Richard Soutar’s Lavender Daydreams is a hazy, homespun American psych-folk rarity from 1976, the kind of private-press album that feels deeply personal, unpolished in the best possible way, and guided by its own inner logic.

Rather than chasing a heavy underground sound throughout, the album drifts between gentle acoustic reflections, light psychedelic colouring, melodic folk-rock and occasional electric flashes. The atmosphere is intimate and dreamlike, with songs that feel as though they were shaped from late-night thoughts, outdoor reveries and private spiritual experiences.

Tracks such as A Place In The Sun, Falling Angels and Soaring set a softly lysergic tone, while Lord And Master, Sunny Days and Here We Are bring a more inward-looking, reflective side to the record. The title track closes the album with the same gentle, meditative quality that gives the whole LP its particular charm.

Originally a very limited self-released record, Lavender Daydreams has become a cult item among collectors of U.S. private-press psych, acid folk and mellow underground rock. This Void Records edition, catalogue number VOID67, brings the album back on vinyl with insert, making this fragile and unusual 1970s recording available again to a wider circle of psych and folk-rock listeners.

1. A Place In The Sun
2. Falling Angels
3. Lord And Master
4. Electra
5. Pavement Pioneer
6. Soaring

1. Old Times
2. Sunny Days
3. Here We Are
4. A Stranger
5. Take Me Darling
6. Lavender Daydreams

Originally released on Capitol Records in 1969, A Gift From Euphoria is the only album by the American psychedelic outfit Euphoria, and it remains one of the more fascinating lost treasures of late-1960s underground rock.

Across its 15 tracks, the album moves with remarkable confidence through psychedelic rock, folk, country, orchestral pop and harder guitar-driven passages. Rather than staying in one fixed style, A Gift From Euphoria unfolds like a colourful late-60s musical journey, full of radiant harmonies, inventive songwriting and unexpected changes of mood.

There is a restless, almost “anything is possible” quality to the record. Gentle acoustic moments sit beside fuzzed-out guitars, country-flavoured melodies, baroque arrangements and dreamlike psychedelic passages. The result is an album that feels both very much of its time and strangely timeless: ambitious, melodic, eccentric and beautifully crafted.

Long sought after by collectors, A Gift From Euphoria has gained a strong reputation in hindsight as a cult psychedelic classic. This Jackpot Records reissue brings the album back from the original analog master tapes, preserving its original artwork and presenting it as a limited Record Store Day 2026 edition.

The Jackpot edition is limited to 1000 copies, pressed on premium black vinyl, cut by Kevin Gray at Cohearent Audio, and produced using an all-analog AAA process from the original master tapes.

1. Lisa
2. Stone River Hill Song
3. Did You Get The Letter
4. Through A Window
5. Young Miss Pflugg
6. Lady Bedford
7. Suicide On The Hillside, Sunday Morning, After Tea

1. Sweet Fanny Adams
2. I’ll Be Home To You
3. Sunshine Woman
4. Hollyville Train
5. Docker’s Son
6. Something For The Milkman
7. Too Young To Know
8. World

Originally released on Capitol Records in 1969, Milestones is the second album by Detroit psychedelic rock band SRC. Building on the acid-rock foundations of their self-titled debut, the album finds the group expanding their sound into a more ambitious blend of heavy psych, progressive rock, garage energy and dramatic keyboard-led arrangements.

SRC were part of the same late-1960s Detroit underground that produced the MC5, The Stooges and Alice Cooper, yet their sound stood apart from the city’s rawer hard-rock scene. With Gary Quackenbush’s piercing lead guitar and Glenn Quackenbush’s swirling organ at the centre, the band developed a more Anglophile, theatrical and progressive identity, drawing comparisons to The Pretty Things, The Zombies, Blue Cheer and early British heavy psych.

On Milestones, the band adds new layers of melody, mood and sonic drama. Tracks such as No Secret Destination and Eye Of The Storm retain the fuzz-driven force of their earlier work, while Show Me and I Remember Your Face bring a gentler, more reflective tone. The album’s famous adaptation of In The Hall Of The Mountain King / Bolero shows the group at their most adventurous, turning classical themes into a psychedelic instrumental showcase.

Side B deepens the album’s range, from the keyboard-led tension of Checkmate to the garage-pop punch of Our Little Secret and Up All Night, before closing with the expansive, cinematic The Angel Song. The result is one of SRC’s most distinctive records: melodic, heavy, atmospheric and full of late-60s underground imagination.

This Jackpot Records edition is reissued from the original 1969 analog master tapes with the original cover artwork, released exclusively for Record Store Day 2026. It uses an all-analog AAA process, is cut by Kevin Gray at Cohearent Audio, pressed on premium black vinyl, and limited to 1000 copies.

1. No Secret Destination – 4:17
2. Show Me – 3:40
3. Eye Of The Storm – 4:50
4. I Remember Your Face – 1:40
5. In The Hall Of The Mountain King / Bolero – 6:07

1. Checkmate – 3:42
2. Our Little Secret – 2:39
3. Turn Into Love – 2:59
4. Up All Night – 3:04
5. The Angel Song – 8:11

Gandalf was a short-lived psychedelic rock band from New York City, formed in the mid-1960s. Originally known as The Rahgoos, the band changed their name to Gandalf to reflect their mystical and ethereal musical style. Their sound was characterized by dreamy melodies, lush arrangements, and a blend of folk, pop, and psychedelia. Despite their talent, the group struggled with promotion and commercial success, leading to their dissolution after releasing just one album.

The self-titled debut (and only) album by Gandalf was recorded in 1967 but delayed until its release in 1969, which hurt its chances for success. The album is a hidden gem of the psychedelic era, featuring a mix of original songs and hauntingly reimagined covers, such as Tim Hardin’s "Hang on to a Dream" and Eden Ahbez’s "Nature Boy." The record is marked by Peter Sando’s dreamy vocals, echo-laden guitars, and rich organ textures, creating an otherworldly atmosphere. Though it failed commercially at the time, Gandalf has since gained a cult following and is now regarded as a classic of the psychedelic rock genre.

Track listing:

• A1 Golden Earrings 2:45
• A2 Hang On To A Dream 4:12
• A3 Never Too Far 1:50
• A4 Scarlet Ribbons 3:02
• A5 You Upset The Grace Of Living 2:38
• B1 Can You Travel In The Dark Alone 3:07
• B2 Nature Boy 3:06
• B3 Tiffany Rings 1:48
• B4 Me About You 4:53
• B5 I Watch The Moon 3:50

Original MINT /NEVER PLAYED copy of the group's second LP from 1972 Deerfield were a Texas group whose music sat at the crossroads of rural rock, psychedelia, country-flavoured jamming and late-1960s counterculture songcraft. Their sound was earthy rather than polished, with guitars, vocals and loose ensemble playing giving the music the feeling of a band caught in its natural habitat.

Released in 1972 on Flat Rock Records, Live captures Deerfield outside the confines of the studio, stretching their songs into longer, freer performances. Compared with their studio work, this recording has a more open and spontaneous character, allowing the band’s country-rock roots and psychedelic instincts to breathe.

The album moves from the melodic warmth of Mimmi Trueheart to the extended groove of Funky Bluegrass Honky Country Jive, while Maybe Today brings a gentler, reflective mood. Side B is dominated by two long-form pieces: Do You Believe In Words and Days Of Dreams, both of which show the group leaning into its jam-oriented, exploratory side.

Issued as Flat Rock Records FRS 2, this scarce private-press LP has become a desirable item for collectors of US rural psych, country rock and underground early-1970s American rock.

1. Mimmi Trueheart – 5:30
2. Funky Bluegrass Honky Country Jive – 8:00
3. Maybe Today – 4:30

1. Do You Believe In Words – 9:02
2. Days Of Dreams – 8:50

Skyeros were an obscure four-piece American band from the St. Louis, Missouri area, remembered today for a single privately issued 1975 album that has become a prized name among collectors of underground U.S. rock. Although often mentioned in progressive rock circles, the album is better understood as a melodic, guitar-led private press record with strong rural-rock character, subtle prog touches and a warm Midwestern studio sound.

Rather than pushing into heavy complexity, Skyeros works through atmosphere, songcraft and instrumental colour. The record is built around bright electric guitar lines, tasteful lead breaks, organ textures and compact ensemble playing, giving the music a flowing, slightly dreamy quality. Fans of American rural psych, melodic private press rock and guitar-forward 1970s underground albums should find plenty to enjoy here.

Side A opens with Daily Dreams, setting the tone with an easy but confident melodic drive. Don’t Give Me No Alibis and Searchin’ continue the album’s balance between rootsy rock movement and more reflective passages, while With Or Without You adds further emotional weight before the side closes.

Side B contains the shorter Homecoming followed by the album’s major extended piece, August-Suite In Time. Running well beyond standard song length, the suite is the moment where Skyeros stretch out most clearly, bringing together guitar, keyboards and shifting moods in a way that explains why the album has remained attractive to both prog listeners and wider private-press collectors.

Recorded at Golden Voice Studios in Pekin, Illinois, a studio associated with a number of notable Midwestern rock recordings, the album disappeared quickly after its original release and became increasingly difficult to find. This Void Records edition, catalogue number VOID068, makes the record available again in a limited 350-copy vinyl pressing with lyric insert.

