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3x7"
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MR 7324EP
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$38.50
PREORDER
RELEASE DATE: 7/30/2021
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 7333EP
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$14.00
PREORDER
RELEASE DATE: 7/2/2021
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 (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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7"
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MR 7334EP
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$14.00
PREORDER
RELEASE DATE: 7/2/2021
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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$25.00
PREORDER
RELEASE DATE: 6/25/2021
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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LP
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MR 415LP
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$25.00
PREORDER
RELEASE DATE: 5/28/2021
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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LP
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MR 414LP
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$25.00
PREORDER
RELEASE DATE: 5/28/2021
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 413LP
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$26.50
PREORDER
RELEASE DATE: 4/23/2021
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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LP
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MR 412LP
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$27.50
PREORDER
RELEASE DATE: 4/23/2021
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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7"
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MR 7330EP
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$14.00
PREORDER
RELEASE DATE: 4/16/2021
"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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7"
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MR 7328EP
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$14.00
PREORDER
RELEASE DATE: 4/16/2021
"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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7"
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MR 7329EP
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$14.00
PREORDER
RELEASE DATE: 4/16/2021
"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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LP/7"
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MR 397LP
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Munster Records present the first vinyl reissue of Warsaw Pakt's Needle Time, originally released in 1977. "Real high-energy rock'n'roll in its most potent form is best captured live and in the moment. Maximum thrills, minimum frills. In 1977, London's Warsaw Pakt took that premise one step further, recording their album live, straight through, direct to the cutting lathe -- no tape master, no overdubs, no mixing. The record was pressed, packed, and shipped overnight and was in the record stores the following day . . . 'The idea was to bypass tape and gain a very accurate recording that would be louder and clearer than any other method then available,' remembers guitarist Andy Colquhoun. If the recording method was motivated by an element of gimmickry, no matter, the blazing urgency of the band's performance, combined with a set of edgy, memorable songs makes Needle Time one of the most exciting releases of the '70s punk era. It's also one of the most neglected. The Pakt favored a high-revving formula with hard-boiled street-smart lyrics delivered quick and cool against super-charged Chuck Berry guitar licks, a modus operandi much like the MC5 circa Back in the USA, but with a vibe that was more attuned to the pubs and squats of their native Ladbroke Grove. Though given a punk rock paint job, the sound is redolent with the fumes of high-octane British R&B, a dead giveaway of their roots, as The Rockets. Along with some choice cover versions, like The Who's 'It's Not True', they looked to the old Rockets songbook and retooled material written by Andy with the Rockets' old manager Frank Day, including some great songs like 'Fruit Machine', 'Dogfight', 'Speeding', and 'Sick n' Tired'. Although R&B based, these tracks all had plenty of attitude and aggression, so worked well in their new 'punkier' context. 'Safe and Warm' was recorded as the single in October 1977, and in the studio the band created a uniquely moody, almost psychedelic sound, Coull laying down a soulful vocal over Colquhuon's screaming guitar lines and Manly's supporting rhythm licks, while some strikingly eerie harmony back-ups add a magical finishing touch. A month later, Warsaw Pakt assembled at Trident Studios to record their 'Instant Album'. Less than 24 hours later, with the band's fingers still bleeding, Needle Time was released . . . More than forty years later, though, Needle Time stands as one of the most authentic documents of the lean, visceral sound of London punk rock in its banner year." --Mike Stax, Ugly Things Magazine Includes 7". Includes insert with extensive liner notes by Mike Stax (Ugly Things Magazine) and individually hand customized record cover.
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LP
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MR 399LP
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$30.50
PREORDER
RELEASE DATE: 1/22/2021
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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LP
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MR 411LP
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$27.50
PREORDER
RELEASE DATE: 1/22/2021
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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7"
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MR 7326EP
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Following Munster's recent release of their complete recordings (MR 408LP) -- which includes previously unpublished songs -- the label present on 7" with two of Modificación's most in-demand songs. The now legendary freakbeat number "Across the Time" was crafted by the Valencia-based band during their recording sessions in Madrid at Audiofilm studios (1972) and has found its rightful place, over the years, as one of the most admired and sought-after singles of Spanish underground music. "Annelie", on the flip, dates back from the early days of the group, when they recorded a single for EMI, Llegará el día que me quieras (1971), featuring Juan Bau on vocals (later to become a popular crooner in Spain). This B-side track shows Modificación's interest in bands like Grand Funk Railroad, Iron Butterfly, Rare Earth... also adding a certain Latin-soul twist that rounds it up as a highly effective dancefloor artifact.
