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Rush Hour’s RSS series excels in unearthing buried treasure, offering a second chance for artists and releases that have long been overlooked. That’s certainly the case with ‘Witches’, the superb sole single by British 1980s wave trio Zenana.

Originally released on seven-inch by the tiny PRM label in 1986, ‘Witches’ was the product of a sister-brother songwriting team whose music was mostly recorded in the front room of a terraced house in Nanpean, a small industrial village in Cornwall, England’s most south-westerly county. While the single was infectious, impeccably produced and dancefloor-ready, it sold in limited quantities at the time.

Zenana’s story can be traced back to the early 1980s, when singer-songwriter Anita Tedder founded the all-female trio as a vehicle for her musical ambitions. To bring her songs to life, she joined voices with her brother Mike, an early adopter of electronic music who had built a studio – nicknamed MFR, short for ‘Mike’s Front Room’ – in his Cornish home.

Countless Zenana tracks were recorded at ‘mfr’ between 1984 and ’86, with the resultant demo cassette securing the band a management contract, a slew of live bookings, a video shoot and even a television appearance. Buoyed by this underground success, they headed to the remote Sawmills Studio in Cornwall – famously only accessible by boat – to re-record ‘Witches’, a song inspired by local folk tales of witches gathering near Mike’s home.

While this version of ‘Witches’ failed to make an impact at the time, it has become something of a cult classic following its’ rediscovery by crate digger Kiernan Abbott – and subsequent championing by other dusty-fingered DJs including Antal, Skyrager, Trevor Jackson and Luke Una – in early 2023. The buzz inspired Zenana to perform live again for the first time in decades, with the story of their surprise comeback being covered by British media outlets including the BBC and (more surprisingly) the Daily Mail.

Now presented in re-mastered form, ‘Witches’ is a genuinely slept-on gem. Propelled forwards by punchy drum machine beats, a killer synth bassline and fizzing keyboard sounds, the song benefits greatly from strong vocals and an extra-percussive middle eight layered with vocalisations, cosmic spoken word sections and swirling noises.

It comes backed by a brand-new extended ‘spell of love’ courtesy of Bristol duo Bedmo Disco, AKA music journalist Matt Anniss (author of Join The Future: Bleep Techno and the Birth of British Bass Music) and DJ/production partner Gareth Morgan. Anniss is a long-time friend of Mike and Anita Tedder who has fond memories of visiting Mike’s home studio with his family around the time that ‘Witches’ was recorded.

Working from Zenana’s original MFR eight-track recording (tapes of the single version were lost years ago), Anniss and Morgan have turned in the extended ‘dance mix’ the track never had first time around. More atmospheric, clandestine and dancefloor-focused, it offers authentic nods to New York proto-house, mid-80s Shep Pettibone dubs, and the pioneering synth-pop productions and dub mixes of Factory Records regular Martin Rushent.

180g 2LP 45rpm Gatefold Sleeve
Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
One of the finest albums of the classic rock era!
180-gram 45 RPM double LP
Mastered by Kevin Gray at Cohearent Audio from the original analog master tape
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

After half a century of crafting an astonishing array of chart-topping albums and embarking on triumphant global tours, Yes's The Yes Album marks the origin of their meteoric rise, through the recording sessions for this 1971 masterpiece.

With an ever interesting line-up of world class musicianship, this highly regarded chapter of Yes consisted of Jon Anderson (vocals), Chris Squire (bass/vocals), Bill Bruford (drums), Tony Kaye (keyboards) and the introduction of Steve Howe (guitars/vocals), The Yes Album was the band's breakthrough album, ultimately remaining on the sales charts for 34 weeks, selling more than 1 million copies.

This important piece of music consists of six amazing Yes workouts such as the definitive album opener "Yours Is No Disgrace," the hard rocking "Starship Trooper" and the brilliant "I've Seen All Good People" plus the massive hit single "Your Move." From this moment on, there was no looking back for this superstar quintet.

