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LP
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MR 424LP
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$27.00
PREORDER
RELEASE DATE: 12/10/2021
The Millennium stands as one of the most remarkable psychedelic bands from '60s California despite the sales of their only LP, Begin, did not match the big expectations created by the great critical acclaim received and the huge financial costs of its recording. Although conceived as a studio group by Curt Boettcher (The Ballroom, Sagittarius...), The Millennium was a real band despite never performed publicly. Following a carte blanche deal with Columbia, he assembled a group of talented Californian singers and musicians (Lee Mallory, Sandy Salisbury, Joey Stec, Doug Rhodes, Michael Fennelly and Music Machine drummer Ron Edgar) to record an album, resulting in a sublime pop masterpiece, combining sunny melodies, outstanding vocal harmonies, and psychedelic touches. Apart from the tracks that appeared on Begin (which also includes several songs that Curt Boettcher composed for previous projects such as The Ballroom) in the many studio hours the band recorded a host of extra songs, as well as numerous demos. This record includes some of the extra tracks that were recorded in the sessions for The Millennium's one and only album and they are proof of the immense versatility of the band and of the extraordinary ability of a group of composers who created timeless gems that we are delighted to recover and present for intergenerational enjoyment. Some of these tracks are reissued here on vinyl for the first time.
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7"
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MR 7336EP
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$18.00
PREORDER
RELEASE DATE: 12/10/2021
Los Pops, from Mallorca, were one of the truly great, indisputable Spanish garage bands. Conclusive proof of this is found in the three amazing EPs that form their short discography, in which the Manacor-based band proved themselves the equals of any of the local stars of the scene. In spite of poor sales, their debut release was a call to arms among Spanish aficionados and included their original "No, No, No" and three cover versions of current hits by The Animals, Herman's Hermits and The Cyrkle. "No, No, No" stands out no just as the best song in Los Pops' repertoire but also as one of the most interesting Spanish nuggets recorded at the time and one of the most sought-after garage records by collectors worldwide. "Te Esperaba" is probably one of the most powerful ever recorded of "CC Rider", one of the greatest songs of the 20th century, and surely it was too wild for the standards required by those six-to-eight hour sets at Palma's Big Apple club where The Pops would play regularly. Reissued on 7" vinyl for the first time.
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7"
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MR 7337EP
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$13.50
PREORDER
RELEASE DATE: 12/10/2021
First time reissue of the 1977 debut single of London's punk pioneers Alternative TV, originally released on Deptford Fun City Records. The band was founded by Mark Perry (editor of the zine Sniffin' Glue) and Alex Fergusson (member of Psychic TV years later). Early rehearsals took place at Throbbing Gristle's studio with Genesis P-Orridge on drums. The line-up of the band during the recording of this single was completed with drummer John Towe (ex-Generation X) and Tyrone Thomas on bass, sporting a straight-forward-y punk sound that eventually would evolve into a more experimental direction in the following years. "How Much Longer" is a sharp critique of punk style: "How much longer will people wear/ Nazi armbands and dye their hair?/ Talk about anarchy, fascism and boredom/ When you don't know nothing," that anticipated their own boredom towards the punk scene. An absolute must have!
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2LP
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MR 425LP
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$37.50
PREORDER
RELEASE DATE: 11/12/2021
Known as The Other Them or as the Belfast Gypsies, or simply as Them outside of the UK -- where Van Morrison's group was granted in court to use that name -- this bunch of Irish rockers (some of them former members of the real Them) briefly became the world's most dangerous punk R&B band following a chance encounter with Kim Fowley. Sparks flew in the studio as howling Gloria/Mystic Eyes R&B collided with the freak-out sounds of the Sunset Strip. Kim pushed hard to make the sound even rawer than it already was and, in a matter of months, a few releases saw the light of day in different countries -- under various names. "Gloria's Dream" became a small hit in certain markets including Seattle, Orlando and Detroit. The band headed to Denmark where they could make some much-needed money touring as Them. In Copenhagen they recorded five more songs to complete the album, including "Portland Town", "Boom Boom", "Midnight Train" and a superb version of "It's All Over Now Baby Blue". Although Fowley wasn't present for the sessions, his influence can be clearly felt on a new band composition, "Suicide Song". By late 1966 it was apparent that the band had run its course, and in early November, after some final shows in Stockholm, they quietly disbanded. Meanwhile, Fowley continued to make deals for their recordings. This double-LP comprises the complete works of the band, including the updated version of "People! Let's Freak Out" -- as released on Island in 1966 -- with added psychedelic effects (apparently courtesy of Guy Stevens and Robert Wyatt) and a couple of demos recorded at KPS Sound Studio. This release is a Munster/Mono-Tone Records co-production.
