• Edition: Vinyl reissue – first on vinyl since 1972

Originally released by Argo in 1970, The Heart Is a Lotus is one of the defining albums by pianist and composer Michael Garrick. Bringing together leading figures from the British modern-jazz scene with vocalist Norma Winstone, the record combines lyrical composition, modal improvisation and an unmistakably contemplative atmosphere.

Garrick performs on piano and harpsichord, joined across the sessions by trumpeter and flugelhorn player Ian Carr, saxophonists and flautists Art Themen, Don Rendell and Jim Philip, bassists Dave Green and Coleridge Goode, and drummer Trevor Tomkins. The personnel varies between tracks, allowing Garrick to use different combinations of brass, reeds and rhythm section throughout the album.

Norma Winstone’s voice is treated as an integral part of the ensemble rather than simply as a conventional lead vocal. Her precise phrasing and wordless improvisation frequently intertwine with Carr’s trumpet and the woodwind arrangements, adding another melodic colour to Garrick’s carefully structured compositions.

The title track opens with the unusual sound of Garrick’s harpsichord beneath Winstone’s floating vocal line and Ian Carr’s trumpet. “Song by the Sea” develops a more lyrical, pastoral mood, while the instrumental “Torrent” introduces stronger rhythmic movement and forceful exchanges between the horns. The extended “Temple Dancer” moves through shifting modal passages and features some of the record’s most adventurous ensemble playing.

On the second side, “Blues on Blues” places Garrick’s writing within a looser blues framework, while “Voices” and “Beautiful Thing” demonstrate the close relationship between Winstone and the instrumentalists. The haunting “Rustat’s Grave Song” closes the album with a restrained melody and spacious arrangement, providing one of its most memorable moments.

Recorded at Decca’s Hampstead studios in January 1970, The Heart Is a Lotus captures the individuality of British jazz at a particularly creative moment. This Endless Happiness edition returns the complete eight-track album to vinyl for the first time since 1972.

Track listing:

Side A A1. The Heart Is a Lotus – 8:22 A2. Song by the Sea – 4:30 A3. Torrent – 3:46 A4. Temple Dancer – 10:02

Side B B1. Blues on Blues – 6:53 B2. Voices – 6:52 B3. Beautiful Thing – 5:31 B4. Rustat’s Grave Song – 4:50

• Edition: Deluxe limited-edition vinyl reissue from the original master
• Packaging: Luxurious thick-cardboard tip-on gatefold sleeve

Originally released in 1971, Samurai was the sole album by the British progressive jazz-rock group formed from the final line-up of Web. Following the adventurous I Spider, keyboardist and vocalist Dave Lawson, guitarist Tony Edwards, bassist John Eaton and percussionists Kenny Beveridge and Lennie Wright continued under a new name, expanding their sound with a stronger woodwind presence and increasingly complex arrangements.

Dave Lawson’s keyboards and distinctive vocals provide the album’s centre, while Tony Edwards moves between electric and acoustic guitar and John Eaton supplies an agile, melodic bass foundation. Kenny Beveridge and producer Lennie Wright create a varied rhythmic framework using drums, percussion and vibraphone. The addition of Don Fay and Tony Roberts on saxophones, flutes and bass clarinet gives the music its unusually rich and colourful character.

“Saving It Up for So Long” opens the record with a compact mixture of progressive rock, jazz phrasing and rhythmic energy. The gentler “More Rain” introduces flute and atmospheric keyboards, while “Maudie James” and “Holy Padlock” combine Lawson’s theatrical songwriting with shifting instrumental textures. “Give a Little Love” adds a tougher guitar-led groove before the album enters its most expansive territory.

“Face in the Mirror” develops through dramatic organ, forceful vocals and complex woodwind arrangements, while the closing “As I Dried the Tears Away” moves from quiet, reflective passages into a powerful extended finale. The interaction between keyboards, guitar, vibraphone and woodwinds places the album between progressive rock, jazz fusion and the playful experimentation associated with the Canterbury scene.

Although Samurai existed only briefly, their sole album has become one of the most highly regarded rarities of early-1970s British progressive jazz rock. This definitive Cinedelic edition has been produced from the original master and presented in a luxurious thick-cardboard tip-on gatefold sleeve reproducing Victor Meara’s striking original cover painting.

Track listing:

Side A A1. Saving It Up for So Long – 3:44 A2. More Rain – 4:27 A3. Maudie James – 4:55 A4. Holy Padlock – 4:44

Side B B1. Give a Little Love – 3:40 B2. Face in the Mirror – 6:44 B3. As I Dried the Tears Away – 8:13

• Edition: Limited-edition orange vinyl

Originally released by A&M Records in 1975, Armageddon was the only album by the formidable British-American hard-rock group assembled around former Yardbirds and Renaissance vocalist Keith Relf. He was joined by guitarist Martin Pugh and bassist Louis Cennamo, both formerly of Steamhammer, together with ex-Captain Beyond drummer Bobby Caldwell.

The group combined the weight and aggression of mid-1970s hard rock with progressive structures, blues-based improvisation and extended instrumental passages. Martin Pugh’s distorted guitar dominates much of the album, moving from heavy riffs and wah-wah leads to more restrained acoustic textures, while Cennamo’s bass and Caldwell’s forceful drumming give the lengthy compositions unusual momentum.

“Buzzard” opens the album with an urgent riff, Keith Relf’s commanding vocals and a sequence of explosive guitar passages. The more atmospheric “Silver Tightrope” provides a striking contrast, developing slowly through acoustic guitar, layered vocals and a spacious progressive arrangement. “Paths and Planes and Future Gains” is the album’s shortest and most direct performance, driven by fast guitar figures and Caldwell’s powerful percussion.

The second side begins with the blues-heavy “Last Stand Before,” featuring some of Pugh’s most intense slide-guitar playing. The record then concludes with the four-part suite “Basking in the White of the Midnight Sun,” which moves from the brief introduction “Warning Comin’ On” into heavy riffs, quieter psychedelic passages and the extended “Brother Ego” section before returning to its central theme.

Armageddon’s brief existence and Keith Relf’s death the following year prevented the group from recording a second album, but their sole release gradually became a cult favourite among collectors of progressive hard rock and early heavy metal. This Klimt edition presents the complete original album on limited orange vinyl.

Track listing:

Side A A1. Buzzard – 8:16 A2. Silver Tightrope – 8:23 A3. Paths and Planes and Future Gains – 4:30

Side B B1. Last Stand Before – 8:23 B2. Basking in the White of the Midnight Sun – 11:30     a) Warning Comin’ On     b) Basking in the White of the Midnight Sun     c) Brother Ego     d) Basking in the White of the Midnight Sun (Reprise)

• Edition: Fully licensed vinyl reissue, limited to 500 copies

Originally issued in 1971, Chillum was the sole album released under this name by musicians closely connected to the British psychedelic and progressive group Second Hand. Ken Elliott, Kieran O’Connor and George Hart continued from the earlier band, joined here by guitarist Tony McGill for a freer and more improvisational project.

The sessions had initially been intended to produce a third Second Hand album. Instead, the musicians adopted the new name Chillum and allowed the material to develop through extended ensemble playing rather than tightly structured songwriting. The resulting record occupies a raw space between psychedelic rock, heavy progressive music, jazz improvisation and spontaneous studio experimentation.

The first side is devoted entirely to “Brain Strain,” an expansive performance driven by Ken Elliott’s Hammond organ and Mellotron, McGill’s distorted guitar and Kieran O’Connor’s relentless drumming. Rather than following a conventional song structure, the piece moves through abrupt rhythmic changes, organ eruptions, guitar improvisations and moments of near-chaotic interaction.

The second side presents four shorter but equally unpredictable pieces. “Land of Thousand Dreams” acts as a brief atmospheric transition before the heavy, rhythmically unstable “Too Many Bananas.” The extended “Yes! We Have No Pajamas” combines pounding percussion, distorted keyboards and loose instrumental exchanges, while “Promenade des Anglaises” closes the album with a compact and unexpectedly melodic passage.

Recorded with an intentionally unrestrained approach, Chillum captures the musicians at their most spontaneous and experimental. Its roaring organ, forceful percussion and unpolished ensemble sound have made it a cult favourite among collectors of adventurous early-1970s British progressive rock. This fully licensed Bonfire Records edition is limited to 500 vinyl copies.

Track listing:

Side A A1. Brain Strain – 21:46

Side B B1. Land of Thousand Dreams – 1:18 B2. Too Many Bananas – 4:11 B3. Yes! We Have No Pajamas – 10:33 B4. Promenade des Anglaises – 1:54

• Label: Free Flow Archive
• Edition: Limited-edition 180g virgin-vinyl reissue

Originally released by CBS in 1972, Power On! was the second and final album by the German jazz-rock group From. Formed around musicians active in the Frankfurt jazz scene, the quintet created a highly focused fusion of jazz improvisation, progressive rock, funk and the exploratory freedom associated with early Krautrock.