Yes enthusiasts were superlatively rewarded with even more progressive rock favourites as the brilliant acoustic driven guitar work of Steve Howe's "Clap," Chris Squire and Jon Anderson's superb "Perpetual Change" and the jazz-rock fusion of "A Venture" truly made this album a standout.

The album was a critical success and a major commercial breakthrough for Yes, who had been at risk of being dropped by Atlantic due to the commercial failures of their first two albums. It reached No. 4 in the United Kingdom and No. 40 in the United States, and was later certified platinum by the Recording Industry Association of America for surpassing 1 million copies.

Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of The Yes Album. For Yes fans, this is a can't-miss addition to your album collection.

Yasuhiro Usui and Katsuaki Komiya recorded live in Nagoya Nanya in 2023. The live recording album "undulation" is now available on vinyl!! Yasuhiro Usui is a guitarist/composer/producer living in Nagoya, Japan, and active in the eclectic genre of improvisation in Japan and abroad. He considers improvisation as the origin of music, and performs around 100 gigs a year. Katsuaki Komiya is a drummer with a unique background as the former editor-in-chief of Rhythm & Drum Magazine. With a unique style that makes full use of not only drum sets but also ethnic percussion instruments such as the djembe, he is active in a variety of fields ranging from improvisation to jazz, rock, and singing.

Enchanting and sunny 1969 psych folk by San Francisco teenage sisters Wendy & Bonnie Flower. A cult album that would later inspire bands like Stereolab, with dreamy vocal harmonies as the main attraction, laced with Brazilian splashes and soft-rock strains. Pure timeless psychedelic pop perfection, awash in serenity and haunting reverie floating in the ether above airy soundscapes that convey a sophistication that belies the artists' tender age: 15 and 18. Alongside them are top-notch musicians such as guitarist Larry Carlton, drummer Jim Keltner, bassist Randy Sterling and organists/pianists Mike Melvoin and Mike Lang. Originally produced by Gary McFarland, Gábor Szabó and Cal Tjader.

HHV Exclusive edition on orange wax, limited to 200 copies worldwide.

A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.

Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk cut “Girl Of My Dreams”.

Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.

Original artwork by Arina Kokoreva. House in a case wrapped style jacket for a period correct look & feel. Includes a 12”x24” fold out poster insert.

Back on LP for the first time since its 1970 release! Their sole album boasts members of the Wrecking Crew along with three Motown producers, all experimenting with a commercial psychedelic sound that defined the end of an era. Sitar head-swirlers, sunny, melodic harmonies and a country folk influence all blend together to bring listeners Truth!

On August 27th 2021, The Third Sound will release their fifth album ‘First Light’ on Fuzz Club Records. Dealing in a hypnotic blend of neo-psychedelia, post-punk and new wave, The Third Sound is a Berlin-based band led by the Icelandic musician Hákon Aðalsteinsson, who is the guitarist in Brian Jonestown Massacre and formerly played in the cult rock’n’roll outfit Singapore Sling. A mainstay of the European psych underground in his own right, not just through his collaborations with the likes of Anton Newcombe and Tess Parks, The Third Sound has been Hakon’s primary solo endeavour since the release of his self-titled debut on Newcombe’s A Recordings a decade ago.

Arriving following 2018’s ‘All Tomorrow’s Shadows’ LP, ‘First Light’ marks an evolution into a brighter and at times uplifting sound. Marrying moments of light and dark, the result is The Third Sound’s most dynamic full-length to date. Talking about the album, Hakon said: “This album is definitely less gloomy than the previous one, although some ghosts from the past are lurking in the background. We always try to make something new on each album and never make the same album over again, but this feels like an even bigger change than usual, especially regarding the mood. Something new is beginning although the past is not forgotten. I think the title, First Light, describes the overall feel of the record pretty well.”