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LP
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MR 416LP
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$23.50
PREORDER
RELEASE DATE: 11/12/2021
Jenny Bombo together with Tere Farfissa formed Ultrasónicas from Mexico City in 1996. Several singers, guitarists and bassists temporary joined them until Suzy Vox, Jessy Bulbo (bass and voice) and Ali Gua Gua (guitar) arrived. They began to play as a quintet in memorable concerts within the underground circuit of Mexico City until Tere left the band in 1997 and they remained as a quartet. Their sound is based on rock and roll, garage, surf and punk, along with the influence of the riot grrrl movement. In 1998, with that line-up, they recorded a demo in the rehearsal room with two microphones only. This would become the 10" vinyl record Yo Fui Una Adolescente Terrosatanica (The Demo Versions) (1999), a limited edition to 500 copies only, sporting a caveman sound and a great sense of humor. They had also recorded other songs in a home studio that were released exclusively on CD by Munster Records in 2001 (the "definitive versions"). This album presents on vinyl for the first time a selection of those recordings previously released on CD only together with most of those included on the 10" record, comprising a complete representation of the Ultrasonic repertoire. The band has become a reference for '90s Mexican underground rock and also for all-women bands, encouraging many others in Mexico to follow their example. Welcome to the wonderful brashness and rock sound of the Ultras.
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LP
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MR 420LP
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$25.00
PREORDER
RELEASE DATE: 10/22/2021
Un Nuevo Día is the long-awaited third album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. Stunning uncompromised fuzz-infused pop that makes you smile, brilliant melodies and a true love for perfect songwriting that transcends different generations, ranging from classic '60s pop to the best of the neo-psychedelic sound. Their arrangements and melodies could remind of The Smiths, The Byrds, Spiritualized, Los Saicos, The Brian Jonestown Massacre, or Jesus and Mary Chain, but their Spanish-sung lyrics take the songs into a different dimension where the acid sounds fit in just perfect. It's all about the melodies. "Luz Espacio Tiempo" was the first single released off the album and features a reverb-core sound combined with outstanding melodies resulting a hypnotic sonic delicatessen of motorik style.
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LP
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MR 418LP
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The Coterie was an ephemeral folk group from Dimnagh, a southern suburb of Dublin, with hippy and psych touches from the late '60s. They were signed by Emerald at around the age of 18. This label, which released folk music among other genres, had a distribution relationship with Decca until shortly before the latter was taken over by Polygram. Emerald released a single and the group's debut and only LP, A Swing to Folk, a captivating record with simple instrumentation, beautiful vocals, and harmonies that transport you to pastoral surroundings full of calm, peace, and love. The record has 11 tracks, most of them cover versions (including songs by the Beatles, Phil Ochs and Judy Collins/Leonard Cohen) and a couple of traditional folk arrangements. All the songs are performed in a simple, candid style that makes listening to them an almost mystical experience, supported by gentle guitars and keyboards in the background. Lack of promotion and slow sales of the record meant that The Coterie did not accomplish everything they deserved, and the group disbanded and fell into oblivion -- until now! A Swing to Folk returns to life, to envelop us with the warmth, gentle simplicity and beguiling melodies of its tracks. Reissued now for the first time, over 52 years after its original release. Splatter vinyl.
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7"
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MR 7335EP
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Quintessence of the best nuggets-type of music from Europe, the scant discography of the Catalan-band Los Nivram -- just two obscure EPs, eight tremendous tracks, half of them absolutely great -- perhaps represents the most precise example of the excellent level that the Spanish garage sound acquired during the golden years of the genre, basically the second half of the '60s, its glory days, and a few later examples from the early '70s. Los Nivram started their career heavily influenced by The Shadows, in fact they took their name after one of their songs (that also happened to be their leader and bass player's surname spelt backwards). They would soon push their sound forward, evolving from instrumentals to a repertoire sung in their native Spanish language, after being blown away by the UK beat and R n' B bands of the time. "Sombras" stands out no just as the best song in Los Nivram's repertoire but also as one of the most interesting nuggets recorded at the time and one of the most sought-after garage records by collectors worldwide. Reissued on 7" for the first time.