1. Daily Dreams
2. Don’t Give Me No Alibis
3. Searchin’
4. With Or Without You

1. Homecoming
2. August-Suite In Time

Shadow Fox is a scarce American private-press LP from 1982, issued under catalogue number NR14178. The album has often been filed under different stylistic labels — hard rock, psych, folk rock, country rock — and that uncertainty is part of its charm. Rather than fitting neatly into one category, the record moves between heavy guitar-driven rock, reflective acoustic passages and rural-tinged melodic songwriting.

The opening track, Roadie, immediately sets a tough, electric tone, with grinding guitars and a direct hard-rock attack. From there, the album keeps shifting shape: Musician’s Song is more inward-looking and melodic, while Rockin Party returns to a rawer, riff-heavy sound. Walk Away slows the pace again, showing the band’s more emotional and atmospheric side without losing its rock foundation.

Side B continues the contrast. Met Her Last Night rides on a chugging groove with a loose early-70s feel, while I Can’t Stay brings a gentler, ringing-guitar mood. Come With Me opens out into extended guitar work before the vocals enter, and Play On closes the record with a warmer, slightly country-flavoured rock feel.

Dedicated to a roadie who had passed away, Shadow Fox stands as a curious and appealing underground artefact: part hard rocker, part rural private press, part melodic American bar-band document. Its mix of heavier moments and quieter turns makes it a surprisingly varied listen for collectors of obscure US rock, private press LPs and early-80s hard psych crossover sounds.

1. Roadie
2. Musician’s Song
3. Rockin Party
4. Walk Away

1. Met Her Last Night
2. I Can’t Stay
3. Come With Me
4. Play On

The Gaiety Record Story Vol. 2 continues Return To Analog’s survey of the Canadian Gaiety Records catalogue, gathering another strong batch of 1960s garage, beat and early psychedelic singles from a scene that deserves far more attention. Issued as RTA117, this second volume digs further into the label’s archive with a lively mix of raw regional rock, bright harmonies, organ-driven hooks and fuzz-edged guitar energy.

Like the first volume, this compilation has the feel of a small independent label captured at full speed: young bands chasing the excitement of the British Invasion, American garage rock and the first wave of psychedelic pop, but filtering those influences through their own local Canadian character. The result is direct, melodic and full of period charm, with a sound that sits comfortably beside classic North American garage 45s.

The album opens with two cuts by The Checkerlads, including the melodic The Dreamer and the tougher Behind Ev’ry Man. The White Knights bring sharp beat-group energy, while Tomorrow’s Keepsake and The Plague push the set toward a more colourful psych-garage direction.

Side B keeps the momentum going with further tracks by The Plague, Lexington Avenue, NRG and Solid Reputation. Across the record, the mood shifts between jangly pop, moody garage, danceable rhythm and slightly trippy late-60s atmosphere, making it an excellent companion to Volume 1 and a valuable listen for collectors of obscure Canadian singles.

Released by Return To Analog, catalogue number RTA117, The Gaiety Record Story Vol. 2 is a welcome archival LP for fans of garage rock, psych, beat and forgotten independent-label gems.

1. The Checkerlads – The Dreamer
2. The Checkerlads – Behind Ev’ry Man
3. White Knights – There She Goes
4. White Knights – Run Run Baby
5. Tomorrow’s Keepsake – Eat Your Hot Dog Boy
6. The Plague – Love And Obey

1. The Plague – We Were Meant To Be
2. Lexington Avenue – Wendy Taylor
3. Lexington Avenue – Flowing Kind Of Feeling
4. Lexington Avenue – Good To Me
5. NRG – It All Comes Back To Me
6. Solid Reputation – Things

The Gaiety Record Story Vol. 1 gathers a potent selection of Canadian garage rock and early psychedelic sounds from the 1960s, drawn from the catalogue of Gaiety Records. Issued by Return To Analog as catalogue number RTA116, this collection shines a light on a small but important independent label whose singles have become highly sought after by collectors.

The compilation captures a lively moment in Canadian rock history, when regional bands were absorbing British Invasion energy, American garage grit and the first sparks of psychedelia, then reshaping them into something raw, direct and local. The result is a set of tracks full of organ-driven hooks, urgent vocals, fuzzed-up guitars and teenage beat-band excitement.

Featured artists include The Checkerlads, White Knights, Tomorrow’s Keepsake, The Plague, Lexington Avenue, NRG and Solid Reputation. Across the album, the sound moves from dance-floor garage stompers to moodier psych-edged cuts, offering a vivid snapshot of Canada’s mid-60s underground single scene.

For fans of obscure 45s, North American garage, beat, psych and regional rock history, The Gaiety Record Story Vol. 1 is both an enjoyable listen and a valuable archival release, bringing together recordings that would otherwise remain difficult to find outside original singles.

1. The Checkerlads – Baby Send For Me
2. The Checkerlads – You Just Can’t Hide
3. White Knights – Love That’s True
4. White Knights – Promise Her Love
5. Tomorrow’s Keepsake – High And Mighty

1. The Plague – Face Of Time
2. The Plague – High Flyin’ Bird
3. Lexington Avenue – Bird Collector
4. Lexington Avenue – Sound The Alarm
5. NRG – Take Me Back Home
6. Solid Reputation – Brown Eyed Girl

A wonderful vinyl reissue of a notable 1970 LP from Canada's psychedelic scene. Though 'Mr. Oil Man' was originally released by CBS, the album has a strong underground vibe, which goes for the acidy music as well as the lyrics, which are full of environmental, political and social comments. The LP comes in a heavy tip-on gatefold jacket and also includes an insert with band history, photos, lyrics and more. For genuine psych/acid heads this is a classic and essential title!

Track Listing:

• A1 Mr. Business Man 2:41
• A2 Mr. Oil Man 12:27
• B1 20 Years 3:08
• B2 Sally's Hymn (Smoker's Funeral Song) 4:44
• B3 300 South 2:40
• B4 Heidi-Ho (Let Her Go) 3:29

• 500 pcs on black vinyl with band insert.

From 1966-67 comes The Rayne, only released on an acetate at the time. Cool male/female psych from New York. Organ-drenched, harmony vocal-enriched garage pop/psych recordings with a west coast psych sound, from the Rayne, a Yonkers, NY band. Some trippy originals (‘But Come Tomorrow’ in particular, stands out), plus covers of (oddly) Cashman & Pistilli’s ’Sunday Will Never Be the Same,’ ‘Do You Believe in Magic,’ and a pulsating 'Somebody to Love.’

Label: Shroom Angel Records

First legitimate reissue of one of the best US private press hard rock/progressive rock albums of the 1970s, from the master tapes. Only 250 copies available. Formed in 1969 in Houston, TX, Oz Knozz's original crew included multi-instrumentalists Jack Alford, Bill Massey and Duane Massey. Alford left the group in 1971 and was replaced by drummer Marty Naul, while the next year the trio was joined by guitarist Richard Heath. The band had also a three-man horn section, which was dropped quite fast, although horns remained a part of the band's sound, even on their rare and epochal 1975 private press debut 'Ruff Mix,' released on the band's own Ozone label. 'Ruff Mix' mainly grooves in hard rock territory, the second track 'Peanut Butter Yoni' sounds a bit like Judas Priest with a proto-metal feeling. Yet the album also has elements of progressive rock, horn rock and pomp rock. Like most bands of the era, the idea may have been to take a shot at a few different styles to see if something would stick_ the theory being that a major label might hear the private album by chance and sign said band so they could open for Led Zeppelin or Foghat's next US tour... or something like that. What separates Oz Knozz from other bands is a strong compositional component; they have plenty of original ideas and muster superb instrumentation. The guitar work ranges from hard and powerful to melodic and bluesy, and is supported by some great keyboard, including awe-inspiring organ and synth waves. The three-part 15-minute 'Doodley Squat' suite features heavy dual keyboard parts, crunchy guitars and expressive vocals; the result is a terrific hard prog track with lot of energy. Strange to say about a hard rock album, for many the standout track is the groovy and infectious horn rocker 'Love Poem,' which sounds like it easily could have been from 1969. High energy and impressive songwriting.

Track Listing:

• A1 For Pat
• A2 Peanut Butter Yoni
• A3 Second Time Blues
• A4 Love Poem
• B1 Doodley Squat #1
• B2 Doodley Squat #2
• B3 Doodley Squat #3
• B4 Last Song

300 copies limited! In 1969, The Lemon Drops ventured from Chicago to San Francisco, hoping to break into the psychedelic rock scene. Rehearsals at the Redwood City estate of financier Dan Herron were intense and promising, with a rotating cast of musicians dropping in—among them Cold Blood with Lydia Pense, and Gram Parsons with the newly formed Flying Burrito Brothers, who sometimes stayed for days. But a series of misfortunes derailed the dream, leading to the band's breakup.

Out of the ashes emerged Watermelon, a new project formed by former Lemon Drops members, joined by ambient music pioneer Raphael (a.k.a. Rafael). This fresh collaboration birthed a sound that was both raw and otherworldly.

Watermelon’s music fused hard-driving psychedelic rock with moments of eerie, hypnotic ambiance. Their style has been described as blending “an ethereal sound of yesterday with an infinite hope for tomorrow.” Others compared them to “Booker T. meets Quicksilver Messenger Service,” highlighting their soulful grooves and vibrant instrumental interplay. One critic summed it up: “If you're into late-’60s/early-’70s psychedelic rock with a blazing organist, this one’s for you.”