‘First Light’ is the fifth full-length from The Third Sound and arrives off the back of 2018’s ‘All Tomorrow’s Shadows’, 2016’s ‘Gospels of Degeneration’, 2013’s ‘The Third Sound of Destruction and Creation’ and their 2011 self-titled debut. With Hakon Aðalsteinsson leading the group on vocals and guitar, the rest of the band is currently comprised of Robin Hughes (Guitar / Organ), Fred Sunesen (Drums) and Andreas Miranda (Bass). With a number of European tours in tow, the band have previously shared the stage with the likes of the Brian Jonestown Massacre, The Warlocks, Singapore Sling, Crocodiles, Clinic, Tess Parks and more.

The Third Sound is the solo project of Icelandic singer-songwriter Hákon Aðalsteinsson, formerly of Singapore Sling and currently touring in Brian Jonestown Massacre. Now residing in Berlin with a fleshed-out live line-up, The Third Sound are gearing up for the release of their fourth album ‘All Tomorrow’s Shadows’ - arriving via Fuzz Club Records on May 11th. Recorded by the band themselves over the harsh Berlin winter, the new record is their most refined yet – offering an expansive exploration into krautrock-tainted post-punk and dark psychedelia.

Following on from their 2016 LP ‘Gospels of Degeneration’, the new album takes a much more sparse and rhythmic approach than we’ve seen before, combining hypnotic guitar drones, motorik rhythms and haunting vocals – the last track boasting a guest feature from Anton Newcombe, who released the band’s debut album on his own imprint A Recordings.

Released in 1970 on the british cult label The Village Thing (owned by singer/songwriter Ian A. Anderson), the sole album by couple Anne and Graham Hemingway is a superb acid folk manifesto. Coming all the way from Cardiff, the duo has been described as a mystical, magical hippie small family. Alongside classic guitars, they played dulcimer, glockenspiel, vibes, bells, kazoo and small percussion, joined throughout by label-mate John Turner (bowed and finger-picked string bass) and Andy Leggett.

Some things are worth waiting for… "Morning Star" is the first all-new album by The Prisoners since 1986. It
features the original line-up of
Allan Crockford – bass, vocals
Graham Day – vocals, guitar
Johnny Symons – drums
James Taylor – Hammond organ, vocals
After a phenomenally successful series of gigs in December 2022 marking the 40 th anniversary of their debut album 'A Taste of Pink', the band decided to make some new music. The recording was completed in two days, one of them in Studio 2 at Abbey Road. Their preference for recording quickly hasn't changed since they recorded that first album as teenagers, also in two days, in 1982. To celebrate, they play The Roundhouse in London on May 24th, their biggest headline gig
Biography
The Prisoners formed when they were still at school in Rochester, Kent. Between 1982 and 1986 the band released four albums plus several singles and EPs. Inspired by the local Medway DIY music ethic, their debut 'A Taste of Pink' and 'The Last Fourfathers' appeared on their own label, Own Up Records whilst "The WiserMiserDemelza" was released on Big Beat (Ace Records) and "In From The Cold" on Countdown (Stiff Records).
They earned a reputation as an incendiary live act as they plied their trade around the UK and Europe, building up a dedicated following and unknowingly inspiring a generation of future musicians. Their unique sound, based on instantly memorable and melodic songs surfing on a seething wave of brutal guitar, attention-grabbing, up-front Hammond and head-pounding rhythms, made for an explosive evening of entertainment. It was a unique combination of the sonic assault and danger of The Who and 60's garage-punk, the soulful vocals and dynamics of the Small Faces plus the groove and danceability of Booker T & the MGs. Throw in the intensity, drive and insolence of punk rock, as well as an unabashed love for instrumental TV themes and you had a wonderfully off-kilter version of where the real cool kids were at in the early '80s…
Despite some brushes with 'success', the pressures of hard living on the road took their toll and they quit in September 1986. They left behind a legacy and a sound that was inspirational to many that followed. Not many under the radar bands of the 80's would merit chapters dedicated to them in biographies of such luminaries as Steve LeMacq and Tim Burgess as well as being name checked as Brit-Pop forefathers. Their original albums make regular appearances in 'Great Lost Albums' lists and continue in print to this day.
James Taylor subsequently went on to gain huge success as the best pure Hammond player of his generation with his jazz and funk quartet (jtq). His playing and sound undoubtedly played a massive part in restoring the popularity of his chosen instrument.
That work started in The Prisoners.
Graham Day and Allan Crockford, both together and apart, continue to the present playing music that has ploughed a similar furrow to The Prisoners in such combos as The Prime Movers, The Solarflares, The Gaolers, The Galileo 7 and The Senior Service.