The line-up features Gustl Mayr on tenor and soprano saxophones, Klaus Göbel on Hammond organ, piano and electric piano, Dieter von Goetze on bass, Kurt Bong on drums and percussion, and Viktor F. Belgrove on congas, steel drum, percussion and vocals. With no guitarist in the group, the music is shaped by Göbel’s keyboards and Mayr’s saxophone, supported by a remarkably fluid rhythm section.

The first side is occupied entirely by the extended “Festival Rock / Use the Bridge.” Moving through driving electric-piano passages, powerful saxophone improvisation, shifting rhythms and spacious ensemble sections, the piece demonstrates the band’s ability to develop long-form compositions without losing momentum.

“Catalyst” combines Hammond-led jazz rock with muscular drumming, African and Caribbean percussion and an unusual vocal interlude. The closing “Fog in Rossert” begins with a deep, funky bass pattern before opening into lyrical saxophone melodies, atmospheric keyboards and increasingly abstract group interplay.

With its excellent recording quality, imaginative arrangements and tightly connected performances, Power On! stands alongside the most accomplished European jazz-rock albums of the early 1970s. This first official vinyl reissue presents the original three-track album on 180g virgin vinyl with its original artwork.

Track listing:

Side A A1. Festival Rock / Use the Bridge – 17:30

Side B B1. Catalyst – 9:18 B2. Fog in Rossert – 7:11

• Coloured edition: Clear vinyl, limited to 200 copies
• Packaging: Gatefold sleeve reproducing the original design

Originally released by United Artists in 1971, Embryo's Rache was the second album by Christian Burchard’s Munich-based collective and one of the defining records of early German jazz rock. Arriving only a year after Opal, it retained the debut’s psychedelic intensity while opening the group’s music towards jazz improvisation, unusual rhythms and influences drawn from beyond Western rock.

Christian Burchard and multi-instrumentalist Edgar Hofmann were joined by musicians including flautist Hansi Fischer, Roman Bunka and keyboard player Jimmy Jackson, also known as Tabarin Man. Flute, saxophone, violin, organ, Mellotron and layered percussion interact throughout the album, producing a sound that is exploratory and unpredictable but still held together by powerful recurring themes.

“Tausendfüßler” begins with an urgent flute-led groove before moving into increasingly free instrumental exchanges. The extended “Time,” divided into “You Can’t Wait” and “Eva’s Nuvola,” combines hypnotic repetition with shifting jazz-rock textures, while “Revenge” moves through darker and more forceful passages. On the second side, the eleven-minute “Spain Yes, Franco Finished” provides the album’s most expansive performance, bringing together post-Coltrane jazz, psychedelic rock and the early ethnic influences that would become central to Embryo’s identity.

Embryo's Rache captures the group at the beginning of its transformation from an experimental Krautrock outfit into one of Europe’s most adventurous world-fusion ensembles. This remastered vinyl edition restores the album in a reproduction of its original gatefold sleeve, with the coloured version pressed on clear vinyl in a limited edition of 200 copies.

Track listing:

Side A A1. Tausendfüßler – 5:23 A2. Time – 8:47     a) You Can’t Wait     b) Eva’s Nuvola A3. Revenge – 6:45

Side B B1. Spain Yes, Franco Finished – 10:57 B2. Try to Be – 2:08 B3. Change – 6:32

• Packaging: Gatefold sleeve reproducing the original design

Originally released by United Artists in 1971, Embryo's Rache was the second album by Christian Burchard’s Munich-based collective and one of the defining records of early German jazz rock. Arriving only a year after Opal, it retained the debut’s psychedelic intensity while opening the group’s music towards jazz improvisation, unusual rhythms and influences drawn from beyond Western rock.

Christian Burchard and multi-instrumentalist Edgar Hofmann were joined by musicians including flautist Hansi Fischer, Roman Bunka and keyboard player Jimmy Jackson, also known as Tabarin Man. Flute, saxophone, violin, organ, Mellotron and layered percussion interact throughout the album, producing a sound that is exploratory and unpredictable but still held together by powerful recurring themes.

“Tausendfüßler” begins with an urgent flute-led groove before moving into increasingly free instrumental exchanges. The extended “Time,” divided into “You Can’t Wait” and “Eva’s Nuvola,” combines hypnotic repetition with shifting jazz-rock textures, while “Revenge” moves through darker and more forceful passages. On the second side, the eleven-minute “Spain Yes, Franco Finished” provides the album’s most expansive performance, bringing together post-Coltrane jazz, psychedelic rock and the early ethnic influences that would become central to Embryo’s identity.

Embryo's Rache captures the group at the beginning of its transformation from an experimental Krautrock outfit into one of Europe’s most adventurous world-fusion ensembles. This remastered vinyl edition restores the album in a reproduction of its original gatefold sleeve.

Track listing:

Side A A1. Tausendfüßler – 5:23 A2. Time – 8:47     a) You Can’t Wait     b) Eva’s Nuvola A3. Revenge – 6:45

Side B B1. Spain Yes, Franco Finished – 10:57 B2. Try to Be – 2:08 B3. Change – 6:32

Originally released by Mercury Records in 1971, the self-titled debut by Bullangus is a powerful example of early American hard rock developing beyond its blues-based foundations. The New York six-piece combined muscular twin-guitar riffs, Hammond organ, forceful rhythms and the soulful lead vocals of Frankie Previte, creating a dense sound with elements of psychedelia, progressive rock and heavy blues.

“Run Don’t Stop” opens the album with driving guitars and an immediate hard-rock attack, while “Mother’s Favorite Lover (Margaret)” adds prominent organ and an unusually funky groove. “Uncle Duggie’s Fun Bus Ride” balances melodic vocal harmonies with adventurous instrumental passages, and the extended “A Time Like Ours” reveals the band’s more progressive side through shifting dynamics and interlocking guitar work.

The second side stretches into longer and more varied performances. “Miss Casey” develops through heavy riffs, organ flourishes and multiple changes of direction, while “Pot of Gold” is one of the record’s most melodic and accessible songs. The acoustic “Cy” provides a reflective contrast before “No Cream for the Maid” closes the album with a dramatic mixture of hard rock, blues and progressive complexity.

Although Bullangus remained largely overlooked during their original lifetime, their debut has become increasingly valued by collectors of obscure early-1970s heavy rock. This Survival Research vinyl edition makes the band’s distinctive first album available again in its original eight-track configuration.

Track listing:

Side A A1. Run Don’t Stop – 4:23 A2. Mother’s Favorite Lover (Margaret) – 3:43 A3. Uncle Duggie’s Fun Bus Ride – 4:27 A4. A Time Like Ours – 6:24

Side B B1. Miss Casey – 7:28 B2. Pot of Gold – 3:51 B3. Cy – 5:30 B4. No Cream for the Maid – 6:43

• Edition: Cyan, hot-pink and neon-green splatter vinyl
• Bonus tracks: “Bloody Hammer” and “The Wind and More”

Originally released by CBS in 1980, Roky Erickson and the Aliens marked the former 13th Floor Elevators singer’s full emergence as a solo artist. Rather than revisiting his earlier group’s swirling psychedelic sound, Erickson developed a tougher and more direct form of rock built around distorted guitars, forceful rhythms and imagery drawn from vintage horror and science-fiction films.

Produced by former Creedence Clearwater Revival bassist Stu Cook, the album captures The Aliens in sharp and aggressive form. Erickson’s extraordinary voice rises above the band’s hard-rock attack, moving effortlessly from melodic phrasing to urgent, almost unrestrained cries. The concise arrangements give his unusual songs an immediate impact while preserving the wild energy that had defined his earlier work.

“Two-Headed Dog (Red Temple Prayer),” “I Think of Demons” and “Don’t Shake Me Lucifer” combine garage-rock drive with memorable hooks, while “Night of the Vampire” and “Creature with the Atom Brain” transform B-movie imagery into compelling personal mythology. Even the deliberately minimal “I Walked with a Zombie” becomes hypnotic through repetition, atmosphere and Erickson’s completely committed performance.

This coloured-vinyl edition restores the original ten-track 1980 album and expands it with “Bloody Hammer” and “The Wind and More.” Pressed on striking cyan, hot-pink and neon-green splatter vinyl, it presents one of the defining recordings of Erickson’s post-Elevators career in a distinctive collector’s edition.