The recordings—thought lost for decades—were made using just two microphones and a professional Ampex two-track machine, thanks to producer Reggie Weiss, who was then working in Ampex’s magnetic tape research division. Weiss recounts the backstory in the reissue’s liner notes: “They sound so good, it’s hard to believe how simply they were captured. My boss lent me his pro machine for one night. Thank God he did.”

Now restored and released, these long-buried tapes reveal Watermelon’s fierce and evocative sound—a hidden gem of post-Lemon Drops psychedelia ready for rediscovery.

TRACK LISTING

• A-1 You Got It (take one) 3:20
• A-2 African Song 3:24
• A-3 Triology 3:08
• A-4 Fantasy Child 3:27
• A-5 Popsicle Girl (single version) 4:33
• A-6 Primordial 3:56
• B-1 Linda In Rhymestones (alternate take) 3:45
• B-2 Silver Watermelons 4:15
• B-3 Watermelon Woman 3:32
• B-4 Nobody Loves You Like I Do 4:09
• B-5 The Ocean Song 3:31
• B-6 Yesterday's Gone 3:14

300 copies limited! Sunset Love was a dreamy, semi-mystical flower-power group from New Mexico whose sound fused elements of The Mamas and the Papas, Spanky and Our Gang, and The Beatles, resulting in a distinct brand of melodic pop-psychedelia.

Limited to 300 copies, this release brings to light a remarkable but long-lost chapter of 1960s music. In 1968, Sunset Love was invited to record at Westex Studios in Odessa, Texas—a studio co-founded by Tommy Allsup (an original member of Buddy Holly’s Crickets) and Gorman Maxwell. Notably, Westex was also where Zager and Evans recorded their chart-topping hit “In the Year 2525.”

To guide the sessions, Allsup brought in Buzz Cason—a producer and fellow Crickets alumnus—from Nashville. The collaboration resulted in sixteen recorded tracks, twelve of which were original compositions. Lead vocalist and songwriter Victor Kay Lindsey reflected, “We thought we were going to be superstars—we had big plans and were certain an album would be released.”

But fate had other ideas. Shortly after the sessions, Allsup ended his partnership with Maxwell, sold his share of the studio, and relocated to Nashville. Left in limbo, Sunset Love waited for a breakthrough that never came. As Lindsey later put it, “We should’ve taken our tapes to Los Angeles like Zager and Evans and found a producer—but we didn’t, and we broke up in the summer of 1969.”

Now, for the first time ever on vinyl, the complete 1968 mono mixes finally see the light of day—alongside a deeper glimpse into the band’s story. Sunset Love is a forgotten gem of late-’60s pop psych, lovingly restored and ready to be rediscovered. If you're a fan of lost harmony-laden psychedelia, this is an essential addition to your collection.

TRACK LISTING

• A1 Change
• A2 Little Children
• A3 Winter's Day
• A4 Sunset Love
• A5 Window In The Sky
• A6 Reach Out
• A7 Run To The Sun
• B1 Tribute To Kay
• B2 Wheels
• B3 Push
• B4 Green Hippie
• B5 World Of Pain
• B6 Man In The Park
• B7 Father Paul
• B8 Innocence Dies Young On Our Street

• The only authorized reissue of this psychedelic masterpiece
• 180g vinyl edition comes in an old-style tip-on jacket
• A holy grail for collectors of psychedelia
• Insert with info and band history by band leader Nick Freund and photos from his personal archive

Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that’s equal parts acid-soaked mind expansion and God.

Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat.

If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic a proper reissue.

Track Listing:

• Speak To Me
• Rene Child
• Melayna
• So Many Things Have Got Me Dawn
• You And I
• All But This
• Poem By George Hall
• The Decidedly
• The News is You

300 copies limited! An exact re-issue of The Human Zoo album, taken from the original master tapes, with all album artwork faithfully replicated!

The Human Zoo was a short-lived but noteworthy garage-psychedelic rock band from Westminster, California. Initially performing under the name The Circus, the group was discovered by Jim Foster of The Human Expression and signed to Accent Records in 1969.

Led by vocalists Jim Cunningham and Roy Young, the lineup also included John Luzadder (guitar), Larry Hanson (guitar/keyboards), Bob Dalrymple (bass), and Kim Vydaremy (drums). Their self-titled album, released in 1970, was produced in a very limited run—originally meant for promotional purposes—and has since become a coveted rarity among collectors.

TRACK LISTING

• It's Got To Be
• Na-Na
• Help Me
• I Don't Care No More
• Funny
• Late To My Resurrection
• When Papa Started Drinking
• Gonna Take Me A Ride
• Stone Sassy Fox
• The Human Zoo
• The Time Was Over

• Full liner notes with rare clippings and photos
• Cut from uncompressed, unequalized transfers of the original analog master tapes— heaven for your ears!
• Limited edition of 500 copies

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, their 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. The first Wilson McKinley LP, 1970's "Live On Stage," was a slapdash effort on all fronts and is generally dismissed by everyone involved (maybe why nobody seems to know the whereabouts of the masters for that one). Chastened by their debut, Wilson McKinley took a more focused approach to "Spirit Of Elijah": the result was a major leap forward, and a faithful representation of their massive talent; the power of the message and the playing shine through! However, what Wilson McKinley recorded onto the master tape and what made it to a buyer's phonograph in 1971 were vastly different things, with inconsistent patches of reverb in the final mix plus other anomalies that a minimally-financed, privately-pressed LP might have.

After suffering the indignity of being pirated from the only source material available (a poorly-pressed, poorly-mastered decades-old record), Obscure Oxide and Lion Productions are proud to announce a brand new, 100% legitimate, high-quality vinyl pressing of this classic LP, using exclusive transfers from the original analog reels, with all lacquer cutting and plating done under one roof for the most accurate sound. The bands' longtime associate Timothy Smith has written detailed liner notes for a new insert, featuring vintage photos and press clippings. Original jacket artwork and label art are faithfully reproduced.

Track Listing:

• A1 He
• A2 It's Up To You
• A3 Come On Home
• A4 One In The Spirit
• A5 Tree Of Life
• B1 His Eye Is On The Sparrow
• B2 All My Life
• B3 Crown Of Glory
• B4 I Need A Saviour
• B5 Spirit Of Elijah

Here at last is a chance to discover why people have been willing to pay a very steep price to hear Sandhy & Mandhy, the duo who were not a duo, the band who were not a band, creators of perhaps the rarest and most expensive album from Argentina. To tell the story of Sandhy & Mandhy, we have to go back to 1967, when Alberto Infusino (Sandhy) and Alberto Vanasco (Mandhy) began their musical partnership in the beat band The New Free Men. Like many bands of that time, Los Shaker's and Los Walkers, for example, the New Free Men played covers of songs by the Zombies, Animals, Kinks, Yardbirds, Doors, and so on, in clubs and at parties. Yet at the same time, Infusino and Vanasco started to play their own compositions, with a national touch to the music. Let's let Vanasco (Mandhy) take up the story: "In 1969, we went to talk with Billy Bond, chief of 'La Pesada del Rock Roll,' to ask about the chance to make an album. Bond said that he was not looking for a band, but for a duo who sang songs in Spanish... So, we called some friends to play together, and we called the project Sandhy & Mandhy." They recorded the album in three hours, with a full band (Farfisa organ, congas, drums, bass, and guitars)—one take of each song. Instead of a demo, they decided to press an LP: the company (Phonalex) pressed 110 LPs in total, which the band gave out at gigs. Sandhy & Mandhy were one of the first bands in South America bring a rebellious attitude to the music scene—all this in a period of military repression, when forced haircuts in the streets were a common occurrence. Although they broke new ground, success was not their fate. And so thirty-eight years after the burst of improvisation that was Sandhy & Mandhy, the rest of the world can finally take a taste of their dark, groovy, beat-influenced psychedelia (that fuzz guitar on the excellent 'Lluvia'!). At times introspective and acoustic, at others manic and ramshackle in the best way, it's quite a discovery. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style gatefold jacket, which is housed in a loose-fitting plastic sleeve. Inside the sleeve, you will find an insert with full details on Sandhy & Mandhy, including lyrics in Spanish and English, printed on 100% recycled paper. The LP labels are replicas of the originals. A top of the line pressing all the way. Limited edition of 800 copies."

Track Listing

• A1 Quisiera Olvidarte 3:27
• A2 Esta Noche No Debes Llorar 2:50
• A3 Vuelve A Ser El De Antes 2:32
• A4 Eres Tu La Mujer De Un Dia 3:27
• A5 La Chica Sola Y Triste 2:41
• A6 Lluvia 3:41
• B1 Yo Te Buscare 2:29
• B2 Recuerdo Hoy 2:43
• B3 Sigue Creyendo En Mi 2:46
• B4 La Indeferencia Los Pone Mal 5:40
• B5 Mas Alla De Las Lagrimas 3:11
• B6 Me Colgaron La Galleta 2:34
• B7 Hasya El Manana 1:29

Although they sprung ready-made from of the ashes of legendary candombe/beat group El Kinto, one of the best-kept secrets from Uruguay’s musical mythology is nevertheless the group of musicians who recorded one album as Limonada. So what happened? The story starts with the end of El Kinto, when band leader and iconoclastic maniac Eduardo Mateo decided to embark on a solo career (see our Lion Productions collection of his early music for more details), and the other members of El Kinto said “let’s do something together.” And so it was that in the middle of 1970, Limonada recorded their one and only album, “LimoNada” (Sondor 33.111). It is a strange record, with backwards tape splices and abrupt song changes, that remains at the same time absolutely accessible and very groovy, in a Tropicalia sort of way, which might explain why it was an immediate success. In truth, it’s a profound mystery why the Limonada LP—one of the ten best sellers of its time within three weeks of its release—seems to have vanished from the consciousness of even the most devoted fans of obscure music. Until now, of course. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style jacket, which is housed in a loose-fitting plastic sleeve. Inside you will find an insert with historical background on the Uruguayan scene, details of the band’s past, plenty of photos, as well as a brief overview of the legendary Sondor label, printed on 100% recycled paper. The LP labels are replicas of the Sondor originals. A top of the line pressing all the way. Limited edition of 500 copies."

