Groovie Vinyl, CD & Tape 23 Items

1968, in the Brazilian dictatorship, Fábio released this psychedelic gem LSD (Lindo Sonho Delirante), writed by him and Carlos Imperial.

A soul / garage floor killer till today. Besides the alucinated rhythm, the song was an explicit provocation to the political society of the 60’s.

Reissue of a psychedelic gem from Brazil's late '60s underground. This '68 release wasn't 'just' a genuine garage / soul killer, it also was meant as a provocation of the country's political society and dictatorship. 'LSD' was an abbreviation for "Lindo Sonho Delirante", which can be translated into 'Beautiful Trippy Dream'. Limited edition of 300 copies.

The sole LP by Brazilian quartet Assim Assado, originally released in 1974 by the CID-label, gets reissued on vinyl. Both the artwork and the contents make clear that the band was massively influenced by the psychedelic/progressive art-rock of the popular act Secos & Molhados. Even the androgynous element is present! Assim Assado was led by Miguel de Deus, formerly of Os Brazoes. This wonderful album is recommended to fans of Brazil's late '60s/early '70s rock scene in general, and of Secos & Molhados in particular.

Released as two 45’s in 1966 in the USA on CBS, become iconic with the Garage / Northern Soul “I Want Your Love” track. The tunes were featured on the essential Girls IN THE Garage compilations also in the 1980’s and 1990’s. Now we managed to licence the only EP issued outside USA, and its the mega rare Picture sleeve portuguese 1966 ep released with four tracks of their two USA 45’s. THE Pussycats!!! Limited edition of 300 copies with limited 100 colored wax ones!

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied 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 an 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.

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied 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 an 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.

A frenchman, a brazilian and two catalans meet at a bar, little later get drunk and that’s how the new made in Barcelona sensation of “french yé-yé punk” is born: a frontwoman and three nutters behind, all in love with the loudest sounds of rock’n’roll, freakbeat and garage. European scene veterans, they’ve already performed in Les Mortettes, Els Trons, Thee Grandaddies, Flashback V, The 54321s, Missing Souls and The Cavemen Five… amongst other bands. Les Rencards have been produced by Mike Mariconda -that’s nothing- and feel eager to go wild on stage at Ye-Yé ’22 ¡Vive la fête!

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

Finnaly we got it, after a long time waiting we were able to reissue this 1969 killer 7" of The Blue Condition, from Waukegan, Illinois. The original wax is a most wanted and a mega rare gem searched by garage punk collectors from all over the world. With "Coming Home" as the main track, a garage punk/freakbeat killer stomper. Fuelled with fuzz and groove. The record come with 2 postcards, linernotes and interview with the band members.

The ecology and the urgency to revert the human practices that generate all the evils that devastate nature is the war cry that resounds in every echo of this concept album that bears the title: ‘Planeta Náhuatl’. The quintet returns to the stage with an ambitious album, changing the sound style, as composition and orientation, the new work of Los Malinches has a certain aspect of a rock opera, which distils naturalistic mysticism and a vintage aspect updated by everyone and each one of their pores. ‘Planeta Náhualt’ is precisely that, a mix of different styles and very different sounds, but with the strength of the songs, all the pieces fit together in a brilliant set. The album is the perfect union between psychedelia and pop. “The record is a conceptual work that puts a soundtrack to different possible phases and scenarios, which could take place after the catastrophe that comes to us above data and signals that, both science and fiction, suggested us last years. It is a project of a new society after the destruction of the planet we live. A new opportunity to start from zero, which is finally truncated by the intrinsic defects in the human being, so that history finally repeats itself again in a disheartening way, just as it always repeats the same conflicts and the same wars together again”.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

From Costa Rica, Los Cuchillos, a garage punk band that have their path already well defined in the garage punk scene. This is their first ep on Groovie Records, not the last for shure. This tracks are super killers and really shows what the band came for... Limited to 300 copies. 100 of them coloured.

This album was the last for one of the founders of The Cavestompers! Ivan "Cosmos".His final contribution was the authorship of several songs.Do not look for him on the cover photo-he is Kosmos and invisibly present in our ranks like a phantom.His place at the moment occupied by Paul Petrov ,who together with llya"Crusher" Sterzhanov in the 90s founded the first Russian garage punk band the Crushers.
This is the ultimate russian garage punk!!! fuzz all over...listen it...

It defied reason. Forming a band in order to raise from the dead a short, obscure musical period of lawlessness between 1965-67, in a day and age of predictable, artificial and uninspired "music".
Coming from the 4 corners of LA County, The Sound Reasons got it together. Locals began seeing where it was at, because, every performance they saw, the boys brought the thunder and lightning down in the form of a hip shaking, pounding, jangly, fuzz drenched soundscape.To the Sound Reasons, music is THE THING with no artificial ingredients, and real SOUL. With the Sound Reasons, Rock and Roll, really,
is alive and well. For this band, the only thing that counts is getting it tight, out of sight and nailing the elusive SOUND.
This debut release is sure to turn your party, cookout, or freakout ON because these guys have the stuff.
The stuff that defies Reason!
Heavy Carton delux edition, oldschool sleeve glued backflip

Recorded 01 & 10 April at Caffeine Studios, São Paulo, Brasil.