Track listing:

Side A A1. Two-Headed Dog (Red Temple Prayer) – 3:19 A2. I Think of Demons – 2:46 A3. I Walked with a Zombie – 2:47 A4. Don’t Shake Me Lucifer – 2:50 A5. Night of the Vampire – 4:15 A6. Bloody Hammer – 4:16 (bonus track)

Side B B1. White Faces – 2:35 B2. Cold Night for Alligators – 3:00 B3. Creature with the Atom Brain – 4:11 B4. Mine Mine Mind – 2:32 B5. Stand for the Fire Demon – 5:23 B6. The Wind and More – 4:01 (bonus track)

• Packaging: Original artwork with newly written liner notes

Originally released by Epic in 1968, Dino Valente was the first and only solo album by Chester William Powers Jr., the singer and songwriter variously known as Dino Valenti and Dino Valente. Closely connected to the formative San Francisco psychedelic scene, he later became a prominent member of Quicksilver Messenger Service and was already known as the composer of the countercultural anthem “Get Together.”

Produced by Bob Johnston, whose extensive credits included landmark recordings by Bob Dylan, Johnny Cash and Leonard Cohen, the album places Valente’s highly individual voice within a spacious mixture of folk rock, country, blues and psychedelia. Acoustic and twelve-string guitars dominate the arrangements, surrounded by reverberant vocals, understated percussion and an atmosphere that moves between intimate reflection and open-ended improvisation.

Extended pieces such as “Something New,” “Children of the Sun” and “New Wind Blowing” allow Valente’s elliptical lyrics and unusual melodic ideas to unfold gradually. Shorter songs including “Time,” “Tomorrow” and “Everything Is Gonna Be OK” reveal a more direct side of his writing, while his distinctive interpretation of John Phillips’ “Me and My Uncle” connects the album to the wider American folk tradition.

Overlooked by many listeners at the time of its original release, Dino Valente has since become a sought-after document of late-1960s West Coast acid folk. This newly remastered vinyl edition returns the original ten-track album to LP for the first time in thirteen years, reproducing the period artwork and adding new liner notes.

Track listing:

Side A A1. Time – 3:08 A2. Something New – 7:10 A3. My Friend – 5:53 A4. Listen to Me – 3:16 A5. Me and My Uncle – 3:58

Side B B1. Tomorrow – 4:09 B2. Children of the Sun – 7:06 B3. New Wind Blowing – 6:13 B4. Everything Is Gonna Be OK – 2:50 B5. Test – 3:13

Originally released in 1968, the sole album by the Los Angeles group St. John Green is a strange and compelling artefact of the darker side of American psychedelia. Rather than embracing the optimism commonly associated with the flower-power era, the band created a claustrophobic mixture of garage rock, spoken-word theatre, distorted organ and unsettling lyrical imagery.

The group brought together vocalist and harmonica player Vic Sabino, keyboardist Mike Baxter, bassist and vocalist Ed Bissot, guitarist Bill Kirkland and drummer Shel Scott. Their music was shaped in collaboration with producers Kim Fowley and Michael Lloyd, whose unconventional studio approach intensified the record’s deliberately theatrical and unpredictable character.

“7th Generation Mutation” opens the album with an ominous organ-led attack, immediately establishing its atmosphere of science-fiction paranoia and countercultural unease. “Canyon Women,” “Devil and the Sea” and “Do You Believe” move between raw garage rock, psychedelic pop and eccentric narrative passages, while the brief “Help Me Close the Door” functions almost like a fragment from a disturbing radio play.

The second side ventures even further into the group’s shadowy world. “Goddess of Death,” “One Room Cemetery” and “Shivers of Pleasure” combine memorable melodies with macabre imagery, while “Spirit of Now” and the title track reflect the strange mythology surrounding the late-1960s Topanga Canyon scene. Abrupt changes, surreal voices and flashes of humour make the album feel less like a conventional collection of songs than a fragmented psychedelic performance.

St. John Green separated soon after the album’s release and left no further recordings, allowing their only LP to acquire a lasting reputation among collectors of obscure garage and psychedelic rock. This Cosmic Rock vinyl edition restores all twelve tracks from one of the most unusual West Coast albums of 1968.

Track listing:

Side A A1. 7th Generation Mutation A2. Canyon Women A3. Devil and the Sea A4. Do You Believe A5. Help Me Close the Door A6. Messages from the Dead

Side B B1. Goddess of Death B2. St. John Green B3. Spirit of Now B4. Love of Hate B5. One Room Cemetery B6. Shivers of Pleasure

Originally released by Tower Records in 1967, The Above Ground Sound of Jake Holmes was the debut album by the American singer, guitarist and songwriter. Its sparse instrumentation and uneasy atmosphere distinguish it from the more elaborately produced psychedelic records of the period, creating a stark form of folk rock that still sounds unusual and intensely personal.

The album was recorded without a drummer, with Holmes joined by guitarist Tim Irwin and bassist Rick Randall. Two electric guitars, bass and voice form the entire musical framework, yet the musicians create a surprisingly varied sound through rapid acoustic-style strumming, reverberating lead lines, shifting bass patterns and sudden changes in intensity. The absence of percussion gives the songs a floating, intimate quality while increasing their underlying tension.

“Lonely,” “Did You Know” and “Too Long” introduce Holmes’ distinctive combination of introspective songwriting and tightly wound guitar arrangements. “Genuine Imitation Life” moves into darker social observation, while “Hard to Keep My Mind on You” and “Signs of Age” reveal the melodic side of his writing.

The album’s best-known composition is Holmes’ original recording of “Dazed and Confused.” Its descending bass figure, brooding vocal and disorienting instrumental passages would later inspire versions by The Yardbirds and Led Zeppelin. Heard in its original setting, however, the song belongs naturally to the album’s shadowy, drumless sound world. This Cosmic Rock vinyl edition restores all ten tracks from one of the most singular American psychedelic folk albums of the late 1960s.

Track listing:

Side A A1. Lonely – 2:38 A2. Did You Know – 2:52 A3. She Belongs to Me – 2:15 A4. Too Long – 2:47 A5. Genuine Imitation Life – 4:00

Side B B1. Dazed and Confused – 3:53 B2. Penny’s – 2:39 B3. Hard to Keep My Mind on You – 2:01 B4. Wish I Was Anywhere Else – 2:50 B5. Signs of Age – 4:02

Originally privately released in 1975, the self-titled album by Stone Angel is one of the most elusive and atmospheric recordings from the English underground folk scene. Formed in East Anglia by Ken and Joan Saul and musicians from the earlier group Midwinter, Stone Angel drew inspiration from the legends, landscapes and traditional music of Norfolk and Suffolk.

The album’s sparse, homespun production gives the music an intimate character perfectly suited to its tales of vanished towns, supernatural animals, travellers and coastal folklore. Acoustic guitar, dulcimer, flute, recorder and understated percussion surround the delicate vocals, creating a sound that moves naturally between traditional English folk, original songwriting and the dreamlike atmosphere later associated with acid folk.

“The Bells of Dunwich” opens the record with a haunting song inspired by the Suffolk settlement gradually lost beneath the sea and the legend that its submerged church bells can still be heard beneath the waves. “Black Sailed Traders” and “The Black Dog” explore the darker side of East Anglian mythology, while “The Skater,” “Stone Angel” and the lengthy traditional ballad “The Gay Goshawk” reveal the group’s melodic and pastoral qualities.

Recorded using the limited facilities available at Joan’s teacher-training college and originally pressed in only a few hundred copies, Stone Angel gradually became a highly prized private-press folk rarity. This Cosmic Rock vinyl reissue makes the original nine-track album available again, preserving the fragile, mysterious atmosphere that has made it a cult classic of British folk music.

Track listing:

Side A A1. The Bells of Dunwich – 5:43 A2. The Skater – 3:09 A3. Pastime with Good Company – 1:12 A4. Traveller’s Tale – 5:34 A5. Black Sailed Traders – 4:53

Side B B1. Stone Angel – 3:34 B2. Galliard / Merrie Musicke Box – 1:55 B3. The Gay Goshawk – 6:59 B4. The Black Dog – 5:36

Originally released by Capitol Records in 1969, Of the People / By the People / For the People from the Common People was the sole album by the mysterious American group The Common People. Little information about the musicians circulated at the time, and the record gradually became one of the more intriguing obscurities of late-1960s US psychedelic rock.

Produced by radio personality and music promoter “Lord” Tim Hudson, the album combines concise garage-rock songs with the darker colours of orchestrated psychedelia. David Axelrod’s arrangements introduce strings, brass, keyboards and carefully placed studio effects, expanding the group’s direct rock foundation without losing its raw and slightly haunted character.

