[engl] Here we go with some awesome underground live material from one of the most important psychedelic rock pioneers in history of mankind. JEFFERSON AIRPLANE, ladies and gentlemen, in a very early incarnation when Skip Spence and Signe Anderson had just made way for the goddess of psyche Grace Slick on vocals and Spencer Dryden on drums to form what should become the classic line up leading this band to their huge success. Four of nine songs also appear from their cult album ?Surrealistic pillow? released in 1967, two more have appeared as part of ?Jefferson Airplane takes off? in 1966. There are later live versions of ?Fat angel? and ?Other side of life? on the 1969 live album ?Bless it's pointed little head? but these are the earlier, more rough edged and insane psyche out recordings of both beautiful pieces. Well, you get JEFFERSON AIRPLANE on this record, bare naked and honest to the bone. Just as they had been when they plugged in and played. The sound is amazing, raw and wild but clean and powerful enough to give every instrument and voice enough room to unfold. Technically not overwhelming but with a feeling of passion and dedication that only a true live recording can capture. And from every note that is played here you can feel the breath of the era where the cold war nearly turned into a very hot one and the world stood on the edge of a nuclear war while down in Vietnam ... well you all know the story. It was a time when the people freed themselves from the frowst of the past and lived a self destined life. This recording is an eye witness on historical developments. But however you behold it, it's awesome music by awesome people. This is indeed a little masterpiece and will please any fans of late 60s psychedelic sounds, die hard JEFFERSON AIRPLANE freaks and whoever cares for the best ever period in music. A must have!

[engl] A West Coast classic back on vinyl at last! Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream. The oddly–named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values and the brilliance of its song craft, with a full playlist of compelling material like ’Electric Sailor, ’ ’Lemonaide Kid’ and ’Trieulogy.’ Kak can stand nobly alongside records like Surrealistic Pillow, Electric Music For The Mind And Body, Sailor or the first Moby Grape album, as one of the most satisfying listens of the late 1960s SF rock renaissance. This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe–Dave Damrell and Chris Lockheed.

[engl] The absolute cornerstone of Acid Folk and Psychedelic Folk, 1970s Perry Leopold masterpiece remains today still as the one to compare with when new psych folk vintage records are discovered. Still no one beats him, and they will probably never do. 180g vinyl, repro of a 1973 promotional flyer, and an insert with linernotes by Patrick Lundborg, newly remastered sound. First ever official vinyl reissue.

[engl] PLUS 4 BONUS TRACKS! Les Baxter (1922-1996) used to be an utterly talented composer and bandleader who was on the go to the max during his active years. His version and as I should say vision of jazz music was a contemporary fresh and colorful sound with an exotic vibe due to the use of many elements of latin music within a modernized big band sound. We speak of the exotica and space age era when jazz music became more than just a few musicians on stage in a back street pub sweating their life out while improvising. He draws inspiration from the various swing orchestras of the late 1920s and combines this lush big band approach with a hot south american groove that shows an affinity for Cuban club music, for mambo and salsa. With rhythmical effects and a few wordless female vocal passages added he builds this haunting jungle atmosphere on top while leaving out the too obvious animal voices. The latin jazz and swing elements harmonize fairly well with each other and the melodies Les Baxter and his orchestra create drag you into a different world. You can dance to this or just close your eyes and float upon this gentle river of sound. The tunes are all built and arranged like a movie score which is no wonder as Les Baxter has been a soundtrack composer ever since. What makes this record so special are the pictures that come to ones mind with the always changing soundscapes it features. It is by far not only an evergreen jungle forest with big cats, apes and savage men hunting for white goddesses but also an urban jungle with grey skyscrapers growing beside the dirty streets, a bridge between the exotic dreams of each young American in the 1950s and the often gloomy reality in the big cities. But it is always a joyful experience. The album gets performed by an orchestra of extraordinary talent with an exceptionally tight interplay and still sounds fresh and powerful after nearly 60 years. A reissue is welcome to drag it back into the light of attention as many younger jazz fanatics might have overlooked this gem due to whatever circumstances. This new edition makes sure ?Jungle jazz? survives and infects a whole new generation of swing kids.

