prop. "I've never been recognized, few people give me value," he told to the magazine Pop in April 1978. Despite his short adventure with singer Janis Joplin (in the summer of 1970 in Rio) has always been the most prominent reason in articles about him, were the records he released between the years 60 and 70 that caught the attention of collectors and of people who have special appreciation for rock produced at that time .. Serguei self named “psychedelic” long before everyone. He sang his hallucinations, found someone from alpha centaur and went in search of peace, from sunrise to sunset. You can find his work in compilations like GUITAR FUZZ BANANAS. His music ranges from psychedelic to garage psych with some folk psych tunes. Fuelled in fuzz and arrangements that are typical of genius. This man, SERGUEI is maybe Brazil's best kept secret in music from the 60's/70's...

[engl] The Stomachmouths were one of the earliest pure garage bands in the European garage revival of the 1980s. Along with local Swedish colleagues the Crimson Shadows they strove for authenticity in replicating the sound and the look of the original '60s inspirators, primarily from the US. The band were undoubtedly kings of the scene, received immediate international attention with their self-released debut 45 and toured extensively in Europe leaving memories of tremendous shows. Band leader Stefan Kéry later went on to form the successful independent Xotic Mind/Subliminal Sounds record label.