“Soon There’ll Be Thunder” opens the record with an immediate mixture of melody and tension, while “I Have Been Alone” develops its atmosphere through melancholy vocals and dramatic orchestration. Elsewhere, “Those Who Love,” “They Didn’t Even Go to the Funeral” and “Land of a Day” move between garage rock, baroque pop and reflective psychedelic balladry. The varied arrangements give the album a distinctive identity that stands apart from many more conventional underground releases of its period.

Long overlooked after its original appearance, The Common People’s only LP has since attracted collectors of American garage, psychedelic and orchestrated pop. This vinyl reissue restores the original eleven-song album and offers a welcome opportunity to rediscover one of Capitol’s more elusive late-1960s recordings.

Track listing:

Side A A1. Soon There’ll Be Thunder A2. I Have Been Alone A3. Those Who Love A4. Go Every Way A5. Why Must I Be A6. Take From You

Side B B1. They Didn’t Even Go to the Funeral B2. Feeling B3. Girl Said – Know B4. Land of a Day B5. This Life She Is Mine

A familiar presence in the Greenwich Village folk community, Vince Martin moved through the same creative circle as Fred Neil, Dino Valenti, Len Chandler and Richie Havens. He had already attracted attention through his work with The Tarriers and his recordings with Fred Neil before making his first solo album, If the Jasmine Don't Get You... The Bay Breeze Will, for Capitol in 1969.

Produced by Nick Venet and recorded in Nashville with leading session musicians, the album expands Martin’s folk roots into a spacious blend of folk rock, country, blues and gently psychedelic songwriting. Charlie McCoy, Kenneth Buttrey, Norbert Putnam, Fred Carter Jr. and steel guitarist Lloyd Green provide sympathetic accompaniment, allowing Martin’s expressive voice and reflective songs to remain at the centre of the recording.

The extended “Snow Shadows” immediately establishes the album’s dreamy, unhurried atmosphere, while “I Can’t Escape From You” and “Summerwind” combine melodic warmth with a quiet sense of longing. “Danville Girl” draws on traditional American song, and the expansive “Yonder Comes the Sun” leads into the evocative title track. With only six songs, the record gives each arrangement room to develop naturally, creating an intimate and atmospheric work that has gradually earned recognition among collectors of late-1960s folk rock.

Track listing:

Side A A1. Snow Shadows A2. I Can’t Escape From You A3. Summerwind A4. Danville Girl

Side B B1. Yonder Comes The Sun B2. Jasmine (If The Jasmine Don’t Get You The Bay Breeze Will)

• Label: Ojo De Mujer
• Edition: Limited edition burgundy/red coloured vinyl

Originally released by RCA Victor in 1973, Riff-Raff was the first official album by the British progressive jazz-rock group formed around keyboardist Tommy Eyre. Bringing together musicians with backgrounds in blues, soul, jazz and progressive rock, the record occupies a distinctive space between tightly constructed songs and more open-ended instrumental exploration.

The album is driven by Eyre’s Hammond organ, electric piano and flute, together with Pete Kirtley’s expressive guitar work and Roger Sutton’s fluid bass playing. The opening “Your World” establishes the group’s combination of melodic songwriting and intricate musicianship, while “For Every Dog” and “Little Miss Drag” introduce bluesier, more direct elements. “Dreaming” and “Times Lost” reveal a gentler and more atmospheric side of the band.

The extended closing piece “La Même Chose” provides the album’s most expansive progressive jazz-rock performance, allowing the musicians to move through shifting rhythms, keyboard passages and instrumental exchanges. Although Riff-Raff remained relatively obscure during their original lifetime, their debut has since attracted considerable interest among collectors of adventurous early-1970s British rock. This limited coloured-vinyl edition presents the album once again in its original seven-track configuration.

Track listing:

Side A A1. Your World A2. For Every Dog A3. Little Miss Drag A4. Dreaming

Side B B1. Times Lost B2. You Must Be Joking B3. La Même Chose

Originally privately released on Vernon Wray’s Vermillion Records in 1972, Wasted is a stark and deeply personal meeting point between country rock, folk, blues and homespun American roots music. Vernon, the older brother of pioneering guitarist Link Wray, had already played an important role behind the scenes as a musician, producer and recording engineer. On this rare solo album, however, he stepped fully into the foreground with a collection of intimate and emotionally exposed songs.

The record’s sparse arrangements and deliberately unpolished production give the performances an unusually immediate character. Acoustic guitars, understated piano, restrained percussion and occasional contributions from Link Wray surround Vernon’s weathered voice without overwhelming it. Songs such as “Facing All The Same Tomorrows,” “Lonely Son” and “Prison Song” convey isolation, regret and hard-earned resilience, while the rough edges of the recording strengthen rather than diminish their impact.

Long prized by collectors of private-press recordings and unconventional early-1970s Americana, Wasted feels less like a conventional studio production than a personal document captured at a particular moment in Vernon Wray’s life. This vinyl reissue makes one of the most elusive recordings associated with the remarkable Wray family available again.

Track listing:

Side A A1. Facing All The Same Tomorrows – 4:51 A2. God Is Color Blind – 3:22 A3. Reaching Out To Touch – 3:33 A4. Lonely Son – 4:48

Side B B1. Tailpipe – 4:40 B2. Faces In The Crowd – 2:38 B3. When I Start Drinkin’ – 2:14 B4. Prologue #1 – 3:12 B5. Underneath The Sycamore Tree – 2:22 B6. Prison Song – 3:08

Starting out as a typical U.K. club soul band, and then turning toward psychedelia and prog rock in the latter half of the ‘60s, Pesky Gee! changed their name in 1970 to Black Widow and reached the public eye with their occult masterpiece Sacrifice. Their 1969 debut on Pye is to be considered a turning point in the british jazz-blues scene. With a cool Hammond organ vibe and some truly fascinating acid-folk

Track listing:

Side A
• Another Country (R. Polte) 7:36
• Pigs Foots (Ben Dixon) 4:38
• Season Of The Witch (D. Leitch) 8:21
• A Place Of Heartbreak (M. Rabbit) 3:00
Side B
• Where Is My Mind? (M. Stein) 2:59
• Piece Of My Heart (J. Ragovoy, B. Berns) 2:50
• Dharma For One (Anderson, Bunker) 4:01
• Peace Of Mind (John Whitney, Roger Chapman) 2:20
• Born To Be Wild (Mars Bonfire) 4:23

Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.

The first half of the album has composer Neil Ardley directing a fourteen-piece chamber orchestra featuring Rendell and Carr, plus a supporting cast of creme de la creme British musicians in "The Greek Variations," a six-part suite based on a traditional Greek folk tune. The second half features in turn a quintet led by Carr—Nucleus in all but name—and a quartet led by Rendell, on shorter suites maintaining a Greek flavour and ambience.

An undercurrent of brooding turbulence surfaces at various points in the "Variations" suite, as though some sort of tidal wave might erupt from the Aegean at any moment, but at other times the mood is sunnier and vivacious (or delicately moonlit), and there are lovely solo passages, both improvised and composed, from Frank Ricotti on marimba/vibraphone, Karl Jenkins on oboe, Rendell on alto flute (on which he has a voice as distinctive as on tenor sax) and Carr on flugelhorn. Comparisons with the Miles Davis and Gil Evans collaborations inevitably spring to mind. But Carr, though strongly influenced by Davis, is ultimately his own man, and Ardley is absolutely so too, and the result is an entirely fresh approach to composed/improvised orchestral jazz.

The three Carr-composed tracks are performed by Carr plus Nucleus founding members Brian Smith, Chris Spedding, Jeff Clyne and John Marhsall. "Wine Dark Lullaby" and "Orpheus" conjure up balmy Mediterranean nights, soft and lush, while "Persephone's Jive" is a wild Greek dance made ever more urgent by the sustained clatter of Afrobeat in Spedding's aggressive, staccato comping. Only a few minutes long, but still one of the highlights of the set.

The closing Rendell-composed tracks feature Rendell alongside Stan Robinson, Neville Whitehead and Trevor Tomkins. The wistful "Farewell Penelope" could almost come from a film noir soundtrack, with Rendell's tenor evoking a lonely night-time cityscape. "Odysseus, King of Ithaca" and "Veil of Ino" are fiercer, showing off his well loved ruff 'n' tuff side.