[engl] Screaming psychedelic garage from L.A. with fuzzed out guitars, Vox organ, killer vocals, early Oriental vibes...Recorded in 1967-68 but not widely released until 1972. File next to Music Emporium, Tiffany Shade, Seeds, Rebecca & The Sunnybrook Farmers … Formed in California in 1967, Lite Storm was the first incarnation of spiritual seekers Johnima & Kalassu Wintergate (later on Lightstorm, One…). A pioneering psychedelic band, Lite Storm played at all the hip Sunset Strip clubs, were friends with Kali Bahlu and travelled to the Orient and Far East, touring in Vietnam in 1970. “Warning” was recorded at a four-track studio in 1967-68, first released as a custom tiny pressing before being licensed to the Beverly Hills label for a proper release. This is the first ever vinyl reissue.

[engl] Little Big Horn evolved from Luton–based pop–psych band Wild Silk. As occurred with many British bands from the 60s, they adopted different musical influences as the decade progressed and "underground" was the thing to be, so by the late 60s, Little Big Horn incorporated West Coast, Americana and hard–rock elements to their powerful sound. Their sole album was released only in Germany in 1971 as part of a deal between Shel Talmy Productions and the Bellaphon label (along with other obscure acts like Sunday and Diabolus) and it’s an interesting mix of rootsy Americana and heavy rock. Here’s the first ever legit vinyl reissue, expanded to a double LP set with the addition of the killer 45 B–side "Just A Game" and excellent unissued material from the time. Transferred from original master tapes. Gatefold sleeve plus insert with rare photos and detailed liner notes by Alec Palao.

[engl] In 1969, Locksley Hall, a psychedelic band from Washington, recorded a full album at Audio Recorders in Seattle produced by Sonics Engineer Kearney Barton and long time Northwest guitarist Ned Neltner (Mark Five, Gas Company…). Never released at the time, this is a great example of West Coast styled psychedelia / acid-rock, featuring female vocals, prominent organ, hard guitar, excellent songs…

[engl] It’s now three years that the Madcaps have been roaming France and its neighboring lands with their pearly, Italian guitars and their champagne old drums. With 150 shows under their belts, they managed to save up enough to head back to Kerwax recording studio, analog Mecca of Western France. While there they churned out their third album, Slow Down, recorded live with all four Madcaps together in the same room, all in an effort to capture on wax the energy from six months of touring that shaped this album. If the first two albums were more the brainchild of lead singer Thomas, Slow Down evens things out with Bastien and newcomer Wenceslas asserting themselves as both singers and songwriters. Despite personnel changes and new musical directions, the Madcaps have never sounded more unified. They continue to gouge out their own particular rock and roll groove while leaving behind the adolescent garage of their beginnings. The pop melodies are still there, but the songs are more stripped down and spacious, leaving room for horns, piano, organs, congas and acoustic guitars, hitting by turn shades of rhythm and blues, soul, country western, and even calypso.

[engl] 1968, garage rock, psychedelic sounds, mind expanding substances and wicked colorful fantastic movies pointing at a probably strange future or dealing with the then current dissatisfying political and social situation or with the abuse of drugs were the hottest topics of the time. The Vietnam War had reached a preliminary peak in its progress, the atmosphere was full of either love or fury. A great time to create a movie about a future society of young people taking over the reign in the USA and the first step on their path to success was a rockband, MAX FROST AND THE TROOPERS. Not much is known about the musicians who either participated on the soundtrack of the movie or on this sole album by MAX FROST AND THE TROOPERS. The band name TROOPERS is based on the term "troops," the designation Frost was used in the film to refer to his friends and followers. What we get to hear on the new reissue of “Shape of things to come” at hand is both: the entire studio work of MAX FROST AND THE TROOPERS plus the entire soundtrack album for the “Wild in the streets” movie and it is getting enormously colored and from time to time quite bizarre. The musical range goes from fuzzed out garage beat via soulful high energy rock numbers to a small quantity of acid freak outs. The compositions show a straight and accessible structure with a decent dance groove as it was usual in the contemporary pop music of the day. Some tinges of psychedelia like howling fuzz guitars, darker harmonies and swirling sitar lines were added for the good measure. All 19 songs here prove to be memorable pieces of late 1960s acid pop and despite the movie related revolutionary and political statements in the lyrics all tunes drive you into a state of sheer bliss when spinning the record. So if you are a fan of late 1960s acid pop and garage psyche in the vein of THE THIRD BARDO, THE SEEDS, THE STRAWBERRY ALARM CLOCK and THE MUSIC MACHINE, look no further ‘cause you’ve found the holy grail!