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7"
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MR 7339EP
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$13.50
PREORDER
RELEASE DATE: 9/24/2021
Los Sideral's were a Peruvian band founded in 1967. Their first recordings are heavily influenced by the surf intrumentals and tropical sounds, mastering the cumbia guitar like few others. At the edge of the new decade, psychedelic, and funk ingredients were also incorporated. "Dongoh" is the result of this musical journey, as if Hendrix and Santana would have joined a cumbia combo, mixing surf guitars with fuzz effects, fierce Latin percussion... "Vírgenes del Sol" is a surf-guitar driven dancefloor anthem that became their most popular song. Both recordings see now their reissue on a 7" vinyl for the first time. Another exciting dig into the hidden musical treasures of late '60s Peru.
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7"
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MR 7338EP
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$13.50
PREORDER
RELEASE DATE: 9/24/2021
The story of Nubs is another typical example of DIY production with a record poorly distributed that condemns it to oblivion until being "rescued" by its inclusion in the compilation series Killed By Death. In 1980 the band was part of that first wave of American punk from their home in San Francisco, and "Job" was the A-side in the only single they released at the time. It's a raw song, with anti-everything punk handbook lyrics and a defiant attitude of adolescent rebellion. A recording that could have become a milestone in the early punk scene in the United States if it had had a greater exposure. After being compiled on KBD, collectors around the world skyrocketed the price of the few original copies around in the second-hand market. Munster Records now reissue this primal punk anthem accompanied by an unreleased song, "Banana", on side B.
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LP
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MR 419LP
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Second album by Chilean beat pioneers Los Mac's, originally released in 1967 on RCA Victor. This record features such a unique sound that made them stand out in the local scene and has become a milestone in the development of popular music in Chile. Recorded under the influence of the British Invasion sound, this album includes covers of the Rolling Stones, Dylan, the Hollies... and the outstanding original "Qué Clase de Sentimiento". GG Session anticipated the band's new sound, fully achieved in their next album Kaleidoscope Men. Reissued on vinyl for the first time.
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3x7"
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MR 7324EP
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Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists exploring baroque pop, psychedelic rock and early prog. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. Virgin, its brilliant debut album, released in 1970, showed the band swimming like a fish in the acid waters of psychedelia and experimentation. This LP also showcased the group's skill at developing their own quality repertoire, which was rare on the Peruvian rock scene at that time. Suddenly, that same year, Peruvian record stores received another musical delivery signed by the band, but with a title and simple design that contrasted with the intricate graphics of their first album. The six songs on the vinyl record were already familiar to diehard fans of the band, as they had been Traffic Sound's first three singles released sometime between the end of 1968 and halfway through 1969. A Bailar Go Go was the title of this mini-LP which included the first three singles recorded in the early days of the band before Virgin was released, and solely comprised cover versions of songs by artists such as Cream, Eric Burdon & The Animals, Jimi Hendrix and Iron Butterfly. These six tracks deserve to be placed in the right spatial and temporal context, as three of the best singles of electrifyingly advanced rock from 1968-1969. A Bailar Go Go is the portrait of one of the best rock bands in Peru taking its first steps and is reissued here on separate vinyl 45s for the first time.
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7"
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MR 7334EP
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The band was created by Guillermo Garavito (drums) and Rodolfo Vergaray (guitar) in the Rimac neighborhood, Lima. Two more friends would join them later: Moisés Quino (guitar) and Daniel Rosario (bass). Peru had a thriving psych rock scene in the '60s and '70s and MAG (Peruvian label named after the initials of its founder, Manuel Antonio Guerrero) was responsible for most of the output of the best local bands: Traffic Sound, Los York's, Telegraph Avenue, Laghonia... In 1969, Los Mutables had their space-age inspired recordings released on MAG. An astonishing mix of outer-space sounds, raw fuzz guitars and groovy rhythms, recalling the best of the American garage groups of the time. This 45 remains as their only record ever released and we are now happy to reissue it for the first time in its full glory.