At times this album is a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too (where did those crazy orchestrations, wild guitar, and breakbeats on the fierce anti-war rave-up Hard Headed Woman come from?), all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. Chicago-based duo Chuck Hollins and David Starr only made this one album, which originally appeared in 1970 on the Ovation label. All we know about them is what the original ads for the album said: "David Starr learned piano when he was three, began composing when he was four. At twenty-one he was playing flute with the Chicago Symphony Orchestra. Chuck Hollins picked up a guitar one day and just started playing.... by the time he left Northwestern with his Creative Writing degree he was turning his poetry into music." Others have said: "Unique blend. with a lovely dreaming, drifting vibe" - the Acid Archives; "Many diverse influences from pop-psych, mystical mellow passages, quasi-classical touches, delightful ethereal flute, trance-like vocals and fuzz guitar. there is much to appreciate on this largely undiscovered gem" - Fuzz, Acid & Flowers. The replica LP version comes in an old style tip-on jacket, and include an insert with an essay on the album and a little background history on the Ovation label. It is a 180 gram vinyl pressing, mastered from the original tapes; the sad news: this LP version is limited to 750 copies. So, we state that the sole album by Chuck Hollins and Dave Starr, their only known recordings, is a treasure trove of strong melodies and dreamy vocal stylings-an album sure to appeal to fans of acid folk, popsike, and even those who like jazzy funk. Listening to it is a rich, rewarding experience. This is a perfectly produced and arranged record, an ode to the free mind, structured by intelligent considerations. And as another person has said, "No wonder it has been sampled by DJ Shadow." Ovation said at the time of its release, "Classical artistry rock and sidewalk poetry." All true. Very cool. Hip, mellow, and stoned. Track List: 1. Talking to Myself (2:58 - 4:22); 2. Krishna Dov (2:35); 3. Cry Baby Cry (3:17); 4. Twin City Prayer (1:36); 5. John Hurt (2:12); 6. Hard Headed Woman (5:21); 7. Home? (3:36); 8. Vivace (2:57); 9. Lovable (3:50); 10. Digress (2:50 - 5:13); 11. Stayin High (2:23); 12. Sidewalks Talkin (3:32); 13. Feelin Good (2:10)"

"It's dark and still in the chief's village protected by mountains of the great southern regions of Africa..." so begins the seventeen minute epic 'African Day' that kicks off the greatest Afro-psychedelic concept album ever made - first released on Parlophone in 1971. Hawk's music on this epochal album is a fusion of tribal African rhythms with acoustic hippie music elements - long solo jams, saxophone breaks, percussion - sounding at times like an African version of Embryo fronted by Tim Buckley! In Johannesburg, bursting, like Durban, with musicians aeons ahead of their time, Hawk added the sunburnt, brown prairies of Africa to the genre of the concept album - the heady, steady beat of drums, and enough cross-rhythms to make you dizzy. Add the mesmerizing voices - and the telling of a story. Tuck in the ranging flute, the saxophone. The deep bass buzz. And the hypnotic talking drums. Music the African way: earthy stuff - virile, extraordinary, substantial. Hawk were listening to a lot of Hugh Tracey tapes (the Afro-musicologist who travelled Africa capturing sounds and music on tape for posterity). They went to Swaziland and came back with their own sounds: drums and a burning desire to make their own brand of African music. From all of this came 'African Day.' The Lion/RTA reissue comes with an LP-sized 12-page booklet which includes a complete band history by music writer Owen Coetzer, packed with photos, plus the story of the re-discovery of the multi-track master tapes and the transfer of those newfound tapes that resulted in this very reissue.

Track Listing

• African Day 17:20
• Happy Man 2:50
• Look Up Brother 3:03
• Love Song 3:23
• Kissed By The Sun 3:28
• Here Comes The Sun 4:27

• 500 pcs ltd

A freshly remastered version of this Canadian folk/psych classic is now available—an exquisite blend of dreamy, sunshine-infused pop psychedelia with a folk twist. Originally released in 1968 by the independent Canadian label Allied Records, this album has become a sought-after gem. Lion Productions initially released this exceptional album many years ago, and at that time, the accompanying booklet contained only a few shreds of information about the band. They threw out a challenge to "anyone out there" to uncover more details about this mysterious and fascinating group. Fortunately, someone took up that challenge, and that someone happened to be the band leader, Tom Waschkowski (credited as Tom Martin on the album). He generously provided a band history, lyrics, and some fantastic photos. This collaboration allows Lion and RTA to present as flawless a reissue of this album as humanly possible.

The Folklords' 'Release The Sunshine' stands as a captivating album, a sentiment shared by collectors worldwide who vie for original copies, which are scarce. Interestingly, if someone were to suggest that the Folklords album was released by Creation Records in 1987, it wouldn't be an easy argument to counter. The chiming guitars, the tambourine's rattle, the dreamy atmosphere, and the wandering harmony vocals of Martha Johnson place the Folklords more in the realm of Biff Bang Pow, the Jesus and Mary Chain, the Revolving Paint Dream, or even My Bloody Valentine's debut, 'Ecstasy And Wine' (albeit at a much slower pace and without the rampant fuzz guitar), rather than in the sunny poppiness of the 1960s. The remastered sound is glorious, with the twelve LP tracks sourced directly from the master tapes.

Track Listing

• A1 Jennifer Lee
• A2 Don't Hide Your Love From Me
• A3 Child
• A4 Unspoken Love
• A5 Windows
• A6 Forty Second River
• B1 Pardon Me Judas
• B2 Thank You For Your Kindness
• B3 We'll Love Like Before
• B4 Suzanne Maria
• B5 Don't Look Back
• B6 The Slace
• C Forty Second River
• D Unspoken Love

• First time vinyl reissue of 1976 underground French rock rarity
• Insert details the band’s history up to the recording of this album.
• "At the risk of sounding like a raving fanboy, En Regardent Passer Le Temps is indeed a classic record for the ages.”—Greg Northrup, Progweed

“The album practically encompasses the diversity and inspiration of the French progressive rock underground. It is, easily, one of the finest albums to have emerged from that scene. At the risk of sounding like a raving fanboy, En Regardent Passer Le Temps is indeed a classic record for the ages.” —Greg Northrup, Progweed

Formed in 1970, Carpe Diem started out playing covers by the likes of East of Eden, King Crimson, Deep Purple, and Uriah Heep in clubs along the French Riviera. Original compositions made their way into the band's repertoire over the five years between their formation and the release of their debut album, "En Regardent Passer Le Temps,” in 1976. Little wonder then that the band sounds as magnificently tight, polished and mature on this classic debut, truly one of the gems of the French rock scene. The success of the album brought them dates with other major French bands like Magma and Ange, led to the recording of a second album, and then ultimately to the sort of nearly total obscurity which deserves to be undone with a reissue such as this one!

"Carpe Diem weave spacey, melodic soundscapes of impossible subtlety and beauty, combining woodwinds and all manner of synthesizers with surging, inspired guitar solos. The playing is free and loose, while yet retaining an air of careful composition. Guitar parts and multiple keyboard lines lock into precise, tightly meshed melodic webs, building tension before bursting into emotive, furious climaxes. Soaring, cosmic guitar melodies glide along churning synthesizer rhythms in the aptly titled opener ‘Voyage du non-retour’ (Voyage of No Return). The three lengthy tracks that almost evenly divide the album's remainder are uniformly excellent, with nary a superfluous or unnecessary moment. It says something when, in listening to an album, each track convinces you independently that it, indeed, is the best cut on the record. ‘Reincarnation’ features understated, yet gorgeous, vocal passages in between fiery instrumental portions. The flute and mellotron introduction of ‘Jeux du siecle’ perfectly sets up the driving grooves to come. In closer ‘Publiphobie,’ fluid bass-lines and ultra-tight rhythmic work provide the foundation for heavily syncopated, enchanting saxophone melodies. Subtle, smoky vocals return to the fore later in the track, before the band jumps into the closing instrumental finale.” —Greg Northrup, Progweed

Track Listing:

• A1 Voyage Du Non-Retour 3:48
• A2 Réincarnation 12:50
• B1 Jeux Du Siècle 10:10
• B2 Publiphobie 9:54

• 200 pcs ltd

In December 1976, Carpe Diem entered whacked-out recording wizard Jean-Pierre Massiera's Azurville studio and recorded - on 16-tracks - and in just ten days - working sometimes from ten in the morning until three the following morning - all the material they'd written since their first album. The trademark Carpe Diem sound is here in full force: cosmic synthesizers, psychedelic-flavored guitar-led flights of fancy, fluid woodwinds, along with an astounding degree of harmonic sophistication. The highlight is the 21-plus minute suite, 'Couleurs,' which develops through a series of sublime melodic motifs. As should be expected, the musicianship is monstrous, the playing is tight and energetic, and the melodies veer from gorgeous to haunting. The remainder of the album is taken up by short tracks which present more concise takes on Carpe Diem's ideas. This vinyl reissue includes a fascinating bonus track: an excerpt from the never-released English language version of the album. Comes with an insert with notes by Francis Grosse detailing from Carpe Diem's first album to their split and lyrics with translations.