[engl] MIND GARAGE are one of those dozens of bands from the commercial bottom section of the psychedelic rock genre in the late 60s, rather unknown to the record buying audience due to the fact they came from the Christian music scene, similar to THE SEARCH PARTY with their “Montgomery chapel” album. Just a bit more professional in the sense that these guys here are real musicians with the aim to play music and not a bunch of talented people from a Christian community that puts the word of the lord into a garment of flashing and swirling acid rock. MIND GARAGE also were different to the more trippy female fronted project mentioned above. Their music was built on blues drenched yet utterly dirty and fuzzed out guitar lines, some captivating organ carpets, naughty, angry vocals and a rather possessed kind of power drumming that gave the music an irresistibly sexy groove in case they did not slow down for a mind melting trip into the colored depths of LSD based insanity. And they did all of this in the name of the lord. The sound is rough and you can hear that the band recorded each of them in one take with no overdubs but this proves how gifted with talent these guys were and how much love and effort they put into their music. And for sure the raw production makes the music feel even more gruff and honest. Beautiful garage psyche, as the band name already implicates, made for all fans of bands like THE THIRD BARDO, FRACTION, THE SEEDS, THE HEAD SHOP, HP LOVECRAFT, THE DOORS. So roll a blunt in praise of the lord and let the world feel the greatness of the holy smoke while enjoying this lovely ‘Freak-Out Rock’.

[engl] With one foot in the harmony beat-pop of the Hollies and other in the early psychedelic pop experimentation of Revolver era Beatles and Syd Barrett’s Pink Floyd, The Mirage left behind a string of 45s and unreleased studio recordings, a selection of which is presented here for the first time on LP. Featuring UK psych classics like “The Wedding Of Ramona Blair”, “Hold On”, “Ebanazeer Beaver”, “Mrs Busby” and many more! *Includes four-page insert with rare photos / memorabilia and detailed liner notes by Stefan Granados The Mirage were a quintet from Hertfordshire, England, formed in 1965. Fuelled by two gifted songwriters (Ray Glynn & David Hynes), they were soon recruited by Dick James (music publisher of the Beatles and the Hollies) as session musicians. Allan Clarke and Graham Nash from the Hollies were so impressed with them, that they took them under their wings, helping them to get a deal with CBS. Between 1965 and 1968, the Mirage released and self-produced seven singles for different labels (CBS, Phillips, Page One…), including titles like “The Wedding of Ramona Blair” (pure psych-pop perfection, included on Rubble in the 80s), “Hold On” (a mod-psych classic), “Tomorrow Never Knows” (a surprising cover released at the same time as Revolver, thanks to their Dick James connection), “You Can’t Be Serious” and more. But they also recorded lot of stuff that never saw the light of day at the time. These unissued songs run the gamut from magical Hollies inspired harmony pop (“Gone To Your Head”, “What Do I Care”, “I Want Love”…) to pure psychedelic pop, highly influenced by early Pink Floyd and Revolver era Beatles: “Lazy Man”, “Ebaneezer Beaver”, “Mrs Busby”…some of these tracks were included in the 90s on famous bootlegs like “Artifacts From The Psychedelic Dungeon” but now it’s the first time they’re all collected on a legit vinyl compilation, making “You Can’t Be Serious: 1966-1968”, the missing album The Mirage could have released at the time and a must for any UK psych aficionado. It comes with detailed notes by Stefan Granados (author of The Beatles and Apple Records: Those Were The Days 2.0 book, telling the interesting Mirage story, including their connections to Dick James, the Hollies, Spencer Davis Group, Caleb (of “Baby, Your Phrasing Is Bad” fame), Plastic Penny, Portebello Explosion…

[engl] Influenced by bands like Pink Floyd (Piper at the Gates of Dawn in particular), King Crimson, early Yardbirds, the Byrds, the Beatles and various blues & psychedelic abands and artists from the '60's, the Moffs, a Sydney band, were around from 1983 to 1989 and they released a whole lot of vinyl on the Citadel label. Their shows were wonderfully laid back - you could easily sit on the floor with your eyes closed and just groove along to their music, or you could take a whole lot of illicit substances and REALLY get into it. They were surreal, atmospheric and groovy; think of jangly guitars, bass guitar octave runs, Farfisa organs and the occasional bells and chimes.