Track Listing:

The Greek Variations

• A.i Santorin
• A.ii Omonoia
• A.iii Delphi
• A.iv Kerkyra
• A.v Meteora
• A.vi Kriti
• B1 Wine Dark Lullaby
• B2 Orpheus
• B3 Persephone's Jive
• B4 Farewell Penelope
• B5 Odysseus, King Of Ithaca
• B6 Siren's Song
• B7 Veil Of Ino

gatefold 180 gram LP featuring Andy Warhol’s original cover with the peelable banana

Track Listing - Side A: 1. Sunday Morning 2. I’m Waiting For The Man 3. Femme Fatale 4. Venus in Furs 5. Run Run Run 6. All Tomorrow’s Parties 7. I’ll Be Your Mirror Side B: 1. Heroin 2. There She Goes Again 3. The Black Angel’s Death Song 4. European Son Bonus Track: 5. Chelsea Girls

The Open Mind was an English psychedelic rock band formed in London, and active in the 1960s and 1970s. The band was formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches and formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set, who released a little-known single in February 1967, "Day and Night" / "Get Out of My Way". Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, "Magic Potion", which did not appear on the album. Despite their paucity of recorded material, The Open Mind have proven to be influential in the psychedelic rock genre, their single "Magic Potion" having been covered by bands such as The Seers, Sun Dial and The Damned.

Track Listing:

• Dear Louise
• Try Another Day
• I Feel The Same Way Too
• My Mind Cries
• Can't You See
• Thor The Thunder God
• Horses And Chariots
• Before My Time
• Free As The Breeze
• Girl I'm So Alone
• Soul And My Will
• Falling Again

Fotheringay was a British folk rock band formed in 1970 by singer-songwriter Sandy Denny after her departure from Fairport Convention. The band included Trevor Lucas (guitar, vocals), Gerry Conway (drums), Pat Donaldson (bass), and Jerry Donahue (guitar). Sandy Denny, already renowned for her haunting voice and evocative songwriting, brought a distinctive, ethereal quality to the band. Fotheringay's music is characterized by its blend of traditional folk, rock, and intricate, harmonious arrangements. Despite their brief existence, the band left a significant mark on the folk rock genre, known for their skillful musicianship and Denny's compelling vocal performances.

Fotheringay's self-titled debut album, released in 1970, showcases the band's ability to blend traditional British folk music with rock influences seamlessly. The album features a mix of original compositions by Sandy Denny and Trevor Lucas, as well as traditional folk songs and covers. Tracks like "Nothing More" and "The Sea" highlight Denny's poetic songwriting and powerful vocals, while "The Ballad of Ned Kelly" and "John the Gun" reflect the band's adeptness at storytelling through music. Jerry Donahue's exceptional guitar work and the tight rhythm section of Donaldson and Conway provide a rich, textured backdrop to the songs. Though the band disbanded shortly after the album's release, "Fotheringay" remains a treasured record, admired for its artistry and the unique, haunting beauty of Denny's voice. The album has since gained a cult following and is considered a classic in the folk rock canon.

Track listing:

• Nothing More 4:34
• The Sea 5:25
• The Ballad Of Ned Kelly 3:29
• Winter Winds 2:20
• Peace In The End 7:21
• The Way I Feel 3:52
• The Pond And The Stream 3:13
• Too Much Of Nothing 3:51
• Banks Of The Nile 8:18

For the very first time on vinyl a mandatory compilation with both rarities and unreleased tracks, showcasing their second line up ! At the end of January 1971 lead vocalist Linda Hoyle and organist Lynton Naiff left Affinity, instead of going separate ways, the other three members recruited vocalist Vivienne McAuliffe (Principal Edwards Magic Theatre) and ex-Tornados keyboardist Dave Watts. Reminiscent at times of Sandy Denny, Vivienne voice was a natural addiction to the new incarnation of the band, focusing on a more folksy direction.

Track listing:

Side A
• Moira’s Hand 5:18
• Grey Skies 8:38
• Cream On Your Face 5:19
• Sunshower 5:43
Side B
• All Along The Watchtower/It’s About That Time 7:40
• Rio 4:45
• Poor Man’s Son 3:20
• Sarah’s Wardrobe 4:18
• Highgate 3:56

Formed in 1969 and contracted in 1970 to the Pye group Dawn, the TRIFLE consisted of George Bean on vocals and guitar, Patrick Speedy King on bass, Barry Martin on saxophones, John Pritchard on trumpet and Rod Coombes on drums. Their sole album was released in 1971, blending elements of jazz and rock, while not disdaining few escapes into folk. RIYL: Cream, Colosseum, Graham Bond Organization.

Track listing:

Side A
• Alibi Annie 4:55 (Greenwood, Cuthell, Bean, King)
• Home Again 4:05 (R. Berkowitz)
• One Way Glass 4:34 (Mann, Thomas)
• But I Might Die Tonight 3:51 (Stevens, arranged by Alan Fealdman)
• Is It Loud? 8:10 (Alan Fealdman)
Side B
• Old Fashioned Prayer Meeting 4:39 (Bean, King, arranged by Barrie Martin)
• New Religion 5:43 (Cuthell, Bean)
• Devil Comin’ 7:45 (Bean, King, arranged by Barrie Martin)
• Candle Light 1:40 (Bean, Hitchen)

The Crazy World of Arthur Brown is the debut studio album by the English rock band the Crazy World of Arthur Brown. Released in the United Kingdom in June 1968 by Track Records and in the United States in September 1968 through Atlantic, the album was an international success, propelled by the transatlantic hit single "Fire". It was the only album released during the Crazy World's original incarnation.

A psychedelic soul album, its style is defined by frontman Arthur Brown's wide-ranging theatrical vocals and mystical lyrics, with the first side of the original LP comprising a conceptual song cycle known as "the Fire Suite". The album's sound and Brown's stage act influenced subsequent musicians such as David Bowie, Peter Gabriel, Alice Cooper, and even George Clinton.

Track listing:

Side A
• Prelude - Nightmare 03:35
• Fanfare - Fire Poem 01:54
• Fire 03:02
• Come And Buy 05:51
• Time 05:27
Side B
• I Put A Spell On You 03:48
• Spontaneous Apple Creation 02:58
• Rest Cure 02:46
• I've Got The Money 03:13
• Child Of My Kingdom 06:28

Rare Bird are perhaps best remembered for having the distinction of being the first act to be released on Tony Stratton Smith’s gloriously eclectic label Charisma records (also the home of GENESIS, THE NICE and VAN DER GRAAF GENERATOR to name but a few) and for their excellent 1970 hit single ‘Sympathy’. Like fellow future Charisma stable mates Van Der Graaf Generator, Rare Bird was formed around the principle of keyboard dominated progressive rock which eschewed the use of guitars. In December 1969 their eponymous debut album was released to great critical acclaim.

Track Listing:

• A1 Iceberg 6:46
• A2 Times 4:00
• A3 You Went Away 4:17
• A4 Melanie 3:27
• B1 Beautiful Scarlet 5:23
• B2 Sympathy 2:30
• B3 Natures Fruit 2:32
• B4 Bird On A Wing 4:13
• B5 God Of War 5:08

]]> Fri, 31 Jul 2026 18:32:48 +0300 https://www.lpcdreissues.com/item/moby-grape-4 https://www.lpcdreissues.com/item/moby-grape-4

Moby Grape is an American rock band formed in San Francisco in 1966, known for their unique blend of rock, folk, blues, and country influences. The original lineup included Jerry Miller (lead guitar, vocals), Peter Lewis (rhythm guitar, vocals), Skip Spence (guitar, vocals), Bob Mosley (bass, vocals), and Don Stevenson (drums, vocals). Each member was a skilled songwriter and vocalist, which contributed to the band's rich, multi-layered sound and tight harmonies. Despite their immense talent and initial promise, Moby Grape's career was marred by mismanagement, legal troubles, and internal conflicts. However, they remain a critically acclaimed and influential band, particularly within the 1960s San Francisco music scene.

Moby Grape's self-titled debut album, released in 1967, is widely regarded as one of the greatest debut albums in rock history. The album showcases the band's versatility, with each member contributing songs that span various styles, from rock and blues to folk and country. Tracks like "Omaha," "Hey Grandma," and "8:05" highlight the band's tight musicianship, complex vocal harmonies, and energetic performances. Despite the album's critical acclaim, its success was hindered by Columbia Records' decision to release five singles simultaneously, which diluted their impact. Nevertheless, "Moby Grape" remains a landmark album, celebrated for its innovation, cohesiveness, and the band's ability to seamlessly blend different musical genres. It captures the spirit of the 1960s psychedelic rock era and continues to influence musicians and attract new listeners decades later.