Back in print for the first time in 50 years! This studio creation Junk Shop Glam grail was produced by Miki Dallon (The Sorrows, Boys Blue, Shakane, New York Dolls) for his Young Blood International label in 1974. This is Obviously not the later more famous UK punk group of the same name. This was a one-off studio project. We first heard this on our good friend Phil King's superb Velvet Tinmine comp yonks ago. Made to be played in the discotheques back before disco ruined said discotheques." 300 pressed.

Cykle produced one album's worth of solid garage rock, and it certainly proves that the band was an enthusiastic bunch of musicians. Much closer to late 60’s garage (proto) punk than psychedelia, the album was released in 1969.

They were best known for their 1966 song "Red Rubber Ball" (written by Paul Simon) which went to #2 on the Billboard Hot 100 chart. The band was discovered and managed by Brian Epstein and given the unique spelling of their name by John Lennon. The group was formed by guitarists and lead singers Don Dannemann and Tom Dawes (bass guitar), who met while studying at Lafayette College in Easton, Pennsylvania. The other members were Earl Pickens on keyboards and Marty Fried on drums.

180g 2LP 45rpm

The material for «Gemini Twins» was created in the summer of 2022 and finished in 2023. Serge: "I am interested in the themes of Man, his place in the Universe. From primitive times to the era of space exploration, people continue to ask themselves eternal questions: Who am I? Where am I from? Where am I going? The character of 'The Story Of Captain Glosster' is a slightly modified version of Homer’s Odysseus. This is the image of the End of the Wanderings. But Odysseus, after long wanderings, returned to his beloved woman. On the contrary, Captain Glosster found his love as a result of his trips. Found her in Other Worlds. I don’t use science fiction images because that’s how it’s supposed to be according to the laws of the genre. It would be too primitive and not interesting. The composition 'Time Loop' is not a reference to some kind of science fiction. In my composition, the image of the Time Loop is an image of human life. Life is rhythmic, irreversible. Under any given circumstances, we do not have the ability to press «Ctrl+Z». We can only move forward. 'Solstice' is inspired by the feeling of a calm, soft summer day. When all thoughts are stable, there is no anxiety and the world around you looks amazing through the haze of sun rays and summer smells. I tried to convey this state in my track. 'Over the Mountains' could, of course, be an image from science fiction. But not necessarily. This is the feeling of flying over the mountains. Perhaps on another planet. Or maybe not. This is a feeling of triumph from conquering air. 'Fugit Irreparabile Tempus' is my musical reflections on our world and the place of Man in this world.”

Stain monsters was founded in 1988 by Stein Monstad and HP Gundersen, who were both working at the legendary Bergen hangout-spot Cafe Opera at the time. They were good friends who came from two completely different worlds when it came to music. Stein was into early synthesizer music like Gary Numan & John Foxx, HP was more into polished pop a la Steely Dan. What they had in common was the love for some sixties and early seventies acts like Electric Light Orchestra, Tyrannosaurus Rex, late Beatles and Flying Burrito Brothers. They started a band called Stain Monster band and performed songs from mainly that period with a personal twist. Their first album was released in 1991 and has a great cult status today. 2 years ago, they decided to record a new song to see if the magic still were there. And it absolutely was, big time!