[engl] Although “Morgen” has often been called the greatest psychedelic album few people have actually heard, the level of its visibility has rapidly been rising these past several years. Thanks to the miracle of the internet, word has spread about the disc and now that a high quality reissue is available, more folks obviously have the opportunity to own a copy of the rare artifact. Initially released on the Probe label in late 1969, the album was recorded by a New York band named after their lead singer, Steve Morgen, while lead guitarist Murray Shiffrin, rhythm guitarist Barry Stock, bassist Bobby Rizzo and drummer Mike Ratti cemented the group. Shaking with raw and sexual energy, “Morgen” carries the kind of urgency and excitement executed by bands like Love, the Doors and the Rolling Stones. Composed of all original material, the songs, which are dipped in acid-riddled acrylics and animated lyrics, really pull the listener in. Snarling with conviction and purpose, the vocals are utterly intense, where the guitar playing, sizzling with killer diller dynamics, exposes an allegiance to Jimi Hendrix. The whole band is amazingly fantastic, as they lock everything together with sweat dripping from their knitted brows and thunder and lightening crackling from their instruments. The first track on the disc, “Welcome To The Void,” with its seductively dark temper and shivery equations, sets the motion for the remainder of the songs. Huddles of hard driving rhythms, supported by drifts of imaginative breaks, powerful drumming and melodies are staples throughout. Moody but tough, “Morgen” has a lot going on, making it the type of record you can spin over and over and over again and still experience new sensations. A shot of flashy jazz riffs adorn the haunting grip of “Love” and “She’s The Nightime” tosses a catchy pop feel into the system. Stirring with life and spontaneous inspiration, “Of Dreams,” “Beggin’ Your Pardon (Miss Joan),” “Purple” and “Eternity In Between” are ideal illustrations of genuine psychedelic rock. Positively paralyzing, “Morgen” is one of my very favorite albums, and it should be yours too! Review made by Beverly Paterson/2013

[engl] UK underground hippie acid- folk from 1970, originally released as a micro- pressing of less than 30 copies on the collectable Deroy custom label. Mellow atmosphere with acoustic guitars, flute, bongos, bass and refreshing, sincere vocals. A few self- penned tracks plus some amazing & haunting covers of people like Incredible String Band, David Ackles, Dylan, Tim Buckley, Bert Jansch Rated with the maximum rarity on Hans Pokora's ''3001 Record Collecting Dreams''. Remastered sound, insert with liner notes and photos. New cover design (the original album came in a plain white sleeve).

[engl] Munehiro Narita, the original ?psychedelic speed freak?, is for many people the undisputed king of acid- fuzz guitar. In active since the late 70s, Narita is a Japanese psychedelic underground legend. After playing in cult bands like Kyoaku no Intention, he founded the brutal heavy- psych power trio High Rise in the 80s. His furious guitar playing, which involves lethal doses of fuzz- wah at ear- splitting volume, can also be heard on his current band Green Flames (featuring Mitsuru Tabata from Acid Mothers Temple). In 2014 Narita released a Japanese only CD titled ?Psyche De Loid?, doing heavy guitar fuzzed- out covers of classic psych songs from the 60s/70s. But ?Psyche De Loid? was also the first ever psychedelic album recorded using the Vocaloid technology. Very popular in Japan, Vocaloid is a software / singing synthesizer: you enter the lyrics of a song into the program, add music, and then you can have one of the Vocaloids ? or ?Vocal Androids?, mostly female - sing for you in a bizarre ?android? type vocals. ?Vocaloid? is often associated with J- Pop but on ?Psyche De Loid? Narita smash this ?genre? into a wall with the contrast of killer, Ron Asheton- alike piercing fuzz- wah guitar and child- like ?android? vocals, featuring surreal covers of tracks by Stooges, Hendrix, Blue Cheer, Shocking Blue, Pink Floyd, MC5, Jefferson Airplane?. Previously available as a Japanese only CD, here?s the first ever vinyl edition with new artwork.

