Lion Productions Rock & Indie 9 Items

Immediately engaging & all recorded live without overdubs. An analogue e-music roller-coaster ride. Hop on if you dare!” —Eroc

Finally available on vinyl, this underground masterwork of analog electronic music pushed the envelope of melodic synth freakouts to unimaginable edges and undreamt of realms of space. Recorded live on the spot without overdubs, Jeff Carney’s 'Imperfect Space Journeys” (ISJ) has become a highly prized collectible amongst “Berlin School” fanatics still soaking in the '70s sounds of Klaus Schulze, Ashra and Tangerine Dream, as well as fans of Terry Riley's organ works (Riley is Carney's cousin), and Heldon heads. Originally a cassette-only release, the rare copy appearing on the collector market can exchange hands at three-figure sums even on cassette, making it one of the most sought after treasures of the electronic underground.

With a keyboard arsenal more likely to have been assembled in the late seventies, West Coast space music architect Jeff Carney rebelled against prevailing digital trends with analog electronic wizardry, unleashing this statement of purpose on the New York “Audiofile” label in 1988. Designed around the possibilities of live performance, Carney used simple, captivating hooks with which to weave tapestries of electronic texture. His influences on this debut are apparent, but his sounds absolutely unique. Every lead seems to have a tone outside the sounds already explored in the genre. Sound effects give a sense of deep space: perhaps owing their galactic awareness to Gong and Hawkwind, but pushing like a volcano into other realms. 'Imperfect Space Journeys' is a study in minimalist rhythmic structures that enable Carney to decorate with cosmic colors and wild effects collages, while also tending to be highly melodic. 'Noise' is used as a means to create images of spaceships passing in the deepest of space skies. Tension and release are used for maximum impact. But there is also plenty of sonic ear candy. Melodic lines that you'll find yourself wanting to revisit again and again!

Source for this reissue: 24bit/96kHz transfers taken from the original analog tapes. This deluxe reissue of ISJ includes three bonus tracks not included on the original cassette release. Comes with an eight-page color LP-sized insert booklet. Limited to 500x copies worldwide.

Carney recorded 'Imperfect Space Journeys' at 20 years old. He would soon produce works in which his skills were further honed and his unique sonic paintings took an even more exploratory shape, but ISJ is the beginning of the story. It is where the “journey” begins.

Plastic Crimewave Syndicate has finally returned with a wide-ranging/raging new album — recorded two years ago in an expansive,benevolent alleyway in the midst of a dark, diseased, claustrophobic time of global chaos. The new Pcws album, entitled 'Space Alley,'boldly travels into the relatively unexplored malevolent terrain of free doom, space/noise punk, and darkly dubbed-out library/soundtrackgrooves (call it 70's crooked-cop show/freak-funk, if you must). This is all capped off with a sidelong, (beat of the) earth-harvesting modalexploration of synthed-out kraut-throb. With new bassist Rob Rodak (Dead Feathers) aboard, and guests like sax-skronk legend TaraliePeterson (Spires That in the Sunset Rise), flautist Sara Gossett (Spiral Galaxy), and synthlord Will MacLean (Protovulcan), new influenceshave seeped into Pcws's dystopian vision. The Syndicate have opened for revered deities like Nik Turner, Loop, Simply Saucer, Chrome, andJosefus; but now a more diverse and groovy array of past underground sounds like Skin Alley, Sound of Imker, Here and Now,Mann/Sharrock, Black Sun Ensemble, Parson Sound, and Schizo have influenced Pcws's journey. Recorded by Eric Block (Rhys Chatham,Sick Gazelle) of Rec Rooms studios, and mastered by Monster Magnet/Desert Sessions guitar god JP McBain, the mind-fry level is set to 11½onSpace Alley!

