[engl] Since their arrival on the music scene in 1965, the mystique of The JuJus and their lead singer, Ray Hummel, has continued to grow over the ensuing decades. This was helped along by the inclusion of their first single, "You Treat Me Bad" on volume 1 of Pebbles in 1979. This debut 45 catapulted the band to regional fame in Michigan. The JuJus initially blended an impressive brand of folk–rock and British–Invasion sounds with a raw garage band attitude best demonstrated on their classic 45´s such as "I´m Really Sorry" and the aforementioned "You Treat Me Bad". In 1967 they opted for a change in sound, documented in their more psychedelic recordings such as "Sometime Or Other" and "If You Really Love Me". Compiled on this release are 14 tracks including all The JuJus classic garage singles, as well as a number of unreleased gems recorded during the band’s existence from 1965 to 1967. A detailed insert contains a retrospective of The Jujus as related by band member Rod Shepard, alongside cool photos and band memorabilia.

[engl] The Morning Dew are mainly known for their highly regarded 1970 psychedelic album recorded for Roulette Records. Between 1966 – 1969, the band had already established a live–and recording history as a local and regional garage and psychedelic band and along with The Blue Things, were one of Kansas’ most exciting regional top–acts. This LP presents fourteen early recordings including the 1966 Audio House session, both their 1966/67 singles A´s & B´s for Fairyland Records and alternative versions on side one. Side two features the band’s 1968 Fairyland summer sessions, which forged a complex psychedelic sound that culminated in a record deal with Roulette Records. This release covers the band’s local years from 1966 – 69 and includes material never before released or unavailable on vinyl for years. LP comes with an in–depth insert with a cache of photos and trivia tracing the genesis of a band that started as an instrumental group in 1963 and ended after their garage days as a now much respected psychedelic band.

[engl] The legendary 1967–68 recordings by UK mod band THE ACTION, registered when they were in transition from mod–beat to full–blown psychedelia, just prior to becoming MIGHTY BABY. Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, "Rolled Gold" is a collection of brilliant songs, melancholic yet powerful. The Action’s classic line–up of Reg King, Alan ’Bam’ King, Michael Evans and Roger Powell is augmented with the inclusion of new members Martin Stone on guitar and Ian Whiteman on flute / organ. All of them are playing their hearts out: superb harmonies, great guitar work and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the West Coast and UK as well as jazz giants like Coltrane. Always the stuff of legend, The "Rolled Gold" tapes were shelved at the time, not released until 1997 when the Dig The Fuzz label discovered them and did a limited LP/CD run. Out of print on vinyl for many years, we present a new vinyl edition. If you dig the psychedelic era of SMALL FACES, PRETTY THINGS, THE WHO, plus THE CREATION, NAZZ, TOMORROW, BLOSSOM TOES, THE END or TRAFFIC...look no further.

[engl] The Action were an English band of the 1960s. They were favoured by the mod subculture, and played soul music-influenced pop music. The band were formed as The Boys in August 1963, in Kentish Town, North West London. After Peter Watson joined them as an additional guitarist in 1965, they changed their name to The Action. The original members were Reg King (lead vocals) (born Reginald King, 5 February 1945, Paddington, West London, died, 8 October 2010, Belvedere, Kent), Alan 'Bam' King (lead guitar, vocals) (born Alan King, 18 September 1945, Muswell Hill, North London), Mike "Ace" Evans (bass guitar, vocals) (born Michael Evans, 10 July 1944, Henley, Berkshire, died 15 January 2010, London) and Roger Powell (drums) (born 4 July 1945, Camden Town, North West London). Shortly after their formation, they signed to Parlophone. "Land of a Thousand Dances" b/w "In My Lonely Room" was well received by critics, but sold poorly. None of the Action's singles achieved success in the UK Singles Chart. After disastrous experiences with the Rikki Farr management, Peter Watson (born in 1945, Kings Cross, London) left the band in 1966. They continued as quartet, but were dropped from Parlophone in 1967. In the late 1960s keyboardist Ian Whiteman (born 18 May 1945, Saffron Walden, Essex) and guitarist Martin Stone (born 11 December 1946, Wokingham, Surrey) joined the band and the Action moved toward a mid-tempo psychedelic ballad style, and then into folk rock. Reg King left the band in 1967, and Alan King took over as main lead vocalist. In 1969, when signing to John Curd's Head Records, the band was renamed Mighty Baby. Alan King later went on to form Ace.