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LP
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MR 417LP
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Munster Records present a reissue of Los Teddy's Doce Psicoéxitos, originally released in 1968. Los Teddy's were natives of the Peruvian Amazon region of Iquitos. The band was created in 1966 and started to play the early-afternoon slots at Lima's venues, along with a bunch of other bands from Peru's capital city. Tony Marin, frontman of the band, was soon nicknamed "the barefoot singer" following his habit of not wearing shoes at any of their gigs. The other members were Willy Angulo (guitar), Markov Rios (guitar), Pepe Castro (drums), and Carlos Denegri (bass). After a few years being one of the most solid groups in the Lima's scene, MAG signed them to record an LP that was finally released in 1968. As in many other similar albums recorded at that time by Latin American bands, the track list contains covers of international chart-hits of the year, including songs by The Rolling Stones or The Doors (an outstanding take on "Hello I Love You" with Spanish lyrics and raw fuzz guitars). The lysergic original "Efectos (Effects)" is also one of the strongest tracks of the album, proving there was much more than just standard covers in this band's repertoire. Doce Psicoéxitos remains as the only album ever released by Los Teddy's and an essential addition to any collection of raw guitar sounds from late '60s Peru, a fascinating scene that is currently being rediscovered by so many garage/beat fans from around the world.
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7"
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MR 7333EP
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The Millennium stands as one of the most remarkable psychedelic bands from '60s California despite the sales of their only LP, Begin, did not match the big expectations created by the great critical acclaim received and the huge financial costs of its recording. Although conceived as a studio group by Curt Boettcher (Ballroom, Sagittarius), The Millennium was a Real band despite never performed publicly. Following a carte blanche deal with Columbia, he assembled a group of talented Californian singers and musicians (Lee Mallory, Sandy Salisbury, Joey Stec, Doug Rhodes, Michael Fennelly, and Music Machine drummer Ron Edgar) to record an album, resulting in a sublime pop masterpiece, combining sunny melodies, outstanding vocal harmonies and psychedelic touches. This release presents some rare recordings and demo versions by the band on vinyl for the first time. "I Just Don't Know How To Say Goodbye" and "Such A Good Thing" previously unreleased on vinyl.
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LP
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MR 414LP
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Munster Records present a first-time reissue of The Ampex's self-titled album, originally released in 1967. The Ampex quickly built a large fanbase in their native Colombia after releasing a four-song EP and a full album on the label Estudio 15. They were also in-demand musicians that local pop stars would hire for both live shows and recording sessions. Although it may look like these young rockers had a promising future ahead, the beat sound went out of fashion in Colombia and the members of the band realized their project had come to an end. Before disbanded (and two of their members would join The Time Machine), The Ampex recorded a self-titled album that was released on Discos Fuentes. Although the label was mostly focused on tropical sounds, Fuentes also welcomed the emerging rock n' roll sounds of the time and had already released a rock compilation in 1966, obtaining substantial sales figures. This elusive gem of Colombian garage contains some raw and powerful takes on the repertoire of their beloved The Rolling Stones, The Byrds, The Hunters, The Easybeats, The Yardbirds, The Executives, The Lovin' Spoonful, and The Wailers, often sung in a shameless attempt to translate the original lyrics to Spanish. With the copies of the original 1967 release being almost impossible to find in any condition, Munster Records present The Ampex reissued here for the first time.
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LP
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MR 415LP
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Munster Records present a reissue of The Love Depression's self-titled album, originally released in 1968. In the second half of the '60s pop music started to turn a bit darker. The Beatles had increasingly added a more serious tone into their lyrics and artists like Taste, Cream or the Jimi Hendrix Experience stressed out the instrumental elements of the songs. On the other hand, the exuberance of soul music was at its best thanks to the Motown or Stax recordings. Around 1968 a new band was formed by three young men in their 17-18 years who were well aware of the current state of art in pop music internationally. The Love Depression was the Venezuelan response to the hippest music of the time. Richard Aumaitre, bass guitar, had enjoyed some success while member of Los Darts, and guitarist Alvaro Falcón was already attracting some attention as part of The Laymen, in Washington DC where he relocated for his studies, and also back in Venezuela as a member of Los Snobs. Lastly, Jesús Toro "Torito" has a fun story: he used to sing in the shower and was heard by his Cuban neighbors that happened to have a band, Los Espitas, and invited him to join them. "One day I listened to The Beatles songs and my life changed forever" he recalls. He would later be part of other bands such as Nasty Pillows and after The Love Depression disbanded he joined Tsee Muds. Stephen Scott, member of the seminal Venezuelan rock band Ladies WC, still remembers that "at the time there were very few bands in the country breaking the boundaries as The Love Depression was." Their only album was recorded in April 1968 and is considered one of the Venezuelan rock masterworks, full of fuzz guitars with a psychedelic twist. Unfortunately, their musical journey did not last too long... They took part in different events like the well-remembered Experiencias Psicotomiméticas, and also Pop&Op Musical as well as a number of shows at the many branches of the most important Hotel chain in the country. They even had a song featured in the long forgotten Venezuelan film Dana. However, the lack of confidence in their future career in the music industry made them decide to disband, although Torito and Álvaro would still have a successful career in other music projects.