* 'Gebauer sings, his shredded, husky voice like someone dragging the needle on a Nick Cave record.' - Consequence OF Sound

Ultra rare mid-70s UK acid folk-rock recordings. Features sitar, Moog, acoustic and electric guitars, assorted percussioninstruments to create a Popul Vuh-like soundscape. If you can imagine the perfect blend of Eastern trance/psych and Englishhippy acid folk-rock, this would be it. Very cool and freaky.

Earthforce was an offshoot of Ebling Mis and Oa Band formed by Steve Bayfield. Hailing from the UK, the band wasinfluenced by a wide variety of music including English folk and acid rock. This release is culled from sessions that have neverbeen released before, and they sound like a cross between Popul Vuh and Gong. Very tasty, very spacey and mystical vibethroughout.

First ever release of any recordings by this fascinating heavy rock group from Colorado
8-page LP-sized color booklet with lyrics, photos, and stories from the road What was available to unknown hard rocking dreamers like Umbra in Denver in 1971-72? Weekend gigs. Nothing but weekend gigs. But there was an upside to that: bands like Umbra could mix original material in with covers, and make enough money to survive. Or in the case of Umbra, to make enough money to build a home studio, where they recorded ads to promote their upcoming shows—and eventually, laid down the eight tracks on this disc. Everything was recorded by bouncing tracks back and forth between two-track and four-track reel-to-reel tape recorders. Spacey intros and weird effects were created by recording guitar licks, then re-recording them played backwards at double speed. What sounds like a flute was the result of blowing over the top of a 14” goose neck (believe it or not).



The resulting tracks are hard edged and heavy, verging on acid rock at times. Makes sense, as Umbra was a power trio most of their too-brief existence. Yet the songs (heavy though they are) have a deft touch. There are weird effects, space rock elements, plenty of melody, and a refreshing category-free approach to writing songs that makes Umbra’s music exciting to hear.



Our Lion LP edition comes with an 8-page LP-sized color booklet, with lyrics, photos, plus interesting and funny things that can only happen to musicians, and did to Umbra. The CD edition comes with a sixteen-page color booklet containing the same material.



We know that band bios can be sterile and boring or can move to the opposite spectrum, rife with grandiose embellishment. Umbra’s story is neither. Instead, it is the story is the story of a band from the early 1970’s who recorded what they wanted to record: heavy, heavy music from the start of the “American Comedown Era” (as we’ve seen it described by friends for their Brown Acid series of compilations). Umbra’s story is also that of a band whose music, terrific though it is, has never to this point been released out into the wide world. Prepare yourselves to be surprised—and we hope as impressed as we are—by what Umbra had to offer.

• First-time reissue of this 1987 sleeper rural rock classic
• Insert includes band memories

“By the time they recorded Cuacha!, the Sidewinders had almost figured out what kind of band they wanted to be. On some cuts here the Hüsker Dü-goes-West mix of acoustic textures and roaring guitar is almost perfect. ‘I Guess It Doesn’t Matter’ and ‘Blood on Our Hands’ are punk-pop masterpieces driven by Rich Hopkins’ snarling guitars and Dave Slutes’ country-inflected but brash singing… The album is worth having for the first released version of ‘What She Said,’ a song that the band released on three different albums, each time rocking a bit harder and at greater length. The version here is a dark, mournful folk-rock piece.” —AllMusic

“More than one observer of the Arizona rock scene has noted that had the Sidewinders not been derailed by legal and label problems, the Tucson quartet might’ve beaten neighboring Tempe’s Gin Blossoms to the brass ring. Or maybe it was just a case of the too-good/too-early American band syndrome in the conservative pre-Nirvana era. Formed around the songwriting core of guitarist Richard Hopkins and vocalist David Slutes, the Sidewinders quickly garnered local acclaim and recorded “Cuacha!” for Hopkins’ own San Jacinto label. The album has its share of jangly folk-rock moments instantly familiar to any fan of mid-’80s R.E.M. Yet its traditional feel—part psychedelic pop and part dustbowl blues—suggests influences stretching back at least two decades.” —Trouser Press