[engl] This release on our occasional Ace International imprint comprises an hour of pure pop highlights from the career of Annie Philippe, one of France’s leading yé-yé girls. The collection is available as a 24-track CD and 12-track 180g red vinyl album, both featuring notes by Jean-Emmanuel Deluxe, author of the recent book Yé-Yé Girls Of 60s French Pop, who interviewed the lovely Annie specifically for this project. Annie was launched into a yé-yé world dominated by Sheila, Sylvie Vartan, Françoise Hardy and France Gall. Her debut, a Lulu cover, didn’t fly for the 17 year-old Parisienne, but sales were excellent for her follow-up, a version of the Supremes’ ‘Baby Love’. A year passed before Annie achieved fame at a parallel level to those others girls; her smash hit ‘Ticket De Quai’ paved the way for many others and remains her biggest seller. Annie’s final chart record came at the end of 1967, following which superstar Claude François signed her to his newly formed label, where she saw out the decade. There were sporadic releases in the ensuing decades but, after a protracted silence, she re-emerged looking as glamorous as ever. “Even with the passing of time, I’m still proud of my catalogue,” says Annie. “I had great lyricists such as Gilles Thibaut and Jacques Revaux, and arrangers like Paul Mauriat, Jean-Claude Vannier and Christian Gaubert. Back in those days budgets were not a problem. I even had Bashung, who composed ‘Une Petite Croix’ with me in mind. I think a really nice and overlooked song in my repertoire is ‘Bonjour, Bonsoir Et Au Revoir’, composed by Le Système Crapoutchik, a Beatles-influenced act who were Jacques Dutronc’s band. I even had the great drummer Daniel Ceccarelli working with me.”

[engl] The Art Of Lovin's one and only album, originally on the legendary US label MAINSTREAM in 1968. An album full of interesting and imaginative female fronted psychedelic folk rock, for fans of Jefferson Airplane, Fort Mudge Memorial Dump, Yankee Dollar, etc.

[engl] Complete recordings, 1963–69, by this legendary band from Glasgow. Fabulous mod–beat, wild R&B and pop–psych, including all their 45 sides for Decca and CBS plus early demos. Formed in Glasgow in 1962 during the early beat boom by Alan Mair and Eddie Campbell, their line–up also included Davie Lennox, Tudge’ Williamson (replaced by Jeff Allen) and Ronnie Smith. Playing an authentic brand of rhythm ’n’ blues and soul covers, they soon took the city by storm and were famous for their riotous shows, attracting hordes of screaming girls and young fans. No wonder they were dubbed "the Scottish Beatles" by the press. Between 1965 and 1969, The Beatstalkers would go on to release a total of seven singles. All these sides are featured here. Including mod / freakbeat classics like ’Base Line’, "’Ev’rybody’s Talkin’ ’Bout My Baby’, ’You’d Better Get A Better Hold On’, plus several tracks penned by a young David Bowie ("Silver Tree Top School For Boys", "Everything Is You", "When I’m Five"), a killer psych cover of The Action’s "Little Boy" and more. The Beatstalkers were a strong live attraction in the clubs and ballrooms around Great Britain (they also held a residence at the Marquee) and were highly praised by their contemporaries, including The Who, with whom they shared a ’Ready Steady Go’ television appearance. David Bowie was also among their crowd and through mutual manager Ken Pitt, he ended up writing three songs for them. He also played guitar and sang backing vocals on some of the recording sessions. Some of the Beatstalkers 7" were also released in the US, Australia and France (where an EP housed in a cool picture sleeve was issued). The band also toured Germany many times. In 1969, after their van was stolen with all their equipment, The Beatstalkers broke up. Eddie Campbell was later in Tear Gas and Jeff Allen went on to play for Dr. K’s Blues Band and then East Of Eden. Alan Mair was a co–founder of The Only Ones (of ’Another girl Another planet’ fame). The band reunited for a show in Glasgow in 2005 and later in 2018 a book about the band was published.