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MR 412LP
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Psychedelic rock icons The Electric Prunes formed in Los Angeles in 1965 with a musical recipe rich in fuzz-toned guitars and oscillating sound effects. American garage bands from these years were rarely documented on live albums, making this recording a rare testimony of that era. After a US tour in the latter half of 1967, the band embarked on a European tour, their first and last tour of the continent, that would take them to the UK, France, Denmark, Netherlands, and Sweden, performing at high-profile venues. The band's lineup is from their second album, Underground, released earlier that year: James Lowe (lead vocals), Mark Tulin (bass, organ, vocals), Ken Williams (lead guitar), Mike Gannon (rhythm guitar, vocals), and Quint (drums). They would also hook up with Brian Jones at the Speakeasy (London), meet The Beatles mixing Magical Mystery Tour and visit Hendrix's flat, share stage with Soft Machine in Amsterdam and recorded a TV show in Paris. Members of the audience would often disrupt the concerts with Vietnam war related shouts in Amsterdam and Copenhagen. On the final leg of the tour, The Electric Prunes' performance was recorded in Stockholm for broadcast on Swedish radio. They'd find out about the recording much later... The band here sports an explosive, noisy and wild sound, more in the vein of legendary early punk-rockers like MC5 than the psychedelic Californian landscapes some might expect. The line-up featured on this album would disband the following year after failing to complete the challenging arrangements David Axelrod had prepared for their new album. However, this album proves these guys were not just a studio-controlled group but seasoned psych rockers. Recorded by the Swedish Broadcasting Corporation at the Concert Hall in Stockholm in December 1967. Includes notes by Mark Tulin and James Lowe.
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MR 413LP
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Munster Records present a first time vinyl reissue of Toti Soler's self-titled second album, originally released in 1973. Toti Soler's second album, together with Sabicas, Smash from 1971-72, and the recording Paco de Lucía made with jazzman Pedro Iturralde, were seminal in creating flamenco fusion, a blend that has travelled far. Soler's syncretism between Hispalis and the Catalan Mediterranean, another form of fusion, was released perhaps paradoxically by Edigsa, the label that the guitarist worked with the most, the founding spirit of which was to safeguard the local language, Catalan. In 1972, the ancient call of flamenco took Soler to Andalusia, where he studied under the renowned guitarist Diego del Gastor. When he returned to Barcelona, he commenced a long parallel chapter as acoustic accompanist for the singer-songwriter Ovidi Montllor from Alcoy, leaving rock and the electric guitar behind. However, watts and rock still pulse through in his second LP (self-titled but also referred to as El Gat Blanc), 1973, but play a minor role. Spanish guitar and flamenco metonymies flourish on this theoretically transitional instrumental work, which would become one the most popular of his discography. The arid but magnetic notes of the first track on the album, "Sardana Flamenca" delve deeper into the subconscious, which Soler recorded on his own with his Spanish guitar, except the electric pieces where members of the band OM helped out. The synthesis that works in "Sardana Flamenca" is aromatic, hypnotic, luminescent. The song formed a quadtych with the following three tracks: "El Gat Blanc", "Tristenge", and "Guisela"; ablutions in flamenco waters, scented with folk-blues salts. "Taj Mahal" is a tribute to his friend and fellow musician, where drums make a timid appearance, demonstrating Soler's success on this project. "D'una Manera Silenciosa" is a delightful flamenco adaptation of "In A Silent Way". "Balada En Sol" returns to Spanish guitar, making an inspiring crossing from the Catalan coast in Maresme to the bay of San Francisco. "Sevilla", the longest track, became, the second most popular song on the album after "Sardana Flamenca". It was a scintillating freak meeting of Smash and Hot Rats, and the last recording for OM, with hefty improvisation and torrents of wah-wah. The final track, "Estudi" returned to acoustic territory, mixing Andalusi blues with a warm Californian glow. Several generations have already discovered in this album one of the key works to understand many of the things that happened later in Catalan and Spanish pop. Includes an insert with notes and a rare Toti Soler photo.