The duo unit Samuel Purdey, consisting of Gavin Dodds and Barney Harle, both former members of Jamiroquai during its early tours, released their only album "Musically Adrift" in 1999. This album, which involved talents from the Steely Dan circle such as producer Elliot Scheiner and guitarist Elliot Randall, continues to shine even a quarter-century after its release, serving as an enduring masterpiece in the realm of contemporary AOR. P-vine is delighted to reissue this work on colored vinyl.

The album features standout tracks like "Lucky Radio," which was also released as a 7-inch single, along with the enchanting chord progressions and vocal harmonies of "Whatever I Do," the disco-infused number "Only When I'm With You" with memorable talkbox phrases, and a cover of Carole King's "Bitter With The Sweet." Each song is a masterpiece that allows you to savor the subtleties of songwriting within a mellow groove.

Ryoko Moriyama x Comoesta Yaegashi x The Fuzziyama Surfers A special collaboration that transcends genre boundaries! The Fuzziyama Surfers, a Nagoya-based electric guitar and surf sound that has also been released in the U.S., and the original Japanese Wamono DJ Comoesta Yaegashi, aka Comoestas, and Ryoko Moriyama, whose cover of "Gauloise" last year made a splash, have collaborated on a special single. A surf & garage and brilliant cover of the Love Theme from The Godfather. This is a highly anticipated 7-inch single for a wide range of music fans.

Rashinban is a Japanese psychedelic rock band led by Seiichi Yamamoto who is well known as a guitarist of Japanese experimental/noise/space rock/tribal drumming band Boredoms. The album features a lineup of feel-good pop songs that are far removed from the noise-focused expression that Seiichi Yamamoto has shown in his previous works in his other bands, such as Boredoms and Omoide Hatoba. However, beneath the gentle melodies, there is still a tingling tension and a sense of insanity.

Rashinban released their 2nd album called "Seika" in 1998. The vocals are as unarticulated as if the spoken word and naturally assimilate into the song itself. If a pop song is a kind of mimicry, this album perfectly fulfills the role. You can't catch the outlines of the songs even if you look closely. But it is not ambiguous. From "Seika," a song that evokes a deep affection for the Beach Boys, to "Acoustic," a folk song that would be rude to call it neo-acoustic, to the new wave "Cool Down," it is as if we are tracing Seiichi Yamamoto's itinerary as a listener, It has no drama and no climax. But once you get caught up in the song, it will be stuck in your head forever.

Rashinban is a Japanese psychedelic rock band led by Seiichi Yamamoto who is well known as a guitarist of Japanese experimental/noise/space rock/tribal drumming band Boredoms. The album features a lineup of feel-good pop songs that are far removed from the noise-focused expression that Seiichi Yamamoto has shown in his previous works in his other bands, such as Boredoms and Omoide Hatoba. However, beneath the gentle melodies, there is still a tingling tension and a sense of insanity. Rago is the debut album which featured a cover version of "Pilgrim's Progress" from Procol Harum's album "Salty Dog" with renamed as "howling Sun".

Prowler featured the wildly prolific team of Martin Briley and Brian Engel from such faves as Mandrake Paddle Steamer, Starbuck 'Do You Like Boys', Liverpool Echo, Shambles 'Hello Baby', True Adventure, etc. This is not really a reissue per se because the original uncensored version has never been released on vinyl before. It was released in a censored form as the oddly titled 'Pale Green (Hmmmm) Driving Man' in 1972. The BBC’s policy at the time would not allow a commercial product or brand name being used. Same reason The Kinks had to re-record 'Lola' for the single version substituting 'chery cola' in place of 'Coca-Cola'. Prowler masked the offending 'Vauxhall' auto brand name in their song with a Moog (played by Chris Thomas) sort of replicating an accelerating car. The fact that you can clearly hear the word 'Vauxhall' several other times outside of the chorus didn’t seem to phase anyone. It was all for naught. The Beeb didn’t play it anyway. The subject matter alone, a kerb crawler searching the streets for unwitting victims tempted by his tainted 'sticky brandy balls' sweets would warrant a ban from The Beeb regardless. The unique B-side 'I’m Your Leading Man', a demo from 1972, has never appeared on vinyl before. As always, we provide more bang for the buck!" 300 pressed.