[engl] Heavy California Garage Psychedelic!!!!!! Band Story! Unseen Pictures! Faithfully Remastered by Miguel Rodriguez for Superior Sound!!! REMEMBER..this is a FIRST PRESSING..not a Re-Issue!!! Get this soon to be legendary Lp before it is sold out!!!! First time release of an full lp worth of material by this legendary group!!!! Bedpost Oracle started in 1967 in Southern California and released their first 45 “The Break Of Dawn / Love Isn't Dead” as a quartet with lead guitar, bass guitar, drums and keyboards on Corby in 1969. In the summer of 1970 the band added a female lead singer to add dynamics to the band's overall sound. This line-up would become the better known Bedpost sound. They continued on playing cover versions of songs groups such as Cream, Jimi Hendrix and Grand Funk Railroad had popularized. Two more 45s were released including “Somebody To Love / Chest Fever”. Their 45s are on side A. On side B a mind blowing Jimi Hendrix Jam from 1972 is included, where the band is at its peak.

[engl] The Bitter Seeds were one of the pioneering bands from the early Monterey music scene. Leaded by flashing guitar player Leonard ''Pooch'' Paschini, they were active from 1966 to 1970, gigging regularly at such legendary venues as Bull's Eye Tavern, Longshoreman's Hall, Matrix, Fillmore, etc, sharing stage with famous bands like Grateful Dead, Jefferson Airplane, Iron Butterfly or Steppenwolf. In 1967, The Bitter Seeds recorded their only 45, issued under The Rock Shop name, as they wanted to avoid confusion with The Seeds. ''State of your mind'' b/w ''Is that your halo'' was released on the Rowena label and it's a brutal garage- psych double sider. The following year the group recorded four studio tracks which have remained unreleased until now. These are perfect examples of the transition from R&B- garage to early psychedelic sounds which many San Francisco ballroom bands experienced at the time. An exciting find for any lover of lost West Coast psychedelic sounds. For this Bitter Seeds / Rock Shop retrospective, we've also unearthed some wild live recordings from 1966 with good sound quality. And amazing document which had been buried until now.

[engl] Reissue of legendary and classic, one and only, 1968 album by US Psychedelic Rock band! The Bohemian Vendetta are also known for playing as backing group for Faine Jade on their '68 album "Introspection". This is one of the best acid-punk LPs ever! Excellent Vox organ/fuzz teen garage psych and the covers are pretty fantastic as well. The cough syrup high school play vibe of 'Deaf, Dumb & Blind' must be heard to be believed. Easily one of the best on the label with lots of classy psych-punk originals and a truly unique vibe all through it.

[engl] In glorious MONO as nature intended. First time ever reissue of this absolutely savage 1965 UK MAXIMUM R&B/FREAKBEAT stomper. We love THE SORROWS, but we’ve always preferred The Boys Blue original versions. Although The Boys Blue were the first group to record Miki Dallon’s “You Got What I Want” and “Take a Heart”, with both tracks soon after covered by The Sorrows. The Boys Blue had no connection to The Sorrows, other than sharing the same producer, as has sometimes been suggested. Coventry lads, The Boys Blue, were formed in 1964 by vocalist Jeff Elroy. Bass player Tony Hart knew a guitarist, Michael Holloway who knew a drummer, Paul Colletto with this quartet becoming The Boys Blue. Singer Jeff Elroy was friends with budding songwriter Miki Dallon, resulting in the group recording two of his compositions for their lone single with Miki also producing the two tracks. The Boys Blue backed Miki Dallon during his own vocal sessions on at least six occasions. The Boys Blue also appeared on Thank Your Lucky Stars in June 1965 with The Rolling Stones, The Kinks and Lulu. A scheduled tour in 1965 with Chuck Berry with The Boys Blue as a support act was cancelled at the last minute, resulting in their having to give back all the new equipment they had just received. The group disbanded soon after in 1966. Producer Miki Dallon has also worked with some of our faves like The New York Dolls, Don Fardon, Elias Hulk, Shakane and Bilbo Baggins among others.

[engl] Previously unreleased recordings by Peanut Butter Conspiracy’s mainman Alan Lee Brackett, mostly written and recorded in 1967, when PBC were at their fame peak. Here, Alan explores a number of different styles, encompassing fuzzed out garage numbers, sunshine pop, folk rock and full blown psychedelia. Including ahead of its time garage–psychedelic DIY homemade recordings on which Alan plays all instruments by himself plus pro–sounding studio cuts. Featuring collaborations with songwriter Knox Henderson of Mouse and the Traps fame.