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MR 7330EP
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"One night we'd be driven around London with the Clash gate crashing posh music biz parties, meeting our pop star heroes while discussing punk's relevance, taking speed and 'getting off' with girls, many (and in some cases many, many) years older than ourselves. The next morning we'd be back at school, throwing paper aeroplanes at teacher. It was a brilliant double life." Andy Blade, From Vacant (Thames & Hudson 1999). They formed in November 1976 with an average age of 16 from Finchley, London and named themselves from a T Rex line "Tyrannosaurus Rex - eater of cars". They got much publicity from Dee Generate who was aged 14 joining the band to replace the original drummer. Eater supported the Damned at the Roxy and the Damned returned the favor by playing at Eater's school in Finchley where soft drinks were served! They played loud fast and exciting, performing a mixture of originals and covers (i.e. sped-up variations of Velvet Underground songs...) for instance changing Alice Cooper's "Eighteen" to "Fifteen". They were what it was all about; excitement and having a laugh.
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MR 7328EP
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"The archaeology of rock'n'roll is much like any other form of digging. Significant finds demand the re-addressing of previously considered certainty. You can hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. When Los Saicos' front man Erwin Flores was asked how aware he and his friends were of what was happening in Britain and the US at the time, here's what he had to say: 'We knew the Beatles, they were our idols. We heard the Rolling Stones after recording Demolición and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. We thought of ourselves as bad boys and that must have been a driving force.' Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton
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MR 7329EP
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"Most New York punk histories skip from the original CBGB-era (circa 1974-1977) to hardcore (starting around 1983). Less covered, but crucial, was a six-year connecting scene, led by The Stimulators with close friends The Mad and -- coming from DC monthly, then relocating -- Bad Brains. Headlining CBs, equally fabled Max's Kansas City, Trax, Hurrah!, Danceteria, TR3, and dozens of dives, the Stims were so thrilling, their audience of 100-200 regular kids would knock aside tables and dance like maniacs the second they began. I was stunned at 17 when I first encountered them at Max's in 1979, opening for ex-Dead Boy Cheetah Chrome & the Casualties, to see a boy, 12-year-old Harley Flanagan, ferociously beating the skins, two mini-skirted women leaping and shouting backing vocals -- Denise Mercedes lacing hard rock leads into whipping guitar runs and Anne Gustaysson belting bouncy basslines -- and bug-eyed, wild, skinny gay poet-singer Patrick Mack stage-diving while crooning a la lggy, when that wasn't done. Hooked and danced-out, I saw them and Bad Brains literally 70 times each; seeing either once, you'd never miss them. I co-launched our magazine The Big Takeover around then, June 14, 1980, and I'm still at it. And this self-released (the majors having lost interest in punk) 'Loud Fast Rules!' b/w 'Run Run Run,' recorded that 1979, remains the true document of what was so exciting; my heart still races at its sheer giddy propulsion and exhilaration, launched in sound and feral attitude, at a time when older punks thought the genre had shriveled. Too, I'm pleased to have preserved a sole-copy test pressing that manager Donald Murk gave me of a third song recorded at that session: 'You Will Never Break My Heart,' released here 39 years later, because I owe the band a debt I can't repay. All three songs remain jaw-dropping." --Jack Rabid (editor and publisher Big Takeover, drummer of Even Worse)
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MR 399LP
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In 1968, Los Shain's magnificent saga of beat, garage and psychedelia came to an end with the dissolution of the band. Pico Ego-Aguirre, the band leader and lead guitarist, embarked on a journey through the hard rock music that made its way to South America courtesy of Vanilla Fudge, Led Zeppelin, and Deep Purple, releasing a record with several tracks in this style with his brand-new line-up Los Nuevos Shain's. In those days, Peru was governed by a two-sided military dictatorship. On one side, it implemented progressive measures to defend popular sectors that had been ignored for decades by the State. But, on the other, it deported detractors of the regime, censored the media and, in the name of combating alienation, expressed strong views against the hippy movement, hitchhiking, and psychedelic parties, often cancelling gigs. Amidst the comings and goings of the so-called Peruvian revolution, rock bands latched on tight to sounds that were as harsh as the era they were living through. The elegant beat of Los Jaguar's, Same People, Los Sideral's, Los Benton's, and Los Zany's soon made way for the energetic rhythms of Cooking Morning, Elemental Music Group, Catarsis, or Los Comandos. Pico Ego-Aguirre travelled in a similar direction. An ardent fan of The Beatles, in 1971 he looked for musicians committed to following in the footsteps of his favorite British hard rock bands. By the end of 1971, Pico, his brother and guitarist Fernando and the vocalist Manolo Montenegro (all former Nuevos Shain's), together with the drummer Ricardo Macedo (ex-Mads) and bass guitarist Carlos "Oso" Torres (former Dr Wheat) were already rehearsing under the name of Pax, but nobody remembers who christened the band. In February 1972m Sono Radio presented them to the press. They started recording the first tracks straight away until disagreements surfaced about song credits. When "Oso" Torres quit, this exit signaled the end of the group. Pico closed the chapter on this initial line-up and went in search of what would become the classic Pax line-up. Three young Peruvians and a North American, all under the age of 23, put together an album with lyrics in English, vigorous guitar solos, double bass drum set and a record sleeve suffused with symbology, which the future Peruvian heavy metal movement would consider foundational. Original gatefold sleeve and artwork; includes an insert with extensive liner notes.