Track listing:

• A1 Hey Grandma
• A2 Mr. Blues
• A3 Fall On You
• A4 8:05
• A5 Come In The Morning
• A6 Omaha
• A7 Naked, If I Want To
• B1 Someday
• B2 Ain't No Use
• B3 Sitting By The Window
• B4 Changes
• B5 Lazy Me
• B6 Indifference
]]> Fri, 31 Jul 2026 18:30:19 +0300 https://www.lpcdreissues.com/item/relatively-clean-rivers-3 https://www.lpcdreissues.com/item/relatively-clean-rivers-3

Long before the term Cosmic Americana was of common use there was a band ideally fitting the role. Back in 1976 the long psychedelic wave was rapidly fading away, but the market of private press was still in demand. The self-debut album of Relatively Clean Rivers came out the same year on the leader Phil Pearlman label. Pacific Is released just this sole album and was to a certain extent an original example of do it yourself. The brainchild of Phil Pearlman, the band was rapidly crossing genres focusing on extended long jam verging on Californian psych and proto-ambient country/folk. The man, a sort of local guru, was previously involved in two other projects: Orange County own The Beat Of The Earth and The Electronic Hole, so to speak different names for the same group of musicians.

While those two early efforts were explicitly devoted to a sort of LSD inducted trip, the Relatively Clean Rivers stand on their own, merging styles and – finally – proposing an accurate songwriting. The first press of this sough after underground masterpiece has been traded for thousand dollars, now here’s your chance to grab this rural manifesto. With much of the music being acoustic, there are elements of morphing electric guitars, smattered with strange spacey moments belaying a certain stoned atmosphere. The album is imaginative, melancholic, mellow, and exotically webbed. And then there’s the band Wilco, citing the Relatively Clean Rivers as being inspirational. Not a bad companion, right ? And if you just look at Jeff Tweedy instant progression from ‘Summerteeth’ to ‘Yankee Hotel Foxtrot’ the ‘suspect ‘ is more than reasonable. We’ll give you one more hint, Kevin Morby has been probably fascinated but this long lost gem as well.

Track listing:

Side A
• Easy Ride
• Journey Through The Valley Of O
• Babylon
• Last Flight to Heaven
Side B
• Prelude
• Hello Sunshine
• They Knew What To Say
• The Persian Caravan
• A Thousand Years
]]> Fri, 31 Jul 2026 18:29:59 +0300 https://www.lpcdreissues.com/item/bedlam-5 https://www.lpcdreissues.com/item/bedlam-5

The English blues revival was surely functional in developing a new series of performer and sub-genres. The hard rock revolution began from the power-chord of Cream and the likes, leading the way for a new ‘British invasion’. Short lived four piece Bedlam released one single studio album in 1973 led by the intense power of drummer extraordinaire Cozy Powell (Black Sabbath, Whitesnake, Rainbow, Jeff Beck). Their self titled debut was enlightened by other amazing performers: vocalist Frank Aiello (formerly of pop duo The Truth) and brothers Dave (the guitarist who had recently replaced Robin Trower in Procol Harum) and Denny Ball (bass). The album was produced by Felix Pappalardi of Mountain fame. This is soulful proto-heavy metal at its best!

Track Listing:

Side 1
• I Believe In You (Fire In My Blood)
• Hoy Lips
• Sarah
• Sweet Sister Mary
• Seven Long Years
Side 2
• The Beast
• Whisky And Wine
• Looking Through Love's Eyes (Busy Dreamin')
• Putting On The Flesh
• Set Me Free
]]> Fri, 31 Jul 2026 18:29:37 +0300 https://www.lpcdreissues.com/item/message-to-a-harlequin https://www.lpcdreissues.com/item/message-to-a-harlequin

Fully licensed and ltd to 500 copies ! An acid-folk masterpiece finally revealed ! When two worlds collide here’s where the legacy of Tim Hollier begins, his first album was released on United Artists in 1968 and this long overdue re-issue is a definitive statement of the master genius. Guest on the opening night of a Beckenham folk club run by his friend David Bowie, Hollier recorded ‘Message To A Harlequin’ with the assistance of Donovan arranger John Cameron. Hollier was also a regular on London's folk club circuit for several years alongside the likes of Paul Simon, Al Stewart and Nick Drake. Here’s your chance to finally grab his visionary songwriting.

Track listing:

Side A
• Message To A Harlequin 4:00
• Bird Of Paradise 2:33
• Hanne 1:53
• Jimmy 2:05
• Do You Remember When 2:05
• Streets Of Gold 2:35
Side B
• And Where Were You That Morning Mr. Carroll 3:30
• Full Fathoms Five 3:07
• And I 1:47
• In The Light Of Sadness 3:43
• In Silence 3:00
]]> Fri, 31 Jul 2026 18:29:16 +0300 https://www.lpcdreissues.com/item/wheels-of-fire-4-bonus-tracks https://www.lpcdreissues.com/item/wheels-of-fire-4-bonus-tracks

Gatefold double LP, 180g vinyl"

Like the band's previous two releases, Cream's third album, Wheels Of FireMoments in Rock & Roll. Features super rare bonus track "Desert Ride"". (1968), also topped the charts. Although it was criticized at the time for being a somewhat disjointed album, divided into one LP of new studio material and one LP of live material, it redeems itself because "White Room", has gone down in the annals history as one of the Great "

"

Track listing" - S"ide A": "1.White Room 2. Sitting On Top Of The World 3. Passing The Time 4. As You Said 5. Pressed Rat And Warthog Side B: 1.Politician 2.Those Were The Days 3. Born Under A Bad Sign 4. Deserted Cities Of The Heart 5. Anyone For Tennis* 6. Desert Ride* 7. Hey Now Princess* 8. Weird Of Hermiston* Side C: 1. Crossroads 2.Spoonful Side D: 1. Traintime 2. Toad""

*bonus tracks"

]]> Fri, 31 Jul 2026 18:28:37 +0300 https://www.lpcdreissues.com/item/fresh-cream-2 https://www.lpcdreissues.com/item/fresh-cream-2 When the band formed in 1966, Eric Clapton was already fairly well known by this time, having already performed and recorded with the Yardbirds and John Mayall's Bluesbreakers. But it wasn't until Cream that Clapton became a global superstar. Breaking free of the traditional rock & roll song for a more improvisational / jazz influenced take, the band's long jams gave birth to a whole new approach to rock music. When their debut album Fresh Cream was released in 1966 it immediately became the standard by which all other bands of the era were judged."
Track listing - Side A: 1.I Feel Free* 2. N.S.U. 3. Sleepy Time Time 4. Dreaming 5. Sweet Wine 6. Spoonful 7. The Coffee Song* Side B: 1.Cat's Squirrel 2. Four Until Late 3. Rollin' And Tumblin' 4. I'm So Glad 5. Toad 6. Wrapping Paper* 7. You Make Me Feel* 8 Lawdy Mama*""

*bonus tracks"

"

"

"

]]> Fri, 31 Jul 2026 18:27:48 +0300 https://www.lpcdreissues.com/item/leg-end https://www.lpcdreissues.com/item/leg-end
• 180 gram HQ vinyl on a limited edition of 2000 copies

The first, 1973, release by Britain's most enigmatic and unclassifiable band.

Formed in 1968 by two Cambridge students, Fred Frith and Tim Hodgkinson, Henry Cow's original influences included the likes of Soft Machine and Frank Zappa. However, in their undying quest to push the boundaries of conventional music, members soon took out their machetes and began hacking a new trail into an unmapped wilderness of sound. The band was thereby also staunchly anti-commercial, never compromising their sound to please anyone but themselves, and it is precisely because of this that they have gone on to influence so many musicians on the outer fringes of rock & roll on both sides of the Atlantic, particularly the NY experimental music scene. Now returned to its original audio mix. Limited audiophile edition of 2000 copies on 180 gram virgin vinyl.

SIDE A:

1. Nirvana for Mice
2. Amygdala
3. Teenbeat Introduction
4. Teenbeat

SIDE B:

1. Extract from "With the Yellow Half-Moon and Blue Star"
2. Teenbeat Reprise
3. The Tenth Chaffinch
4. Nine Funerals of the Citizen King
]]> Fri, 31 Jul 2026 18:26:59 +0300 https://www.lpcdreissues.com/item/unrest https://www.lpcdreissues.com/item/unrest
• 180 gram HQ vinyl on a limited edition of 1000 copies

Dating from 1974, and following on from the re-release of Legend, this is the second in our series of vinyl reissues of the original Virgin Albums.

Geoff Leigh had left the group and Lindsay Cooper joined on Bassoon, Oboe, Flute, Soprano Sax. The mix was more 'live' than Legend, with the drums much more up front. The first half is highly composed material, with some of the Cow's best loved tunes, like Half Asleep Half Awake and Bittern Storm Over Ulm. For the second half the material was all written in the studio, using loops, varispeed tapes and electronics, and superimposing live improvisation and composed passages.