[engl] his album had many names when it first appeared in Hawaii in the early 60's: "Let´s Have A Luau", "Castaway", "Pieces Of Eight", "Ports O' Call" and "The Reef Is Calling". This makes this rarity even a much more collectable item among lovers of South Sea enchantment, skippers and Tiki-Cocktail sippers. The songs tell you stories of brokenhearted sailors, beautiful Hula girls, palm beaches and anything a good tiki record needs. Although it's highly demanded among Exotica lovers, "Let's Have A Luau" simply mixes narrative vocals, steelguitar and vocal harmony group backingsound. Don't miss this historic gem!

[engl] Classic US ’68 psychedelic/sunshine/baroque pop with great studio production, inventive arrangements, nice vocal harmonies, harpsichord, occasional fuzz guitar...including their superb rendition of the soft–pop anthem "Trust" by Roger Nichols plus "Beautiful Sun", "Reflections", "Fatal Fallacy"... Insert with detailed liner notes and photos / memorabilia. The Peppermint Trolley Company was an exciting and unique 60s band from California that recorded several singles and an LP, The Peppermint Trolley Company, which has become a cult classic among psych–pop fans. The band members hailed from Redlands, California, and were: Danny Faragher, Jimmy Faragher, Greg Tornquist, Casey Cunningham, and, for a time, Patrick McClure. Influenced by bands like Beach Boys, Left Banke, psych–era Beatles & Stones as well as the heavier psychedelic sounds of the Doors or Jefferson Airplane, their music was an exciting mix of baroque–rock, sunshine pop and psychedelia, featuring delicate vocals harmonies and deep lyrics. Released in September of 1968, their self–titled album offers gentle folk rock ("I’ve Got To Be Going"); psych rock ("Beautiful Sun"); baroque pop ("Pat’s Song", "Reflections") and more surprises, closing with their multiple–movement masterpiece, the anti–war "Fatal Fallacy". Despite the good reviews and the album’s obvious merits, it never entered the charts but did sell well in many markets. Here’s the first ever official vinyl reissue.

[engl] Bloody Turkey Sandwiches'''' is another ultra- rarity by British psychedelic folk band Pig Rider: only six copies were originally privately pressed by custom label Deroy in 1974. The music here is much in the same vein as their famous ''''Heterophonies'''' album but even more crazed. Some of the tracks bring to mind the more experimental side of Olivia Tremor Control / Black Swan Network or even They Might Be giants ?but only 20 years before those bands existed! Electric acid folk with stoned homemade atmosphere, lo- fi sound, bizarre & funny lyrics, effects, backward bits, surreal humour, psychedelic skiffle and old- timey music hall parodies, brilliant folk- rock- pop and titles like ''''Interdrive Overstella'''', ''''Be Glad For The Song Has An Ending'''', ''''Pus In Our Time'''' and ''''Have you seen your neighbour in the bath''''. Recommended if you like: Incredible String Band, Bonzo Dog Band, Syd Barrett, R. Stevie Moore?

[engl] Although nearly 60 people have played in Pig Rider or its various offshoots over the years, there have only been two ever- present members, Colin Kitchener and John Mayes, who founded the band at Sevenoaks School in Kent, England in the late 60s. They met when they were 12, and not long after began haunting the music rooms at the school to hammer out current three- chord pop songs on pianos. After a number of other names (including D Jabferg Flossyakkit and Bob Scratch and his Country and South Eastern Spring Blues Band) they settled on 'The Pig Rider Robinson Heterophony' to perform under. After an attempt to build a seven- foot robot bassist called Peregrine Robinson to front the band failed the name was finally abbreviated to its current form. Pig Rider's music has been described as ''joke folk / mock rock'' and although they claim that their minds were only altered by lot of beer drinking, there's a real psychedelic element to it. Also, they should be regarded as pioneers of the DIY movement which would came a few years later. They recorded at home with rudimentary equipment, they used handmade modified instruments (''orgasmatron'', ''banjelele'', ''torture machine'', ''aquaphone'', ''swanee bicycle pump''?) and they self- released a series of acetate only albums housed in primitive, handmade sleeves. ''Heterophonies'' was originally pressed by the custom label Deroy as a private edition of five acetates in 1975. The music is an amazing mix of psychedelic electric folk, acid folk and twisted pop with funny / bizarre lyrics, tape experimentation, effects and homemade / stoned atmosphere.