[engl] In 1969, Los Brincos, probably the most famous Spanish ‘60s pop band - often dubbed “the Spanish Beatles” – added a new member to their line-up: Colombian born Oscar Lasprilla, an accomplished keyboard / guitar player who had previously been part of pioneering Colombian psych bands Time Machine and the Speakers. Influenced by psychedelia, prog-rock and underground sounds, Los Brincos (now simply named ‘Brincos’), led by drummer / main songwriter Fernando Arbex, decided that their new album would be a conceptual work - something never seen in Spain until then - similar to what other international bands like Beatles, Who, Moody Blues or Pretty Things were doing. The concept behind the album was supposedly to be based on the three enemies of the soul: the world, the flesh and the devil, hence the final title: “World Devil Body”. This ambitious work was recorded by the new Brincos line-up - with famous Spanish musician Augusto Algueró as arranger - at the same place where King Crimson recorded their legendary debut, Wessex Studios in London, using the same sound engineer, Robin Thompson. The recording sessions were intensive and highly productive, with the band giving plenty of room to improvisation. Some songs were sung in Spanish, some in English, being the central piece an outstanding 12 minute long conceptual psych suite, sung in English and titled “Mundo Demonio y Carne” (“World Devil & Body”), comprised of four parts and written by Fernando Arbex and Oscar Lasprilla. There was nothing similar in Spain at that time and this track stands today as one of the earliest, if not the first, progressive pieces ever recorded by a Spanish band. Regarding the other tracks, we find many surprises: a long eastern sounding instrumental (“Kama-Sutra”); the eerie “Esa Mujer”, with a hair-rising orchestral arrangement by Algueró, featuring members of the London Symphony Orchestra; British influenced psych-pop “Jenny La Genio”, “Promises and Dreams” or “Butterfly” (which featured vocals sung through a megaphone!); hard-psych with plenty of guitar and Hammond (“Emancipation”, “Misery & Pain”)… The album was originally intended to be housed in a gatefold cover with artwork by hyperrealist painter Claudio Bravo, showing the five members of the band naked from their waists up. It was instantly rejected by the label. Also, the heads of the label showed little interest in this project, as they didn’t understand it at all, putting many objections to the proposed tracklist / release ideas. In the end, the release received zero promotion. Finally, the album, housed in a new cover by another painter depicting a bizarre viscous brain, was released in 1970 in two different versions: one in Spanish (Mundo Demonio Carne) and another in English (World Devil Body). They featured different tracklists / songs but both versions included the English sung “World Devil Body” suite. Fernando Arbex had the US market in mind for the English version but in the end that version was released only in Spain, Germany and, oddly enough, Japan. The album was received with mixing reviews… it was too ‘progressive’ for most of the Brincos fans and the few progressive music fans in Spain didn’t even bother to listen to it, as they still thought of Brincos as a pop band. Soon after, the band, tired and exhausted, disbanded after giving an amazing concert at a famous progressive music festival in Barcelona, sharing stage with new Spanish underground bands like Máquina! and Smash. During the years, both the Spanish/English versions of the album have been reissued many times. Then, in 1997, Fernando Arbex released (only on CD) what he understood was the definitive English version, featuring the nude Claudio Bravo cover for the first time and a new, different tracklist that, according to him, was the one he originally intended to release in 1970 but couldn’t do it due to frictions with the record company. The result is an English sung album with a strong late ‘60s British psychedelic flavour, including one of the best tracks Brincos ever recorded, “If I Were You” (which inexplicably was not included in the original release at the time) and a different mix of the “World Devil Body” suite. To coincide with the 50th Anniversary of World Devil Body / Mundo Demonio Carne, we’re proud to present a deluxe double vinyl LP reissue featuring, for the first time on vinyl, the nude gatefold cover design and the alternate English version, as Fernando Arbex originally intended. Disc 2 features the Spanish version as originally released in 1970.