SIDE A:

1. Bittern Storm Over Ulm
2. Half Asleep; Half Awake
3. Ruins

SIDE B:

1. Solemn Music
2. Linguaphonie
3. Upon entering the Hotel Adlon
4. Arcades
5. Deluge
]]> Fri, 31 Jul 2026 18:26:37 +0300 https://www.lpcdreissues.com/item/belle-3 https://www.lpcdreissues.com/item/belle-3

Label: Ojo De Mujer

Released in 1972 and long out of reach, Belle Gonzalez’s only album is one of those rare records that feels like a secret passed from hand to hand. Her voice is gentle yet full of presence, carrying songs that drift between British folk and the soft sway of Brazilian rhythms. It’s music that feels both of its time and strangely timeless, the kind of record you play once and then can’t forget. After decades in obscurity, Belle finally returns, restored with care and ready to be heard the way it always should have been.

Track Listing:

• A1 Black Paper Roses 3:18
• A2 Sometime Love 2:42
• A3 Bottles 3:23
• A4 (Laughin' At The) Voodoo 2:43
• A5 I Hate Sunday 2:57
• A6 Might As Well Have Stayed 3:14
• B1 Too Many Hang Ups 3:38
• B2 Michael 3:43
• B3 Motorway Gipsy 2:21
• B4 Old Man Cried 4:25
• B5 Sun Dreams 3:24
• B6 Don't Know Where The Night Went 3:18
]]> Fri, 31 Jul 2026 18:26:14 +0300 https://www.lpcdreissues.com/item/shiloh https://www.lpcdreissues.com/item/shiloh

Featuring a young Don Henley (soon to rise to fame with The Eagles) on drums, the alt-country group Shiloh formed in the late 1960s while its members were still in college. In 1969, they crossed paths with Kenny Rogers, who encouraged them to head to Los Angeles to record their self-titled debut album. The record shines with three standout roots-rock tracks—“Swamp River Country,” “Left My Gal in the Mountains,” and “Simple Little Down Home Rock & Roll Love Song for Rosie”—that evoke the earthy sound of The Band. Meanwhile, Henley’s own compositions—“I’m Gone,” “Same Old Story,” and “God Is Where You Find Him”—offer an early glimpse of the melodic sensibility and lyrical themes that would later define the Eagles’ sound. A long-overlooked proto-Americana gem, rediscovered at last.

TRACK LISTING

Side A
• Simple Little Down Home Rock & Roll Love Song For Rosie
• I'm Gone
• Left My Gal In The Mountains
• It's About Time
• Swamp River Country
Side B
• Railroad Song
• Same Old Story
• Du Raison
• Down The Farm
• God Is Where You Find Him
]]> Fri, 31 Jul 2026 18:25:52 +0300 https://www.lpcdreissues.com/item/good-bye-4 https://www.lpcdreissues.com/item/good-bye-4

Their sophomore release, after their supreme 1972 psychedelic debut, is a proto-hard rock affair. The Japanese power trio is in a more enthusiastic jammin' mode, with deep heavy blues notation. Ensure this lost classic now and forever !

Track listing:

Side A
• Leave Me Woman
• Rolling Down On Broadway
• Rock Me Baby
• Five More Pennies
Side B
• Before You Descend
• Out To The Sea
• Goodbye My Friens
• 521 Seconds Schizophrenic Symphony
]]> Fri, 31 Jul 2026 18:25:35 +0300 https://www.lpcdreissues.com/item/without-earth-3 https://www.lpcdreissues.com/item/without-earth-3

Track listing:

Side One
• Mothers & Fathers
• Pleasure
• I Should Be Dreaming
• Brother's Lou's Love Colony
• Got To Be On My Way
• Someday Girl
Side Two
• Papers
• Faces
• Never Mind
• Give Me More
• She's On My Mind
• Walking Around
]]> Fri, 31 Jul 2026 18:25:10 +0300 https://www.lpcdreissues.com/item/fields-8 https://www.lpcdreissues.com/item/fields-8

The summer of soul collides with the acid rock revolution in this 1969 opus originally licensed by MCA sub label UNI (roster of talented artists such as Strawberry Alarm Clock, Hugh Masekela and Fever Tree). The sole album by US power trio Fields is a majestic blues rock effort, arranged by cultish producer Gene Page (Blacula soundtrack, Aretha Franklin, Elton John, the Whispers, Gladys Knight, etc.). The short-lived Los Angeles band was clearly influenced by the likes of Cream and Vanilla Fudge and featured backing vocals from Motown/Northern

Track listing:

Side One
• Elysian Fields
• Bide My Time
• Take You Home
• Jump On You
• Sun Would Set
Side Two
• Love Is The World
]]> Fri, 31 Jul 2026 18:24:48 +0300 https://www.lpcdreissues.com/item/out-of-sight-and-sound-2 https://www.lpcdreissues.com/item/out-of-sight-and-sound-2

Possibly one of the first crossover jazz-rock album ever, ‘Out of Sight and Sound’ was released in 1967 by ABC Records. The album was recorded by Rudy Van Gelder and produced by Bob Thiele. Featuring a stellar line up comprised of young talented guitar player Larry Coryell (soon to be a proficient solo artist on Vanguard) the record was a true expression of the musicians lifestyle and artist heritage. With drummer Bob Moses (Compost, Steve Kuhn) on board, second guitarist Columbus "Chip" Baker, saxophonist Jim Pepper (a native American who’s debut on Herbie Mann Embryo is still regarded as a masterpiece) and bassist Chris Hills, Free Spirits were possible the first fusion group around !

Track listing:

Side One
• Don’t Look Now (But Your Head Is Turned Around)
• I’m Gonna Be Free
• Lbod
• Sunday Telephone
• Blue Water Mother
• Girl Of The Mountain
Side Two
• Cosmic Daddy Dancer
• Bad News Cat
• Storm
• Early Mornin’ Fear
• Angels Can’t Be True
• Tattoo Man
]]> Fri, 31 Jul 2026 18:24:30 +0300 https://www.lpcdreissues.com/item/ptah-the-el-daoud https://www.lpcdreissues.com/item/ptah-the-el-daoud

Ptah, the El Daoud, recorded and released in 1970, is the third solo album by Alice Coltrane. The album was recorded in the basement of her house in Dix Hills on Long Island, New York. This was Coltrane's first album with horns (aside from one track on A Monastic Trio – 1968 - on which Pharoah Sanders played bass clarinet). Sanders is recorded on the right channel and Joe Henderson on the left channel throughout. Coltrane noted: "Joe Henderson is more on the intellectual side, while Pharoah is more abstract, more transcendental." All the compositions were written by Alice Coltrane. The title track is named for an Egyptian god, Ptah, "the El Daoud" meaning "the beloved". "Turiya", according to the liner notes, "was defined by Coltrane as "a state of consciousness - the high state of Nirvana, the goal of human life", while "Ramakrishna" was a 19th-century Bengali religious figure and also denotes a movement founded by his disciples. On "Blue Nile", Coltrane switches from piano to harp, and Sanders and Henderson from tenor saxophones to alto flutes.

The album's cover design was by Jim Evans.

Track Listing

• Ptah, The El Daoud 13:58
• Turiya & Ramakrishna 8:19
• Blue Nile 6:58
• Mantra 16:33
]]> Fri, 31 Jul 2026 18:23:10 +0300 https://www.lpcdreissues.com/item/in-praise-of-learning https://www.lpcdreissues.com/item/in-praise-of-learning

180g LP"

A landmark in the history of European experimental rock, the third "Cow" work, originally released on Virgin in 1975, represents the second act of joined forces between Henry Cow and Slapp Happy, and the first fully integrated appearance of Dagmar Krause. In Praise Of Learning is a unique piece of art, showing perfect unity of political content, with rock complexity, extended song form and free noise explorations. An impressive array of new compositions, including Tim Hodgkinson's masterwork "Living In The Heart of the Beast" and Fred Frith's "Beautiful As The Moon-Terrible As An Army With Banners". An extraordinary set of music, performed by an amazingly rich line up: Dagmar Krause, Lindsay Cooper, Fred Frith, Tim Hodgkinson, John Greaves, Chris Cutler, Peter Blegvad, Anthony Moore, and guests: the great Mongezi Feza, Geoff Leigh and Phil Becque. A timeless classic!!!"

Track Listing -Side A: 1. War 2. Living In The Heart Of The Beast Side B: 1.The Long March 2. Beautiful As The Moon, Terrible As An Army With Banners 3. Morning Star ""

]]> Fri, 31 Jul 2026 18:22:07 +0300 https://www.lpcdreissues.com/item/brown-rice https://www.lpcdreissues.com/item/brown-rice
• Brown vinyl

Brown Rice is probably the most accessible entry point into Cherry's borderless ideal, jelling into a personal, unique, and seamless vision that's at once primitive and futuristic in the best possible way. Its title track is a sensual fusion of various styles and sounds from the African, Indian and Arabic traditions. It also represents the spiritual multiculturalism that Cherry was interested in exploring during this creative period. With ex-Ornette Coleman cohorts on board – Billy Higgings on drums and Charlie Haden on double bass (also heard on electric) – the album (originally released in Italy in 1975) is a cult on its own.