Peter Green’s genius has its main roots in musical influences from a childhood spent in London’s working class East End. This intense collection features several of his best successes with the 1968-70 Fleetwood Mac — before their move towards pop stardom – and some interesting tunes from his tormented solo career throughout the 70s and the 80s.

Svart Records is proud to reissue the production of Argentinian blues rock legend Pappo's Blues as vinyl versions. Guitarist-singer Pappo aka Norberto Aníbal Napolitano (1950 – 2005) is one of his country's biggest rock legends, who also managed to make a career outside his home country. He was there right from the beginning of Argentine rock, as guitarist of the first version of Los Abuelos de la Nada, Conexión Nº 5, Engranaje and Los Gatos, the band that made Argentine rock a household name thanks to the success of their first single, “La Balsa”, which sold more than 200.000 copies in 1967.

Jorge Álvarez (co-founder of the first Argentinian independent rock label Mandioca) encouraged Pappo to develop his own music. What followed was the formation of the first version of Pappo’s Blues in 1971, a trio that had Pappo himself on guitar and vocals, David Lebón on bass and Black Amaya on drums. Their self-named debut album was an unqualified success among the ever-growing audience of Argentine rock. It contained a bundle of all-time classics such as “El hombre suburbano” (The suburban man), “El viejo” (The old man) and “Adónde está la Libertad” (Where is freedom?).

Pappo’s Blues (1971, also known as “Volume One”) introduced a new element to Argentine rock: a harder rock and blues sound, combined with intelligent and sensitive lyrics with centered on the vicissitudes of a typical young man trying to live life according to his own rules, surrounded by the mores of an intolerant society. The arabesques of Pappo’s guitar, complemented by a solid and yet elastic rhythm section, made for an exciting and daring sound, where his trademark rock and blues sound also extended to embrace blues ballads and even excursions into psychedelia.

Svart Records is proud to reissue the production of Argentinian blues rock legend Pappo's Blues as vinyl versions. Guitarist-singer Pappo aka Norberto Aníbal Napolitano (1950 – 2005) is one of his country's biggest rock legends, who also managed to make a career outside his home country. He was there right from the beginning of Argentine rock, as guitarist of the first version of Los Abuelos de la Nada, Conexión Nº 5, Engranaje and Los Gatos, the band that made Argentine rock a household name thanks to the success of their first single, “La Balsa”, which sold more than 200.000 copies in 1967.

Jorge Álvarez (co-founder of the first Argentinian independent rock label Mandioca) encouraged Pappo to develop his own music. What followed was the formation of the first version of Pappo’s Blues in 1971, a trio that had Pappo himself on guitar and vocals, David Lebón on bass and Black Amaya on drums. Their self-named debut album was an unqualified success among the ever-growing audience of Argentine rock. It contained a bundle of all-time classics such as “El hombre suburbano” (The suburban man), “El viejo” (The old man) and “Adónde está la Libertad” (Where is freedom?).

Pappo’s Blues (1971, also known as “Volume One”) introduced a new element to Argentine rock: a harder rock and blues sound, combined with intelligent and sensitive lyrics with centered on the vicissitudes of a typical young man trying to live life according to his own rules, surrounded by the mores of an intolerant society. The arabesques of Pappo’s guitar, complemented by a solid and yet elastic rhythm section, made for an exciting and daring sound, where his trademark rock and blues sound also extended to embrace blues ballads and even excursions into psychedelia.