Track Listing

• A1 Naissance
• A2 Le Miracle De La Saint-Gaston
• A3 Laure
• A4 Tramontane
• A5 Divertimento
• A6 Rencontre
Couleurs
• B1.a Phase Noir: Premiers Pas
• B1.b Phase Orange: La Traversée Des Sables
• B1.c Phase Vert: Dernier Village... Premières Neiges
• B1.d Phase Violette: Rencontre
• B1.e Phase Blanche: Les Portes Du Silence

• 500 pieces limited 180g vinyl reissue
• first ever official vinyl reissue
• insert with band history and pictures

This is a great Canadian psychedelic rock album, that was originally released on Maverick Records in 1969.

In the spring of 1969, 49th Parallel had a hit with 'Twilight Woman', a lovely song that sounds like a poppier version of what bands like Tomorrow were doing in England. That success led to the release of 49th Parallel's only album. The album is strong throughout, from the pulsating psychedelia of 'Lazerander Filchy' and the ultra-strange '(The) Magician', the shimmering beauty of 'Twilight Woman', to the quintessential slashing guitars punk edginess of 'Now That I'm A Man' and '(Come On Little Child And) Talk To Me'. Dan Lowe's blazing fuzz guitar work stands out on 'Missouri' and also when matched by organist Jack Velker's brilliant work on 'Eye To Eye', 'Talk To Me' and '(The) People'.

Track Listing

• Now That I'm A Man
• Get Away
• Eye Yo Eye
• Missouri
• Lazerander Filchy
• (Come On Little Child) Talk To Me
• Magician
• Twilight Woman
• Close The Barn Door
• The People

Label: Antenna Concert Radiobroadcast

• Limited edition 350 copies
• Splatter vinyl

Recorded during Pink Floyd’s legendary The Wall tour at Nassau Coliseum, Uniondale, New York (February 1980), Tearing Down The Coliseum Wall captures one of the most ambitious live productions in rock history. Featuring the complete performance of The Wall, complete with theatrical staging and the gradual construction of the famous stage wall, this recording documents the band at the height of their large-scale live era.

1. Introduction – 1:55
2. In The Flesh – 3:27
3. The Thin Ice – 3:15
4. Another Brick In The Wall (Part 1) – 4:56
5. The Happiest Days Of Our Lives – 1:40
6. Another Brick In The Wall (Part 2) – 6:17

1. Mother – 8:03
2. Goodbye Blue Sky – 3:42
3. Empty Spaces – 4:33

1. Young Lust – 5:25
2. One Of My Turns – 3:32
3. Don't Leave Me Now – 4:04
4. Another Brick In The Wall (Part 3) – 4:39
5. Goodbye Cruel World – 1:40

1. Hey You – 4:00
2. Is There Anybody Out There – 3:06
3. Nobody Home – 3:29
4. Vera – 1:12
5. Bring The Boys Back Home – 1:22
6. Comfortably Numb – 7:12

1. The Show Must Go On – 5:50
2. In The Flesh – 5:00
3. Run Like Hell – 7:19

1. Waiting For The Worms – 4:35
2. Stop – 0:38
3. The Trial – 6:26
4. Outside The Wall – 3:52

Label: Antenna Concert Radiobroadcast

DELUXE 3LP BOX
• 8 page booklet
• 350 pcs limited
• splatter

Recorded at the Municipal Auditorium in Mobile, Alabama on May 13th, 1973, this live Led Zeppelin recording captures the band during their monumental 1973 North American tour. The set features a powerful mix of classics from their first four albums alongside newer material from Houses Of The Holy, with extended versions of “Dazed And Confused,” “No Quarter,” and “Moby Dick” showcasing the band’s expansive live improvisation.

1. Rock And Roll – 4:07
2. Celebration Day – 3:36
3. Black Dog (With Bring It On Home Intro) – 6:19
4. Over The Hills And Far Away – 6:04

1. Misty Mountain Hop – 5:17
2. Since I've Been Loving You – 8:55
3. No Quarter – 10:46

1. The Song Remains The Same – 6:31
2. The Rain Song – 8:34

1. Dazed And Confused (Part 1) – 20:31

1. Dazed And Confused (Part 2) – 8:17
2. Stairway To Heaven – 10:39

1. Moby Dick – 16:34

Label: Norske Albumklassikere

Freddy Lindquist was already an important name in Norwegian rock before recording Menu, having played with major 1960s groups such as The Beatniks and The Vanguards. Released in 1970, this was his only solo album, and it remains a highly enjoyable early Norwegian progressive rock record with strong guitar work, loose studio energy and a colourful late-60s/early-70s atmosphere.

For the sessions, Lindquist gathered a strong circle of musicians connected with Oslo’s vibrant Club 7 environment, including vocalist Freddy Dahl of Junipher Greene, keyboardist Geir Wentzel, drummers Leif Jensen and Espen Rud, and saxophonist Carl “Calle” Neumann. Lindquist himself handled guitar, bass, flute and percussion, giving the album a very personal and multi-instrumental character.

Musically, Menu moves between hard-edged guitar rock, bluesy grooves, psychedelic flashes and early progressive arrangements. The playing is direct and lively, but there is also a playful studio feel running through the album, with keyboards, saxophone, flute and percussion adding extra colour around Lindquist’s sharp guitar presence.

Tracks such as Sundae Sellers, The Green And Pink Little Man and Sharako show the album’s more eccentric and exploratory side, while How Nice, Black Is Black and Join In And Freak Out lean into a stronger rock feel. The result is a compact but varied Norwegian album classic that connects garage-rooted 60s rock with the heavier and more adventurous sounds of the new decade.

This Norske Albumklassikere CD edition, catalogue number NACD552, brings Menu back as part of the label’s series dedicated to important and hard-to-find Norwegian releases.

1. Sundae Sellers
2. The Green And Pink Little Man
3. Ridin’, Huggin’ And Kissin’
4. Sharako
5. How Nice
6. Black Is Black
7. Woman Running Around
8. Join In And Freak Out

Label: Norske Albumklassikere

Dream, also known as The Dream, were a short-lived but important Norwegian rock group formed in 1967. Bringing together musicians from several leading Norwegian bands of the period, the group created one of the most distinctive Scandinavian psych-rock albums of the late 1960s.

Get Dreamy was their only album, originally released in 1967, and it captures a band moving quickly through the new musical language of the era: fuzz guitar, organ-led psych, bluesy rock drive, melodic pop touches and a playful, experimental studio mood. The presence of guitarist Terje Rypdal, already known from The Vanguards and later to become one of Norway’s most celebrated musicians, gives the record additional historical weight.

The album opens with the strange and colourful Green Things (From Outer Space), setting the scene for a record that is energetic, imaginative and slightly off-centre. Ain’t No Use stretches into heavier, more exploratory territory, while Driftin’ and I’m Counting On You show the group’s more melodic side. Elsewhere, Night Of The Lonely Organist And His Mysterious Pals brings a suitably eccentric title to match the album’s swirling keyboard character.

Later tracks such as You, You’re Right About Me, Hey Jimmy and Do You Dream keep the balance between 60s pop immediacy and psychedelic atmosphere. The result is a compact but highly enjoyable record that stands as a key early document of Norwegian rock moving into more adventurous territory.

This Norske Albumklassikere CD edition, catalogue number NACD122, makes Get Dreamy available again as part of the label’s series of Norwegian album classics, preserving an essential piece of Scandinavian 60s psych and beat history.

1. Green Things (From Outer Space)
2. Emptiness Gone
3. Ain’t No Use
4. Driftin’
5. I’m Counting On You
6. Night Of The Lonely Organist And His Mysterious Pals
7. You
8. You’re Right About Me
9. Hey Jimmy
10. Do You Dream

Label: Norske Albumklassikere

Aunt Mary were one of Norway’s key progressive rock bands of the early 1970s, formed in Fredrikstad and gradually developing from blues-based rock into a more ambitious and expansive sound. By the time they recorded Janus in 1973, the group had sharpened its identity into a confident blend of hard rock, progressive structure, melodic songwriting and atmospheric studio detail.

Janus was the band’s third album and stands as one of their most mature works. Compared with their earlier records, it feels broader in scope and more carefully arranged, moving between heavy guitar passages, reflective vocal sections, organ-led textures and longer progressive developments. The album has the strength of a hard rock record, but with enough space, melody and mood to place it firmly within the Scandinavian prog tradition.

Tracks such as Path Of Your Dream and Nocturnal Voice show the band’s ability to combine direct rock energy with a more dramatic, searching atmosphere, while For All Eternity and Candles Of Heaven stretch into more elaborate territory. Elsewhere, All We’ve Got To Do Is Dream and What A Lovely Day bring a softer, more melodic contrast, giving the album a varied and carefully balanced character.