Track Listing:

• A1 Brown Rice 5:14
• A2 Malkauns 13:59
• B1 Chenrezig 12:50
• B2 Degi-Degi 7:05
]]> Fri, 31 Jul 2026 18:21:34 +0300 https://www.lpcdreissues.com/item/relativity-suite https://www.lpcdreissues.com/item/relativity-suite

Finally available again on vinyl! Don Cherry's Relativity Suite, recorded with the Jazz Composers Orchestra in 1973. At this time, Cherry was becoming increasingly interested in Middle Eastern and traditional African and Indian music, having traveled extensively and studied with Indian musician Vasant Rai. This suite of songs was particularly influenced by the Indian karnatic singing tradition, as can be heard from the very opening moments of the album. Featuring Carla Bley on piano, Charlie Haden on bass, and Ed Blackwell on drums, as well as an extended horn and string section, Cherry collaborated extensively with the Jazz Composers Orchestra throughout the early seventies. His Swedish wife, Moki Cherry, plays tambura on Trans-Love Airways.

SIDE A: 1. Tantra 2. Mali doussn'gouni 3. Desireless SIDE B: 1. The Queen of Tung-Ting Lake 2. Trans-Love Airways 3. Infinite Gentleness 4. March of the Hobbits. 

]]> Fri, 31 Jul 2026 18:20:54 +0300 https://www.lpcdreissues.com/item/electronic-hole https://www.lpcdreissues.com/item/electronic-hole

The Electronic Hole is the extraordinarily rare second recording associated with Phil Pearlman and the Californian underground collective The Beat Of The Earth. Originally pressed in minute quantities in 1970, the album remained almost completely unknown for decades and has since acquired a legendary reputation among collectors of private-press psychedelia.

Where the group’s self-titled debut concentrated on extended free-form improvisation, The Electronic Hole introduces more recognisable melodies and song structures without losing its homemade, exploratory character. Fuzz guitar, droning organ, sitar, loose percussion and fragile acoustic passages move through a deliberately primitive recording that feels intimate, mysterious and disconnected from the commercial rock scene of its time.

The music often suggests a distinctly West Coast counterpart to the darker work of The Velvet Underground. Pearlman’s subdued vocals drift through repetitive guitar patterns and shadowy organ lines, while moments of melodic folk-rock emerge unexpectedly from the heavier electric passages. The contrast between hypnotic repetition and gentle, almost ballad-like sections gives the record its unusual atmosphere.

Side one, titled “The Golden Hill,” develops through a sequence of interconnected psychedelic songs and instrumental transitions. The second side, “Love Will Find A Way,” moves from quiet acoustic reflection into raw fuzz-driven experimentation and incorporates an unconventional interpretation of Frank Zappa’s “Trouble Every Day.”

Several musical ideas heard here would later reappear in a more polished and expansive form on Pearlman’s celebrated Relatively Clean Rivers album. The Electronic Hole, however, preserves his music at its most obscure and unfiltered: a haunting document of homemade American psychedelia filled with rough textures, unexpected beauty and a genuinely private atmosphere.

Track listing:

Side A

1. The Golden Hill

Side B

1. Love Will Find A Way
]]> Fri, 31 Jul 2026 18:20:28 +0300 https://www.lpcdreissues.com/item/elis-and-tom-orange https://www.lpcdreissues.com/item/elis-and-tom-orange

Elis & Tom is a bossa nova album, released in 1974, recorded by Brazilian singer Elis Regina and singer-songwriter Antônio Carlos Jobim. Recorded over a 16-day period at MGM Studios in Los Angeles, California, the album was an old wish of Regina, who always wanted to record a full album of Jobim's songs with him. This finally came true in 1974, when Elis was celebrating her 10th anniversary as an artist of Philips Records. The label approved the project as a gift for her.

Track listing:

• A1 Águas De Março 3:29
• A2 Pois È 1:45
• A3 Só Tinha De Ser Com Você 3:50
• A4 Modinha 2:12
• A5 Triste 2:38
• A6 Corcovado 3:53
• A7 O Que Tinha De Ser 1:40
• B1 Retrato Em Branco E Preto 3:02
• B2 Brigas, Nunca Mais 1:36
• B3 Por Toda Minha Vida 2:02
• B4 Fotografia 2:45
• B5 Soneto De Separação 2:18
• B6 Chovendo Na Roseira 3:10
• B7 Inútil Paisagem 3:11
]]> Fri, 31 Jul 2026 18:19:54 +0300 https://www.lpcdreissues.com/item/deirdre-2 https://www.lpcdreissues.com/item/deirdre-2

A vinyl reissue of a true Dutch folk/folkrock gem, recorded by a band from Eindhoven featuring two top notch female vocalists. Originally issued by Philips in 1977, the album includes two traditional Dutch songs, but most of the material is in the (slightly progressive) vein of British acts s.a. Steeleye Span, Fairport Convention, Spriguns and Trees. The s/t LP by Deirdre is among the most sought after titles from Europe's '70s folk scene and is a must for fans of the genre.

Track Listing:

• Daughter Of Peggy-o 2:59
• Lovely Joan 4:24
• Cup Of Tea 2:46
• Tell Me What You See In Me 3:41
• Young Waters 5:23
• 'T Visserke 5:28
• Nine Points Of Roguery 2:53
• 'T Koopmanszoontje 7:05
• Gravel Walk 3:43
• Call The Yowes 3:07
]]> Fri, 31 Jul 2026 18:19:28 +0300 https://www.lpcdreissues.com/item/african-rock-record-store-day-2022-exclusive-limited https://www.lpcdreissues.com/item/african-rock-record-store-day-2022-exclusive-limited
• Fully licensed and remastered from the original tapes

Japanese jazz drummer Akira Ishikawa has recorded countless albums with the band Count Buffalos, though few are quite as revered and sought-after as 1971 set African Rock. Of his albums, this is certainly the most dazzling and impactful, flawlessly produced. More than "African rock" it is psychedelic spiritual jazz with funky veins; the set is a brilliant blend of Akira Ishikawa's favorite styles with juicy, tribal and deep percussive elements - his drums are flanked by Kenji Shiraishi's marimba and Masami Kawahara's percussion - which in some moments they recall Fela Kuti (see the superb "Animals / Mnama") and in many other the electric Miles Davis. He bring a completely new global sound to his music with the inclusion of the electronic component with the ‘ tabbing' Kimio Mizutani's guitar solos and electric piano accompaniment by the great Hiromasa 'Colgen’ Suzuki (also on acoustic piano and composition).

Undoubtedly one of the best records produced in Japan in the 70s. Unmissable!

Includes OBI and insert

Track Listing:

Side A

• 祈り - Prayer / Sala
• 夜明け - Dawn / Alfajiri
• 動物 - Animals / Mnama
• 狩 - Hunting / Mwindo

Side B

• 大地 - The Earth / Ardhi
• 愛 - Love / Upendo
• 喜び - Joy / Furaha
• ジャンボ - Jumbo / Jambo
]]> Fri, 31 Jul 2026 18:18:59 +0300 https://www.lpcdreissues.com/item/janus-red https://www.lpcdreissues.com/item/janus-red

Aunt Mary was a prog rock band formed in Fredrikstad, Østfold in Norway in the early 70's. Signed a contract with Polydor in Denmark to release Aunt Mary in 1970. The group gradually moved towards progressive rock with the records Loaded in 1972 and Janus in 73. In the spring of 1973, during the preparations of their third album, Svein and Bjørn decided to take their music even further and spent months together writing for what they wanted to be the band's international album. The music was more prog-orientated than its predecessor. Fans and critics would later compare it to Pink Floyd, King Crimson or even a psychedelic version of The Beatles !

In June 1973, the band entered the studio. But its members were so tired of life on the road that they decided to cut the album, do the launch tour and then split up. Knowing that this album was "their swansong", they really did their best to make it shine. The band spent so much time recording that the producer, Svein Robert Ludviksen, almost lost his job. But the album turned out to be what the band would consider "the best of their career".

Track Listing

Side One
• Path Of Your Dream
• Mr. Kaye
• Nocturnal Voice
• For All Eternity
Side Two
• Stumblin' Stone
• All We've Got To Do Is Dream
• Candles Of Heaven
• What A Lovely Day
]]> Fri, 31 Jul 2026 18:18:05 +0300