[engl] Although nearly 60 people have played in Pig Rider or its various offshoots over the years, there have only been two ever- present members, Colin Kitchener and John Mayes, who founded the band at Sevenoaks School in Kent, England in the late 60s. They met when they were 12, and not long after began haunting the music rooms at the school to hammer out current three- chord pop songs on pianos. After a number of other names (including D Jabferg Flossyakkit and Bob Scratch and his Country and South Eastern Spring Blues Band) they settled on 'The Pig Rider Robinson Heterophony' to perform under. After an attempt to build a seven- foot robot bassist called Peregrine Robinson to front the band failed the name was finally abbreviated to its current form. Pig Rider's music has been described as ''joke folk / mock rock'' and although they claim that their minds were only altered by lot of beer drinking, there's a real psychedelic element to it. Also, they should be regarded as pioneers of the DIY movement which would came a few years later. They recorded at home with rudimentary equipment, they used handmade modified instruments (''orgasmatron'', ''banjelele'', ''torture machine'', ''aquaphone'', ''swanee bicycle pump''?) and they self- released a series of acetate only albums housed in primitive, handmade sleeves. ''Heterophonies'' was originally pressed by the custom label Deroy as a private edition of five acetates in 1975. The music is an amazing mix of psychedelic electric folk, acid folk and twisted pop with funny / bizarre lyrics, tape experimentation, effects and homemade / stoned atmosphere.

[engl] Bedroom / lo- fi psychedelia by these unsung heroes from the 80s DIY cassette culture scene. From outsider synth- pop to Barrett- esque lysergic folk, from lo- fi garage- punk to basement prog: acid- fuzz guitars, cheap keyboards, primitive electronics, homemade vibe and bizarre, funny lyrics. Pig Rider were formed in Kent, UK, in the late 60s by John Mayes and Colin Kitchener. With the help from some friends they recorded and self- released a series of acetate only psych- folk albums in the mid- 70s (''Heterophonies'', ''Bloody Turkey Sandwiches''?) which are prime examples of early DIY psychedelic music, highly sought- after since a review of ''Heterophonies'' appeared on the Galactic Ramble book. In 2013, collector Alexandre Mansuy (from the influential ''Somewhere There Is Music'' blog), having only listened to their ''Heterophonies'' album, found John and Colin and was astonished when they told him their story: ''Heterophonies'' was only one of their many, many great recordings, 22 in all, including 45s, acetates and tapes. Those included complete, and to date unperformed, opera for schools, a song- cycle about Luton, a town they knew nothing about; songs designed to be played backwards, songs which are slightly offensive and others which are too offensive to play at all, anywhere, ever.

[engl] Never reissued on vinyl before, the 1969 album by the British was their last effort and was including some previously 45 released tracks plus some new ones. From psych- pop to hard- rock, this is their most powerful work. This limited reissue includes the bonus track ?She does? which is arguably the best track they ever recorded.

[engl] First ever vinyl reissue of the debut album by this UK psych- pop group, combining soft- pop with heavier mod- psych- pop tracks. Originally released in 1968 on Page One, now marketed again in limited vinyl pressing, with HQ carton cover, 180g vinyl and insert with extensive linernotes by British pop connoisseur Andy Morten.

[engl] It was year 2013 and the neo-psychedelic rock scene of Santiago de Chile’s was reaching its highest point. After releasing two albums that went from a primitive and urgent garage rock to a more elaborated space rock, Pontiacs, came through with their new self-produced album, “Atacama Dreaming”. Nine songs about the nature through its different dimensions, based on reverberant and repetitive melodies of space rock, dream pop and neo-psychedelia that give form to the most detailed and polished release of the band, which has not been officially released until now. Seven years later, Green Cookies Record presents it to the public in LP format, doing justice to a work that deserved more recognition than it had original received.