[engl] You heard him first on WIZZZ Vol. 2 with the explosive “Maintenant je suis un voyou (Now I’m a hoodlum).” Here he is again, with his full EP never released before. But, let’s go back in time… In early 1967, Bruno was attending medical school in Paris. Driving back to the university with a friend, Bruno sang along nonchalantly with the songs on the radio. His friend was surprised to discover his lovely voice and encouraged him to audition for a group composed of friends from the university who were looking for a singer. Bruno was not selected for the group, but became friends with one of its members, Emmanuel Pairault. Emmanuel had been studying economics, but decided to enter the music conservatory instead, to learn the drums and the use of the illustrious “ondes Martenot,” a primitive electronic musical instrument. He composed a few solo numbers, remarkable for their use of that instrument. Looking for someone to write lyrics to go with his instrumental tracks, he asked Bruno to try a few. Bruno and Emmanuel thereby put together a small repertoire, with no ambition other than to have fun. Although the details are now forgotten, they worked hard to bring their song to the attention of Nicole Croisille (a singer and actress), who suggested sending the demo to her friend Norbert Saada, who headed a label called La Compagnie. This unprecedented use of the ondes Martenot in a pop song attracted Saada, who offered to make a record. Emmanuel quickly assembled a small team to make the recording. The sessions took place at Dominique Blanc Francart’s studio on rue de la Gaîté in Paris, with Bernard Lubat on percussion, François Rabath on stand-up bass, Jimenez and Jean-Pierre Dariscuren playing guitar, Emmanuel Pairault and Sylvain Gaudelette on the ondes Martenot, not to mention Bruno on vocals. Four tracks were recorded for the EP: “Maintenant je suis un voyou,” “Eve,” “Hallucinations” and “Galaxie.” With the sessions completed, Bruno left for his obligatory military service and thus lost control over things. Saada pressed a promotional 45 in an attempt to find a licensing deal in Canada, to no avail. A real collector’s item, this 45 includes “Maintenant je suis un voyou” and “Galaxie.” Back from his military service, Bruno learned that Saada had gone out of business and sold his catalog, putting an end to any hope of issuing the EP (1969). “Eve” has never before appeared on a record.

[engl] Their 1969 album ?Trip thru hell? is one of the holy grails of late 60s heavy psych rock and certainly deserves to be rated this way by fans and collectors of that heavy rocking sounds. Due to the internet it easily made its way to the minds of a whole new generation of fans already. What awaits you here got recorded live, two years later than their cult debut. The record starts with a unusual BEATLES cover ?And your bird can sing?, originally from ?Revolver? in 1966. You do not even realize it is the said song until you hear a familiar passage. The C.A. Quintet turned it into a groovy, smoking hot organ driven power rocker with a melodic edge. With the second covertune ?Badge? originally performed by CREAM they stay closer to the original but play it with an increased powerlevel . Next ?Bayou jam?, a lengthy heavy rock song with psychedelic organ sounds that remind of IRON BUTTERFLY. If you cross them with BLUE CHEER in their prime you will get an idea. There is even a killer drum solo section in the middle of the song. Who said ?In a gada da vida?? Well, you definitely get to know where they got their inspiration from. ?4 am NYC? is another mid paced stomping heavy groover with a wickedly pounding approach and simmering guitars while the organs roar as a back up to the furiously distorted guitar. The vocals on the other hand have this light weight west coast flower power pop appeal and both directions sound fresh and exciting in the mix. ?Wild child? comes as a sleazy acid blues rocker and takes you a few years back. Despite the nice organ it is obviously that they loved bands like CREAM, JIMI HENDRIX EXPERIENCE and MOUNTAIN. ?Country boy? has a southern rock flavor and sticks out as I think but is also a well written power rock tune with some psychedelic elements. The colorful jammy middle section and the hard driving bass and guitar interplay make this a kick ass anthem for its time. And last but not least we have ?Fresh garbage jam?. More than ten minutes in length this is heavy and fuzzed out psychedelic jam rock at best with furious guitars and a relaxed atmosphere. Makes me see a whole crowd of hippies in colorful garments dancing themselves into a state of trance - funnily that's quite contrary to what happened in reality. you can read more about that in the linernotes on the backsleeve. The sound is great, as clear as it can be, powerful and vivid, better than some of the studio recordings back then. What more do you want? If you love the underground side of US hardrock like JOSEFUS, FRESH BLUEBERRY PANCAKE, STONEWALL, etc. then this is the thing for you!

[engl] First EP from The Capellas, the sensational new Soul and R&B band, born to thrill you and make you shake your hips. All tracks recorded at North Down Sound Studio in Kent, you will find here 4 brilliant new songs and a fine cover of Paul Kelly "Chills And Fever" (bonus track only available as digital download). The line -up is Elsa Whittaker (Jack Cades, Missing Souls, Vocals), Mike Whittaker (Baron Four, Vicars, Paper Lips, Guitars), Mole (Embrooks, Mystreated, Baron Four, Groovy Uncle, Stewed and others, Bass) and Yan (drums).