Released shortly before the band split, Janus has often been viewed as Aunt Mary’s final major statement from their original 1970s period. This Norske Albumklassikere CD edition, catalogue number NACD262, presents the 1973 album as a compact and collectible reissue for fans of Norwegian progressive rock, heavy prog and classic Scandinavian underground sounds.

1. Path Of Your Dream
2. Mr. Kaye
3. Nocturnal Voice
4. For All Eternity
5. Untitled
6. Stumblin’ Stone
7. All We’ve Got To Do Is Dream
8. Candles Of Heaven
9. What A Lovely Day

Label: Norske Albumklassikere
• CD packed into a 4 panel digipack
• Mastered from original tapes
• Complete with rare photos and sleevenotes by the band.

A sitar-kissed cruise through the gentler side of psychedelia, this flawless gem combines beautiful melodies, thoughtful lyrics and immaculate instrumentation to hypnotic effect. Originally released only in Norway, where it sold in minute numbers in 1970, this is its first official reissue and comes complete with a 12-page, full-colour booklet incorporating rare photographs and detailed liner notes by the band’s leaders, Nina Johansen and Rune Walle.

Track Listing:

• Across Your Life
• Mother Nature
• Look At Me
• Unless
• Land Of Wisdom
• Let It Be My Birth
• Can Anybody Tell?
• Visions
• My Way To Be Hurt
• Where You Went
• I’m Going

Label: Norske Albumklassikere

Digi-sleeve Rain were one of the more mysterious names in early Norwegian progressive rock. Although the group left very little behind during their original lifetime, the material later collected as Norsk Suite reveals a band with a bold, restless and unusually ambitious musical imagination.

Recorded in 1969 but not issued as a full album until decades later, Norsk Suite stands apart from much of the Norwegian rock of its period. Rain blended psychedelic rock, early progressive arrangements, orchestral touches, brass, fuzz guitar, Hammond organ and dramatic vocals into a sound that was colourful, theatrical and often unpredictable.

The album mixes original compositions with striking reinterpretations of well-known songs. Their versions of A Day In The Life, Strawberry Fields Forever and Isolation are not simple covers, but ambitious reworkings filtered through Rain’s own dense and eccentric musical language.

The self-written pieces give the record its strongest identity. Whine And Wail, Join The City War, Ikke Vær Redd, Far and Sveins Vise move between heavy organ-led passages, psych-rock tension, odd melodic turns and a distinctly Nordic sense of atmosphere. The title track, Norsk Suite, sits at the centre of the album as a compact example of the band’s adventurous approach to structure and arrangement.

This Norske Albumklassikere CD edition, catalogue number NACD518, restores a fascinating lost chapter of Norwegian rock history and is highly recommended for fans of Scandinavian prog, late-60s psychedelia, Hammond-driven rock and ambitious underground studio experiments.

1. A Day In The Life
2. Whine And Wail
3. Strawberry Fields Forever
4. Norsk Suite
5. Join The City War
6. Ikke Vær Redd, Far
7. Have You Seen Your Father’s Face
8. Sveins Vise
9. Isolation
10. Siste Ordre
11. Tapha

TRACK LISTING

• Sunset Love– Change
• Sunset Love– Tribute To Kay
• Sunset Love– Run To The Sun
• Sunset Love– Reach Out
• Sunset Love– Little Children
• Sunset Love– Winter's Day
• Sunset Love– Sunset Love
• Sunset Love– Green Hippie
• Sunset Love– World Of Pain
• Sunset Love– A Man In The Park
• Sunset Love– Father Paul
• Sunset Love– I Will
• Sunset Love– Wheels
• Sunset Love– Push
• Sunset Love– Innocence Dies Young On Our Street
• Inner Sanctum (11)– The House Of Yesterday
• Inner Sanctum (11)– Id
• Inner Sanctum (11)– Hydro Pyro
• Inner Sanctum (11)– Purple Floating
• Inner Sanctum (11)– Snow Petals
• Inner Sanctum (11)– Little Tin Soldier
• Inner Sanctum (11)– The Man Who Shot Your Mother

Available on CD is a spectacular compilation of early '70s recordings from Texas-based cult hard-psych/space-rock outfit Seompi, including eight previously unreleased cuts and more. 'Guns In The Skies' proves that Seompi ranks up there with all the other legendary Texas heavies such as The 13th Floor Elevators, The Zakary Thaks, Golden Dawn, Bubble Puppy, Moving Sidewalks, ZZ Top and Johnny Winter

Track Listing:

• AWOL
• Elijah
• Draggin' At My Coattails
• Almost In The Whole(alt.)
• And I Ain't Seen Him Since
• Kittens
• A Question Of Nobility
• Do You Not Know
• Synergy Squares>Guns In The Skies
• Sticky Situation
• Prelude
• Voodoo Child
• Dirge For Jimi Hendrix
• Summers' Comin' On Heavy

The Monterey International Pop Festival in June 1967 should have been The Paupers launch pad to international fame. Only four months earlier, the Canadian folk-rock band had seemed destined for the top when Bob Dylans manager Albert Grossman bought their contract and began hyping them as the next biggest thing since The Beatles. A month prior to the festival, the group had showcased its talent at a string of well received shows at the Fillmore Auditorium in San Francisco, and had spent two solid weeks working up a suitable set list for the forthcoming festival. As Canadian rock journalist, Nicholas Jennings notes in his excellent book, Before The Goldrush, the opportunity to "blow away the competition looked good when the band was scheduled to follow mellow popsters The Association." But from the minute The Paupers launched into their set, everything that could go wrong did, and in the subsequent media frenzy, the groups performance was all but ignored. Within six months, the group once hyped to surpass The Beatles, had lost not only its most inspirational member but was facing mounting debts."

Label: Ye Elde Folk Musique

Meic Stevens, a prominent Welsh musician and songwriter, is recognized for his influential contributions to the Welsh music scene. Often regarded as the "Welsh Bob Dylan," Stevens is celebrated for his distinctive blend of folk, rock, and psychedelia. His music, delivered in both Welsh and English, reflects a deep connection to Welsh culture and storytelling. Stevens' compelling songwriting and emotive vocals have earned him a revered status among folk enthusiasts, with his work continuing to inspire and resonate with audiences drawn to introspective, poetic, and evocative music.

Track Listing:

• Rowena
• Love Owed
• Left Over Time
• Lying To Myself
• The Sailor And Madonna
• Oxblood
• Yorric
• Midnight Comes
• Ghost Town
• Dau Rhosyn Coch
• Ballad Of Old Joe Blind
Bonus Tracks
• I'm Not The One To Ask Why
• Stealing The Railroad

The Influence was one of the most fascinating bands to emerge from Canada during the 60s. The groups rich diversity of styles was a result of the group members wide range of musical backgrounds and geographical origins. Formed in late May, the quartet, named The Influence, immediately made its presence felt and became regulars at Montreals Barrel during the summer of 1967. In June, Rossi and Island returned to Montreal and, after catching the bands set, joined the line-up. The new line-up became more musically adventurous, adopting a style that was influenced by jazz musicians Sonny Murray and Archie Shepp, and with Island adding a second lead voice. After tightening up their act, The Influence moved to Toronto and became a regular sight at Boris Red Gas Room throughout September-December.

In 1966 Dallas was a mecca for great bands and two of the best, The Exotics and The Esquires, are included on this album. The Exotics began as a rock and roll band in 1959, but by 1966 were recording psych-pop and folk-rock gems. They released three singles, one of them, "Come With Me", reaching the top ten. The Esquires formed in 1965 and recorded four singles, mixing folk-rock with a hard edged sound. The wild "Come On Come On" and "Judgment Day" are what make The Esquires legendary today. Dallas 66 contains all seven of The Esquires original songs and seventeen tracks by The Exotics, including rare radio promos and unreleased material. The Exotics 1. Come With Me (Tad#2410-a) (Original Stereo version) 2. I Was Alone (Tad #6701-b) 3. Queen Of Shadows (Tad #6701-a) 4. Morning Sun (Monument #984-a) 5. Fire Engine Red (Monument #984-b) 6. Hymn To Her 7. I Was Alone (unreleased Version) The Esquires 8. Come On Come On (Texan #103-b) 9. Judgment Day (Glenvalley #105-b) 10. These Are The Tender Years (Glenvalley #105-a) 11. Time Dont Mean So Much (Glenvalley #104-a) 12. Loneliness Is Mine (Texan#103-a) 13. Come On Come On (Glenvalley#105-b) (Alternate Version) 14. These Are The Tender Years (Glenvalley#105-a) (Alt Version) The Exotics 15. Hymn To Her (demo version) 16. Come With Me (demo version) 17. Queen Of Shadows (Alternate Version) 18. Morning Sun-KBOX 11/21/66-Airplay 19."Come With Me" To Bill McKay Chevrolet Ad 20."Queen Of Shadows"-Mitchells Department Store Ad 21. I Was Alone (Unreleased Version #2) 22. Morning Sun (Production Demo) 23. Morning Sun (Production Demo #1) 24. Queen Of Shadows (band track)"