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7"
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MR 7327EP
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Back in 1969, Los Saicos' fans could witness how a promising return of the iconic Peruvian group was forged from the ashes of the original line-up. The original members, Erwin Flores and César "Papi" Castrillón, were accompanied by the guitarist Alex "El Diablo" Rodríguez, from Los Dream's, and by Jorge Blondet on drums, initiating a series of thorough rehearsals around a renovated repertoire. At the end of that same year and on the occasion of the Pacific Fair, the renewed Los Saicos played its first gig while the head of the DINSA label, Alberto Maraví, would announce the band signing to his record company. A few months later, a single would be released including the songs "El Mercenario" and "Un Poquito de Pena". For some reason, DINSA finally chose to use the name of the band's singer, Erwin Alberto, instead of releasing the single under the name of Los Saicos. The harsh lyrics of "El Mercenario" stopped the radio support and, therefore, had an impact on the sales of the single that vanished from distribution almost immediately. This reissue brings back to life this lost single of Los Saicos discography for the first time, just as it was originally released in 1969.
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LP
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MR 411LP
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The Mickey Finn may not have notched up hit records, but their sixties adventures took them from the East End of London to trendy clubs in the South of France and the Bahamas. This collection of their work is an impressive tribute to their maverick, hedonistic spirit, comprising all their released recordings plus some "unissued at the time" 1966 tracks that have never been available on vinyl before. Guitarist Mickey Waller and drummer Richard Brand formed the earliest incarnation of the group in London's Bethnal Green in 1962. By late 1963 they'd added bass player John Burkett and lead singer Alan Mark and changed their name to the Central Sound. In 1964 the Blue Beat label had just released a single recorded by members of the Checkmates but credited to an as-yet fictional group, Mickey Finn & the Blue Men. After adding a new member, John "Fluff" Cooke on keyboards, the group began its real recording career in March 1964 when Oriole released a single featuring hip bluebeat arrangements of two R&B numbers, Bo Diddley's "Pills" and Jimmy Reed's "Hush Your Mouth". For the recording session at Regent Sound, they were joined by their friend Jimmy Page on harmonica. Page also played a handful of gigs with them and also blew harp on their next single, a version of Chuck Berry's "Reelin' and Rockin'" backed with an excellent punk R&B original, "I Still Want You". Shel Talmy took over production duties for their next single, released on Columbia in March 1965. On "Night Comes Down" Mark's brooding vocal is underpinned by a tense descending bass line by new member Mick Stannard, atmospheric keyboards from Fluff, and some wild, dissonant guitar work from Mickey Waller and Jimmy Page. Another Talmy-produced track, "It Ain't Necessarily So", also dates from this period. Although the group was kept busy with live work, they went out on a package tour with the Kinks, the Yardbirds, and Goldie & the Gingerbreads, the next Mickey Finn single didn't appear until July 1966. The Polydor release found singer Alan Mark backed by session players for a cover of Billy Stewart's "Because I Love You" and a number by American songwriters Pam Sawyer and Lori Burton, "If I Had You Baby". It's the real band playing, though, on two solid soul numbers, Lloyd Price's "Stagger Lee" and Bobby Bland's "Poverty", cut at Regent Sound in 1966 but unissued at the time. By 1967 Bernard Jory had replaced Mick Stannard in time for the explosive "Garden of My Mind", backed with the raucous Equals-style mover "Time to Start Loving You".
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