Øresund Space Collective (øsc), formed in 2004, is a totally improvising Scandinavian space rock band and has been releasing albums since 2006. The band has played concerts & festivals all over Europe. Their music is quite diverse and influenced by the ever-changing line up in the collective. Picks From Space was a Cd-r series produced by Dr Space between 2005-2007. The collective during this time period was primarily the members of the bands Mantric Muse (dk), Bland Bladen (se), and The Carpet Knights (se). The main players being: Magnus (guitar and synth), Sebbe (guitar), Tobias (guitar), Jocke (bass), Michael (bass), Dave (bass), Kaufmann (drums), Søren (drums), Ola (synths), Mogens (synths), Dr Space (synths) plus additional players like Solvi (guitar), Eduardo (guitar), and a few others…. There were 12 CDs in the series. Each disc was a mixture of usually one or two rehearsal room jams with the exception of Disc 11, which was unreleased studio material (most but not all of which has appeared now). It is estimated about 50 complete sets were burned and exist. A few volumes exist in more copies as they were more popular and there was a period where you could buy them separately. During the covid period, Dr Space found most of the original recordings and was able to greatly improve the sound on most of the recordings. This is what you hear on this limited-edition set starting with some tracks from the very first Jam session in April 2004 to one of the last regular jams in 2007. There are some of the best jams the band ever had in this very inspired series of music exploring the early origins of the band. Artwork by David Graham

Motoaki Masuo, known for his active role as a guitarist in the 1970s and 1980s, debuted his album on Polydor in 1973. This album, a hidden gem of Japanese soft rock, showcases his talent as a songwriter, arranger, and singer. Notable guests on the album include Masami Tsuchiya, who later formed Ippudo, as well as Takeru Sato and Tetsuji Hayashi.

Re-issue of the Canadian band's only album released back in 1973 on the small Kot'Ai label. Moonstone came from Winnipeg, Manitoba and were a small cult band active in the early 1970's. They played mainly acoustic folk rock with psychedelic overtones and beautiful harmonies.

"Graveyard Club Music" Moku. Selected and edited two self-produced EPs, and announced the first nationally distributed album "MokuROKU / MokuROKU 2". The four-piece band "Moku" sings pure Japanese lyrics that are strongly influenced by folk music over a gloomy dance beat that makes ghosts dance. The dub elements, which are as deep as the roots in the ground, seem to take them in a completely different direction from the artists who came before them, while still retaining the dim but tasteful psychedelics of Shintaro Sakamoto and Kikagakumoyo.

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Obscure psychedelic gospel act Methuselah had its roots in Scunthorpe ‘Beat’ group the Dimples, which became Gospel Garden, whose only 45 infused Northern Soul with psycheleanings. Regrouping as Methuselah, the group signed to Elektra for this sole religious rock concept LP, their sound deceptively American, with vocal harmonies evidencing bluegrass influences; guitarist Les Nicol is never short of excellent. Certain members would later form Amazing Blondel, but Matthew, Mark, Luke And John has a unique flavour, and our edition includes two rare bonus tracks. This slice of obscure psyche must be heard to be believed!

First official vinyl reissue of this sought-after psychedelic folk-rock / Americana / SSW album from 1976.

Major Arcana was a group led by counter-culture Milwaukee icon JIM Spencer, featuring a revolving cast of musicians / collaborators. The core of the band was Jim Spencer (guitar, vocals); Randall Dubis (electric guitar); Michael Burdecki (bass, slide guitar) and Jim Kitchen (percussion, harmonica). They were helped in the studio by some friends / musicians like Sigmund Snopek III and Barry Patton among many others.

Released on Jim Spencer’s own private label (A Major Label, home also to Anonymous of “Inside The Shadow” fame), the album opens with the terrific psych-folk of “Western Wind” and closes with an acid-folk rendition of “Greensleeves”. In between, you’ll also find some blues rock, SSW ballads, jazzy bits…

File next to groups like Pearls Before Swine or Bermuda Triangle.