Dara Puspita (trans. "Flower Girls") was arguably the world's greatest all-female garage rock band. The reason you've probably never heard of them is that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe.

The four albums recorded by the original members between 1966 and 1968 (the material represented on this LP) is one of the great chapters of 1960s popular music history never to be reissued in vinyl, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. This is an amazing compilation for all garage rockers, fuelled with fuzz tunes and groovy rhythms.

Dara Puspita (trans. "Flower Girls") was arguably the world's greatest all-female garage rock band. The reason you've probably never heard of them is that they came from Indonesia where they were extremely popular during the 1960s. Their career spanned from 1965 until 1973 including 3 years (1969-1971) living and touring in Europe.

The four albums recorded by the original members between 1966 and 1968 (the material represented on this LP) is one of the great chapters of 1960s popular music history never to be reissued in vinyl, let alone recognized beyond a few tuned-in souls and adventurous record collectors in the Western world. This is an amazing compilation for all garage rockers, fuelled with fuzz tunes and groovy rhythms.

The name of the band and the cover of the disc explicitly reveal the influence: Secos&Molhados. Investing in androgenia, progressive rock and samba-soul, Assim Assado tried to be a response of the small CID label to the enormous success that the Secos&Molhados did to the young public.

Led by Miguel de Deus (formerly Os Brazões), who signed most of the compositions and assumed the guitar and vocals, the group never took off, leaving only this LP, now almost forgotten. Curiosity: in 1977 Miguel de Deus falls headlong into funk, casting the rather interesting (and rare) "Black Soul Brothers" Also repressed on Groovie Records.

Band formed by Miguel de Deus in 1974, inspired by the Secos&Molhados and making clear both in the name, which is copied from a song of Secos&Molhados, both on the cover of the band's only album. Also the visual was well androgen but the music, a mixture of psychedelic, Progressive and a strong touch of Brazilian Soul music. The only album that had the same name as the band, did not get repercussion despite presenting a lot of quality.

Now the repress of this rare pearl brings to the light the huge talent of Miguel De Deus.

Here is "Fuzz You", the 4th LP from The Giant Robots, the Swiss garage rock quintet ready to make all the gramophones on the planet roar. After “Invasion” (dab Records), “Too Young To Know BeVer. Too Hard To Care” (Voodoo Rhythm) and “DelighYully Refreshing” (Soundflat), the new opus of the giant robots is released by Groovie Records, the so exciting groovy label from Lisbon. This new album was mixed in Gijon by maestro Jorge Explosión (Doctor Explosión) and mastered by the US citizen guru Mike Mariconda, in Barcelona.

The LP begins with the pure garage-punk instrumental entitled "Fuzz You". A contagious theme with the very important organ in the foreground, while keeping very tasty melodies. Then comes the first single, a total hit in Italian entitled "Avant La Macchina", reminiscent of Cynics, Fuzztones or Chesterfield Kings. Remember that the group comes from this multicultural Switzerland where Italian is the 3rd national language. But the Italian language pays tribute above all to the true love of the garage carried by the public of the south, of Italy, of Spain, Greece or Portugal. A heavier atmosphere follows in "No Way To Hide", with very sixties voices, contagious choruses, a brutal break and even a prodigious organ solo. "PartyPartyParty" you can probably already guess what it's all about... You have to party at all costs, that's all that's enjoyable.

Then the Giant Robots rebound in their native tongue, French in "Schizophrenie" with its very danceable guitar riff, its wild drums, its prominent harmonica and its tribal groove with very sixties refrains. Finally, the last hit on side A will be the first of the three covers of this LP, this one by The Uncalled Four. "Do Like Me" is rather low tempo, played in a super relaxed way and filled with nonchalant "Yeah" at will. "We All Love Peanut Butter" starts the B side and sounds like the classic it is, covered in a casual and energetic way.

The original version was the work of One Way Streets. The vocals on of the Giant Robots has never been to be a cover band par excellence, seeking perfection, their versions always being alternatives to the originals, but with this characteristic spontaneity of that time.

Then comes the second single 'She Don't Like Me' with a captivating chorus, a looser version of the guy looking for love. 'Leave Me' is probably the strangest track on the album, with a very strident farfisa that accompanies a solid (even sordid) rhythm and unmotivated vocals.

'Panam' is a fun instrumental version for non-stop dancing, guided by a clear analog keyboard and also features a striking guitar. This is a cover of the Swiss group The Sevens who had the audacity to create this piece in 1966. Finally the album ends with... "Terminé" in a joyful way to dance all night long. A good combination of farfisa as well as a rhythm section that provide the backing for piercing guitar in just over a minute and a half. Real garage rock.

Enjoy ! And Fuzz You Babe.