Take a look at a quick list of "Best Albums” from 1987 and you quickly get a sense of the musical mood of the year: the Joshua Tree by U2; Appetite For Destruction by Guns N’ Roses; Sign ‘O’ The Times by Prince; You’re Living All Over Me by Dinosaur Jr.; Document by R.E.M.; Sister by Sonic Youth; Darklands by The Jesus And Mary Chain; Diesel And Dust by Midnight Oil; Come On Pilgrim by Pixies; and Pleased To Meet Me by The Replacements. It’s not a stretch at all to plunk the Sidewinders “Cuacha” right amongst those records—both in terms of quality and “sound.”

The Sidewinders formed in the spring of 1985. The group released “Cuacha!” in 1987 (and again in 1988), and subsequently signed to RCA/Mammoth Records, with whom they released two full-length albums, 1989’s “Witchdoctor” and 1990’s “Auntie Ramos’ Pool Hall.” “Witchdoctor" cracked the lower echelons of the Billboard 200 on the strength of two rock radio hits. The band scored exposure on MTV and VH1 and embarked on a worldwide tour. But the Sidewinders were soon sidelined due to legal problems stemming from a challenge over the band’s name. As the Sand Rubies, they released an album on Polydor/Atlas in 1993 (at one point, Pearl Jam served as their opening act). However, the strain of the legal tussle led the Sand Rubies to dissolve during a tour in 1993—just as two other Arizona rock bands, Gin Blossoms and The Refreshments, attracted mainstream attention.

Limited edition of 500 copies
Includes poster insert with archive band photos and sleeve notes by the Good Missionaries’ Keith Rodway
• First ever release of this long-lost UK post-punk classic

“The hipness and success of London punk-explosion photocopy fanzine Sniffin’ Glue was almost entirely due to the irreverent, pugnacious sincerity of its founder/spark-plug Mark Perry. That Perry should form a band (Alternative TV) seemed a natural progression; that it was any good at all a surprise; that it maintained a stance utterly disdainful of compromise a small miracle.”

The Good Missionaries emerged, phoenix-like, from the ashes of Alternative TV (ATV). They released one live album “Fire From Heaven,” before ATV founder Mark Perry left. Ex-ATV guitarist/vocalist Dave George and bassist Keith Rodway continued the band, with several line-up changes during those days. The Good Missionaries toured and gigged with such bands as The Fall, The Pop Group, Crass, Scritti Politti, Delta Five, Poison Girls, Nik Turner’s Inner City Unit and The Transmitters. Which in retrospect makes sense, as their post-punk/dub/experimental inclinations dovetails perfectly with the music those more storied bands (more successful bands) were making at the time. The Good Missionaries released several singles on their own Unnormality label, before splitting in 1982.

With beginnings firmly in the secular realm and a strong following in the Northwest, Wilson McKinley signed to Alshire Records (home of 101 Strings) and recorded one album under the label's 'acid-rock' moniker, The California Poppy Pickers. With the proceeds from those sessions, they self-released a 7" EP in 1970. But then they met street minister Carl Parks, gave up the rock 'n' roll lifestyle and effectively ended the first incarnation of the group. Parks encouraged the remaining band members to pick up their instruments again to create music for a street meeting, and thus the first 'Jesus Rock' group was born. Buoyed by the confidence developed during the "Spirit Of Elijah" sessions, Wilson McKinley's third LP from 1971 maintains the quality songwriting but adds even better production values. It was housed in a suitable-for-black-light jacket printed with neon inks. Sadly, after this there would be no more Wilson McKinley LPs, with their next release being the cassette-only "Country In The Sky." Good news is that they made this dayglo-adorned proof of their rapidly-developing skills and musical interests before abandoning wax—Wilson McKinley's most adventurous effort, boasting entirely original tunes and complex, heavy arrangements at times reminiscent of the Allman Brothers.