Acid Symposium label

This superbly moody album first appeared on Capitol in 1969. Produced by 'Lord' Tim Hudson (The Seeds, The Lollipop Shoppe) and arranged by David Axelrod, it's a superb blend of garage rock and orchestrated psychedelia, featuring a threesong opening salvo truly unlike anything else in pop. This is its fullest-ever release, complete with four ultra-rare bonus tracks (from privately-pressed pre-LP singles) and liner notes detailing what little has ever been discovered about the ban - produced by 'Lord' Tim Hudson - arranged by David Axelrod - includes 4 ultra-rare privatelypressed pre-album singles - "Mellow, soft psychedelia similar to Gandalf" Track listing: 1. Soon There'll Be Thunder 2. I Have Been Alone 3. Those Who Love 4. Go Every Way 5. Why Must I Be? 6. Take From You 7. They Didn't Even Go To The Funeral 8. Feeling 9. Girl Said - Know 10. Land Of A Day 11. This Life She Is Mine ]]> Fri, 12 Jun 2026 18:13:05 +0300 https://www.lpcdreissues.com/item/complete-tracks https://www.lpcdreissues.com/item/complete-tracks

Label: RECORD RUNNER"

Aguaturbia "Complete Tracks" CD collection of tracks featuring the entire 1st and 2nd album (both released in 1970) plus bonus cuts from this infamous Chilean psychedelic underground acid rock group. Stoned to the max female vocals and seering trashy guitar licks are this bands signature. Original vinyl pressings are ultra rare and expensive. "

Track listing:"

1. Baby "
2. Erotica "
3. Agluien para Amar "
4. Ah Ah Ah Ay "
5. Rollin and Tumblin "
6. Uno de Estos Dias "
7. Carmesi y Trebol "
8. Eres Tu "
9. I Wonder Who "
10. Heartbreaker "
11. Blues on the West Side "
12. Waterfall "
13. Well All Right "
14. Jailhouse Rock "
15. E.V.O.L. "
16. Aguaturbia "
17. El Hombre de la Guitarra "
18. Hermoso Domingo "
19. Flaco"

"The ancient fathers of post-rock? The least skillful prog band ever? The answer is somewhere in between: through obsessive symphonies Wapassou show that there is no clear mark between depressive madness, cold fever, and music making." —Mutant Sounds.

Lest we startle you with excited pronouncements of how good this album is, we'll force ourselves to be matter of fact. With their first album, legendary French art-rock band Wapassou found a distinctive musical voice: long and well-developed melodies, rhythmic support from organ—no bass and drums! (more on that later)—prominent violin parts, and guitar doubling-up as a rhythm instrument. They often conjure up something akin to what it might have sounded like had John Cale and Stereolab formed a band in 1974, when this album was released. The five tracks (actually seven, as the singles tracks are equally intriguing) are highly original, always varied and inventive; spacey and ethereal, but steeped in post-psychedelic rock. Although Wapassou are noted for playing without a rhythm section, two of the most striking songs on this album have bass and drums. Why some enterprising dj hasn't created a chill mix from the drum track and provocative vocals on 'Chatiment' (guitarist Karen Nickerl murmuring about the cigarettes she has consumed and that she is a killer, 'Je suis l’assassin,' in the midst of the pulsing drone of the band), we don't know. The 13+ minute long 'Trip' is a revelation: the first two minutes will think you stumbled into the Cocteau Twin's 'Victorialand'; the band then jam for six and a half minutes before they drop one of the trippiest ethereal breakbeat grooves you'll ever hear; the last two minutes of solo sitar are sonic lysergia of the highest quality. A unique style throughout, with slight nods to groups like Amon Düul, Popol Vuh, Czar, Caravan, and Ash Ra Tempel. Includes two bonus tracks from their rare single, recorded in October 1974. A colorful 16-page booklet has the detailed history of the making of the album, plus photos and other marvels. Remastered and sounding better than it ever has.

In 1973, Rolf Ulrich Kaiser's visionary powers acted as a catalyst for an authentic combination of acid, music and sprituality: the mystical LSD-fueled musical project "Lord Krishna von Goloka." For this adventure into Indian and Oriental mythologies and legends, Kaiser asked esoteric Swiss artist (he was a friend of Giger's), poet, specialist on Alpine folklore, and friend of Timothy Leary, Sergius Golowin, to join a group of musicians including Klaus Schulze and members of Wallenstein and Witthüser + Westrupp. It was perhaps mere coincidence that Golowin's classic treatise on witches, herbs, and magic mushrooms was published that same year (Magie der verbotenen Märchen); the book was fast becoming a cult item—it was secretly xeroxed in what was then-Communist East Germany, and later distributed in the hippie-underground there. Sergius Golowin's intellectual and spiritual world of occultism, popular legends, and shamanism were the foundation for the project. He was responsible for the lyrics, which consisted of incantatory recitations in German over the multi-textural compositions. "The first release of what has become known as the Cosmic Jokers series, a Cosmic Courier super-session organized by Rolf-Ulrich Kaiser... (Sergius Golowin) handles the vocals on this extraordinary album, recanting verse over music that sounds like a hybrid of Ash Ra Tempel and the Third Ear Band, full of rich musical textures adrift with Mellotron and synthesizers. A timeless work of beauty that has no equal." —Crack in the Cosmic Egg "In which, Rolf-Ulrich Kaiser offered us the second of his great Mage Recordings. After Timothy Leary (KK5001) had so moved the producer with 7Up, 'The Kaiser' and his Starmaiden Gille Lettmann decided to stay in Switzerland and record some more wise old men. As with Leary, the recording of Sergius Golowin, the middle-aged ex-MP, was nothing less than a full-on Vision-saga. Six musicians accompanied Golowin's pronouncements throughout the LP, and it's most remarkable of all that the speaker showed such restraint, often letting the band fly off into Ash Ra Tempel-land at any opportunity. It makes the most sensational combination and a long Kosmiche-epic of high magic proportions. Opening with the 15 minute plus "Der Grigen", the LP announced its intention with sombre pre-Christian keyboards then softly, softly into the ritual...a slow amoeba production, at first scouting but soon positive in its holy direction. The huge unfolding driving thing called "Die Hoch-Zeit" covers the whole of Side 2, in which Klaus Schultze's drums are combine harvesters in a Canadian wheat field 50 miles across. Massive choirs of mellotron hold the distant horizon and the machine that is the music covers the land like locusts. Dry dry music. Arid heavy tragedy — Side 2 of Joy Division's 'Closer.' Golowin doesn't even say a word for about the first eight minutes... There is no doubt this is the very highest magic — believe me. The Ur-klang of Mesolithic Man... No intellectual ever made music such as this... His voice and that music. A righteous vision." —Julian Cope, Krautrocksampler "The emergence of the great mythologies stands directly at the beginning of mankind's history. In them the occupation with the large questions occurs: From whence do we come? What and who are we? Where do we go? When our ancient ancestors began to argue with appropriate ideas, dreams and emblems (the most valuable pictures), what developed from it, and was passed on to their descendants, was the birth of all that we call culture." —Sergius Golowin, excerpt from Die grossen Mythen der Menschheit (the Great Myths of Mankind) Our Lion Productions edition comes with a 24-page booklet which includes a Sergius Golowin biography, plus translated excerpts from interviews and texts, a list of Golowin's writings, translations of the original LP notes, text, and lyrics, as well as a Kosmischen Kuriere label discography. And on a personal note, we have long thought the song 'Die Weiße Alm' to be perhaps the perfect cosmic folk track... blissed out and uplifting, without being cloying.

The News Is You: The Sacred & Secular Music of Nick Freund: featuring the Search Party "Montgomery Chapel" (1968) and St. Pius X Seminary Choir "Each One Heard In His Own Language About the Marvels of God" (1968)  Recorded at the San Francisco Theological Seminary’s own Montgomery Chapel, acid-folk-rock psychedelic gem Search Party "Montgomery Chapel" was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin in the late 1960s to join a burgeoning West Coast religious scene, Freund spent considerable time in Sacramento before making their way to San Francisco in 1968 to lay down this one-off with some students of his. The result is a spooky, metaphysical trip that’s equal parts God and acid-dripped mind expansion. Laced with haunting vocals and dreamlike passages, Montgomery Chapel is psychedelic music at its most evocative, and most spiritual. Original copies (only 600 were pressed on the custom Century label) carry substantial price tags. The recordings released by the St. Pius X Seminary Choir were made in the year or two which led up to the recording of the Search Party album. Not only did the three St. Pius X Seminary Choir records showcase the first work by Nick Freund, but they also were the first recordings of Search Party guitarist and vocalist Peter Apps. As one of the press clips regarding the Choir stated, "The choral treatment was electrified by a few phrases sung solo by Peter Apps, who is also the lead guitar. If Apps has not already formed a folk-rock group around that voice, he should. It is rich, deep, and ringing." Luckily, Freund and Apps heeded their advice, and the Search Party was the result. But nothing could have prepared listeners for the bizarre avant-garde (in the truest sense) electronic soundscapes backed by rock instruments which open "Each One Heard In His Own Language About the Marvels of God" (1968). The album settles down into a less out-there groove after the opening, but this is still adventurous stuff. During my conversations with Nick Freund, he told me that the electric sounds on the album were the work of composer Dary John Mizelle. Mizelle studied composition and participated in the New Music Ensemble at the University of California, Davis (the first free group improvisation ensemble); there he participated in a course led by Karlheinz Stockhausen. Mizelle is also a founding member of SOURCE Music of the Avant Garde magazine. Our two-disc set includes both albums, plus bonus tracks taken from ultra-rare early albums by the St. Pius X Seminary Choir. The 28-page booklet is packed with information, thanks to Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps one of the most unlikely—psychedelic groups to ever record an album.