[engl] Galveston’s premier Psychedelic/Garage band! Here’s a compilation (1967–68) featuring a selection of their 45 sides for Toucan and Cobblestone (including the mod–psych classics "Uncle Kirby" and "Shaka Shaka Na Na") plus some amazing studio tracks which were never released at the time. Fab Beatlesque / Anglophile psych with great vocal harmonies, jangly and fuzzy guitars, organ... Formed in Galveston in the mid–60s, the Countdown 5 were one of the leading psychedelic / garage bands from Texas. From sharing stage with legendary Houston groups like Moving Sidewalks, the Clique and 13th Floor Elevators and opening for big names like Paul Revere & The Raiders, they went to running their own label (Toucan) and were also part owners of the renowned Walter Andrus Studio, home to bands like the Elevators and Fever Tree. "Uncle Kirby" is focused on the psychedelic period of the band (1967–68), including their most psych sounding 45 sides (in original mono mixes) plus unreleased tracks recorded at Andrus Studios which had never been released on vinyl until now.

[engl] Third 45 by this band from Spanish Wind City Saragossa, first on mighty garage label Wild Cave, to confirm they're definitely a band to keep an eye on if you dig garage-rock. Their music oozes love for classic 60's garage bands with that extra dark moodiness of 80's garage revival that will make you remember your fave fuzz bands from the past. But that's not all! The Crawlies also got that not-so-common delicacy when crafting bittersweet melodies for mid-tempo songs that brings to mind names such as Cynics or Miracle Workers; they show versatility delivering r&b-punk kics ala Crimson Shadows and prove they got what it takes to record topnotch garage-powerpop numbers ala Stems or Sick Rose. This new ep – wisely produced by legend Mike Mariconda – is a sounding proof of all this, more powerful and tighter than ever before. Do you miss early Dr Explosion or Hollywood Sinners? Now you don't have to, The Crawlies are here!.

[engl] Previously unreleased DIY homemade psychedelia, teenbeat and fuzz-psych/prog by this amazing Swedish band, 1965-1971!! Tracks like “Third Image” or “Look at the stars” are an incredible find for anyone into US garage-psych (they wouldn’t sound out of place on any Pebbles or Psychedelic Unknowns volume!) and others like “Flicka”, “Stolta Vingar” or “Mittuppslag” are top notch ‘70s fuzzed out Scandinavian psych/prog. We can’t believe that such fabulous stuff has remained hidden in a carboard box until now. Formed in the industrial town of Norrköping in the mid ‘60s, Cymbeline (also known as Motala Ström and W&J) only released a 45 in 1971 before breaking up. But during their existence, the band recorded a lot of stuff, included here for the first time along with their rare 45. Cymbeline was basically two guys, Michael Journath and Anders Weyde, who met in 1965 while they both played in beat bands. They started recording songs at Anders little home studio with help with some friends and that’s how songs like “Imagination” and “Look at the stars”, amazing examples of homemade teen-beat, were born. At the same time, Michael and Anders were feeling a bit tired of playing cover versions with their beat bands so decided to start recording more experimental stuff, using armchairs and furniture as percussion, sounds from seagulls and birds, an electric cocktail mixer, improvising lyrics…these incredible experiments were recorded as “Images”, including the killer garage-psych sounding “Third Image”. As the years passed by, the home studio improved and new songs were recorded in a more psych-prog vein, some of them included here. They also played a few live gigs with some help from other local musicians. In 1970, Ulf Ryberg joined the group and soon after a 45 was released containing his song “New York”. The flip side was “Sixth Image”, originally one of the “Images” but rearranged and re-recorded. In 1971, demos for an LP where recorded at Europafilm Studios in Stockholm. Two fantastic songs are included here and the sound is different from the earlier recordings – closer to the groups live performances. So, 40 years later, here’s the LP that Cymbeline always dreamed of.

[engl] First ever vinyl reissue of this elusive US private pressing from 1971, originally released on the legendary RPC custom label. Intense & crude garage–psych with echoing vocals, loud distorted guitar, fuzz bass and organ. Three killer band originals plus some insane cover versions (Steppenwolf, Neil Young...) with a basement sound not unlike Mystic Siva!