There is nothing ordinary about Sandstone. This private press folk/psych album (1971) is so head and shoulders above almost every other album in the genre, it's hard to believe it's not better known. The instrumentation and compositional style are reminiscent of heavy English folk hitters like Mellow Candle, Pentangle, and Heron. The Sandstone album was not a major label production like those records. But the local studio at which it was recorded must have been quite high end, because the production quality is astounding. Nearly everyone involved in these recordings was younger than eighteen, but there’s very little evidence of that: the music is well constructed, and no aspect of it is without sophistication well beyond the years of its creators. The three teens behind this music (David Sheirer, Laurie Braunstein, and Mario Grella) molded a seamless compound of British trad-folk with themes of American antiquity, from pilgrims’ progress to Civil War tragedies to the tainting of their unspoiled valley. Poetic lyrics, haunting female vocals, and judicious use of string sections, all serve Sandstone’s entirely original compositions: the result is a dreamy, wistful mood that calls to you across the decades. After weeks of recording, overdubs, and mixing, the album was sent off to be manufactured. Sadly, the band only had cash enough for around 300 copies. Other than a few college radio spins for "Flute Player", barely anyone heard Can You Mend A Silver Thread? outside of their inner circle. A monumental accomplishment nonetheless! From the cover to the instrumentation to the deeply strange and lovely lyrics, maybe the truest folk/psych music that these shores ever produced. Our Lion Productions edition (courtesy of Numero Group) includes two bonus tracks, out-takes from the album sessions. Booklet has the band’s story and lyrics and is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper, manufactured using biogas energy. Track listing: 1. Can You Mend A Silver Thread? (3:36); 2. Lovely Hunters (2:55); 3. The Tattered Drum (4:07); 4. Asking Life (7:03); 5. What If You Could Love The Flute Player (4:12); 6. The World Is Around Us (2:20); 7. Again (3:16); 8. Farewell Valley (3:09); 9. Jamie's Song (3:42); 10. Can You Mend A Silver Thread? (Coda) (0:43). Bonus Tracks: 11. Black Cat Paw Print (2:33); 12. Bright Morning (4:07)

Mini-LP sleeve CD + color booklet.

"This masterpiece crawled up my spine like a kundalini snake and proceeded to take the top of my head off. Probe 10 are unquestionably linked to a very specifically American form of proto-prog-into-jazz-rock synthesis of the precise sort Elektra Records used to specialize in, from Tim Buckley's Starsailor to David Stoughton's Transformer. Toss in trumpet fanfare laden acid psych straight out of the C.A. Quintet songbook, the riotously melodic and dense brassy arrangements of McLuhan... and...well...hold on to your hookahs!" -Mutant Sounds

"Unique jazz-rock album with major space-rock vibes. You have to love the way the bass counters the effects-laden guitar solos and heavy fuzz. Considering how many loner folk and hard rock private press albums came from the same time period, discovering something this ambitious and unusual is a real kick. Most of the time, it sounds like the world's best exploito-jazz record, Herb Alpert filtered through Pink Floyd and Quiet Sun." -Acid Archives.

Track Listing:

• There Is A Universe
• Invasion Of The Malladroids: A - Invasions
• Invasion Of The Malladroids: B - Fields Of Malladroy
• Invasion Of The Malladroids: C - A Battle
• Invasion Of The Malladroids: D - Dirge
• Invasion Of The Malladroids: E - Will There Never Be An End?
• Intergalactic Crossfire
• Solar Winds
• To Improvise A Dream
• Galaxy Five

• In-depth liner notes by Jeremy Cargill (Ugly Things, Got Kinda Lost), presenting the story of Michael Angelo for the first time
• Official digital debut of "Guinn Album" follow-up records, "Sorcerer's Dream" and "Nuts"

Enigmatic exemplar of subterranean overachievers, Michael Angelo Nigro, has long been known to sound-hounds searching for esoteric figures on the fringe. He was a man out-of-time, with unerring vision and dedication, principally known for his head-of-the-class 1977 private-press joy, "Michael Angelo" (Guinn 1050—aka The Guinn Album). The Guinn Album, almost entirely an effort of self-creation, is a staggering, hook-filled, inner space hi-fi snap-shot of dreamy pop psychedelia, filled with contemplative, arresting lyrical imagery that etches lovely figures and carries little to ally it to its time. The same can readily be said of his other recordings of that era, the "Sorcerer's Dream" tracks, which make their CD debut here. Highly trippy acid guitar with a West Coast edge mingles with haunting melodic vocals, acoustic guitar, synths, gentle percussion and mystical songs; moments of oddness which are difficult to capture on tape, yet done so in an accomplished manner on these recordings.

“I began my recording career in 1975 by becoming a studio musician at Liberty Recording in Kansas City. Between recording commercials and backing other artists I started doing my own recordings. This was the birthplace of the original Michael Angelo album. After about a year, I left Liberty Recording to become a studio musician at Big-K records, also in Kansas City. By coincidence Big-K used the same type of equipment as Liberty, so I finished mixing the first album there. After that, I began recording my second album, which would become A Sorcerer’s Dream. Although this album was completed in 1978, it was never released because Big-K closed down.” —Michael Angelo

Michael Angelo is a true master of brilliant, spacey, endlessly melodic DIY pop psych. We have to admit, there’s something magical about music that sounds like it was made in Anywheresville, Midwest, U.S.A., by a lone hermit painstakingly recording each layer of each song by himself in an empty studio. The end result? well, it's something like a less-produced Bobb Trimble. Much beloved in the world of psychedelia, and with good reason!

Track Listing:

• Flight of Pegasus
• Oceans of Fantasy
• The World to Be
• Lost in the Pain
• Checkout
• Bonjour Mr. VIP
• Journey (To Find Who We Are)
• Inner Reflections
• Field of Lonely Eyes
• Future
• Contessa
• Russian Lament
• I Love You
• Marbles
• Longing
• One More Gun
• Fat Song
• I Won't Cry
• Pamela's Song

Disc 2

• Title/Composer
• Sorcerer’s Delight
• Nubian Queen
• January Came Too Soon
• Time Warp
• The Very First Time
• This Is the Night
• Love Is Too High
• Spirits of Mercury
• S.O.S. Titanic
• Until
• Love Between Us
• Rainy Day Parade
• Dreamfeast

Along with The Human Expression, The Human Zoo were from the Los Angeles suburbs of Westminster and were signed to Accent Records. Their album, released in 1970 was pressed in limited numbers and has become a rare collectors item. The Human Zoo album is a quirky blend of psychedelic, garage, and funky music. Managed by Jim Foster of The Human Expression and originally called The Circus, the band changed their name to the hipper sounding Human Zoo in 1969. Now for the first time since 1970, here is an exact re-issue of The Human Zoo album, taken from the original master tapes with all album artwork faithfully restored."

mini LP CD

At times this album is a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too (where did those crazy orchestrations, wild guitar, and breakbeats on the fierce anti-war rave-up Hard Headed Woman come from?), all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. Chicago-based duo Chuck Hollins and David Starr only made this one album, which originally appeared in 1970 on the Ovation label. All we know about them is what the original ads for the album said: "David Starr learned piano when he was three, began composing when he was four. At twenty-one he was playing flute with the Chicago Symphony Orchestra. Chuck Hollins picked up a guitar one day and just started playing.... by the time he left Northwestern with his Creative Writing degree he was turning his poetry into music." Others have said: "Unique blend. with a lovely dreaming, drifting vibe" - the Acid Archives; "Many diverse influences from pop-psych, mystical mellow passages, quasi-classical touches, delightful ethereal flute, trance-like vocals and fuzz guitar. there is much to appreciate on this largely undiscovered gem" - Fuzz, Acid & Flowers. Our deluxe mini-LP sleeve CD edition has four bonus tracks, including a "hidden track" with some rare sound effects plucked from the vaults. The CD version is limited to 1,000 copies. Track List: 1. Talking to Myself (2:58 - 4:22); 2. Krishna Dov (2:35); 3. Cry Baby Cry (3:17); 4. Twin City Prayer (1:36); 5. John Hurt (2:12); 6. Hard Headed Woman (5:21); 7. Home? (3:36); 8. Vivace (2:57); 9. Lovable (3:50); 10. Digress (2:50 - 5:13); 11. Stayin High (2:23); 12. Sidewalks Talkin (3:32); 13. Feelin Good (2:10). CD only Bonus Tracks: 14. Feelin Good (2:53) single version; 15. Lovable (3:16) single version; 16. Hard Headed Woman (9:08) outtake; 17. Sound Effects (not listed on the OBI card or CD booklet)

ERGO SUM is a French Progressive rock band based in Aix-En-Provence, led by singer Lionel LEDISSEZ and flute player Jean GUERIN. The unique (And highly sought after) album issued by this line-up, "Mexico" (1972), is now reissued and accompanied by a complete biography and bonus tracks. It´s still full of the energy and youthfulness of the early Seventies. This music is based on tortured and cup-up vocals, refined themes that are full of breaks and ambiental changes. We'll also notice the colourful combinations between violin, flute, Fender piano, organ and guitar. A powerful and tortured music that goes from FAMILY (The singer's voice can evoke Roger CHAMPMAN's), VAN DER GRAAF GENERATOR and the first GENESIS albums. To be urgently rediscovered ! ]]> Fri, 12 Jun 2026 18:02:44 +0300