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2LP
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MR 409LP
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Munster Records present an extended reissue of Tim Blake's Crystal Machine, originally released in 1977. This serious art piece contains all the strangeness, audacity, and the beauty of a distinctive cosmic excursion. It is an oddity, and it doesn't belong to any of the generations of the rock or pop fabrics because of its character of being strangely ethereal and eternal. In the context of cosmic rock, alongside all German pioneers such as Kluster, Tangerine Dream, Organisation, Kraftwerk, and Ash Ra Temple, the English born, French based, Tim Blake occupies a highlighted seat. However, Blake is also a mastermind-pilot of the so-called electronic prog, where other stellar names like Klaus Schulze, Michael Garrison, Edgar Froese, and Vangelis, figure as exponents. Timothy Blake (London, 1952) is a composer, keyboardist, synthesizer player, tape operator, vocalist, and arranger who gained attention when working with cult acts like Gong and Hawkwind, as well as a freelancing member of the French cosmic-proggers Clearlight Symphony and for Steve Hillage. His knowledge of propelling the expansion of his musical-psychological plus the phenomena-antenna hit your brain like no other sound-visions dare to do. It is an early kind of what became to be known worldwide as new age and, at the same time, the cement for the foundations of ambient music. Crystal Machine was released in 1977, followed by many others till the present as well as his participation as a player in Hawkwind in the late '70s to early '80s. The timeless sounds of his Crystal Machine, released on the French Barclay's imprint Egg were largely recorded live. The organic textures lead us to the unknown particles of our imagination, and its body of bravery and simultaneous colored lightness provoke sensations of how anyone's can lose themselves in the interiors of this thing called perception. There are five tracks, four of them recorded live at Seasalter Free Festival (1976) and Le Palace Théâtre Paris (1977). Only the short and charming "Crystal Presence" is a studio recording. Included in this reissue is a second vinyl of rare recordings. "Synthese Intemporelle I" and "Synthese Intemporelle II" are taken from a rare 7" issued only in Spain under the title "Síntesis Intemporal" and "Surf", another 7" A-side issued under the pseudonym Saratoga Space Messengers, a spacey new wave pop slab, with the designer and singer Brigitte Perron whispering tripping digits. The trio of the remaining tracks form part of The Birth of Crystal Machine.
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7"
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MR 7325EP
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Warsaw Pakt favored a high-revving formula with hard-boiled street-smart lyrics delivered quick and cool against super-charged Chuck Berry guitar licks, a modus operandi much like the MC5 circa Back In The USA (1970), but with a vibe that was more attuned to the pubs and squats of their native London's Ladbroke Grove. Though given a punk rock paint job, the sound is redolent with the fumes of high-octane British R&B, a dead giveaway of their roots, as The Rockets. Their LP Needle Time stands as one of the most authentic documents of the lean, visceral sound of London punk rock in 1977. The songs included on this single are earlier studio versions of two of the best tracks included on Needle Time and cast similar energy levels shown on stage. The fast and furious "Lorraine" was recorded at Milner Sound in Fulham Road (August 1977) with the band's first drummer, Wolf Marlander. "Dogfight" on the flip belongs to their first recording session that took place at the Island Records studio a month earlier. Available on vinyl for the first time.
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7"
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MR 7327EP
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$12.50
PREORDER
RELEASE DATE: 11/13/2020
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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MR 410LP
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"As a luxurious aperitif for the future release of the Elements album (including its extra sauces), Munster Records bring us Macbeth, the staggering soundtrack by the English band Third Era Band for a Roman Polanski's film, recorded and produced in 1971. A magical invitation urging the listener to dive into unsuspected regions of boldness, unpredictability, and an intimate abstract-folkster-experimentalism. According to the founding member Glenn Sweeney, 'the music was called alchemical because it was produced by repetition.' However, mind it, such repetition doesn't follow the same musical structures of, let's say, Terry Riley, Steve Reich or Philip Glass due to its indefinite nature of internal-twisted and tormented passages of a peculiar poetic enchantment. The band, formed in Canterbury, started in 1967 playing an oriental hypnotic-free-form-folk. Signed to the prosperous cult label Harvest, they debuted in 1969 with Alchemy, an instrumental jazzy-psych improvisational album. A fully formed masterpiece came in 1970 on the already aforementioned self-titled opus, also known as Elements. For Macbeth, their third one, just the main chief Glenn Sweeney (assorted percussion) and Richard Coff (viola and violin) remained from the original four-piece line-up. It was recorded when half of the quartet -- Richard Coff (viola and violin) and Ursula Smith (cello) -- had already departed, and they were about to record a third album entitled The Dragon Wakes . . . Aside from a few sessions, this album was never completed. The themes presented on the film were composed in an improvised manner while watching black and white excerpts of the oeuvre. The music, recorded in six weeks at George Martin's Air Studios, in July 1971, has the same unconventional and quite unique dimension as the film itself. It is an auteur music for an auteur film . . . There is an arty-medieval atmosphere overall, and it's folkishly ludic in tracks like 'Overture', 'Iverness', 'Court Dance' and 'Fleance', where the experimental interjections function as colorful devices. 'Fleance' -- with the guest singer Keith Chegwin -- is a scintillating highlight. The poetic assaults of concrete music are present in themes like 'The Beach', 'Ambush', 'Prophesies', as if every drumming fractures, singing seagulls or sharp whistles where conducting us to waves of fear into the unknown. There are other lost beauties in its official 44 minutes like the minimal oboe melody of 'Lady Macbeth' floating as a centipede of dreams or the lyrical guitar chords of 'The Banquet' punctuating a climax of sheer mystery..." --Fernando Naporano
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MR 408LP
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The group Modificación is a prime example of what '70s underground and prog rock meant on the Valencia scene. Bands encountered a series of obstacles when making their much freer and more versatile music, which was demanded by the international planet rock. These hurdles varied from the serious difficulty of recording modern and innovative records, impositions by the record label and frequent desertion by band members to pursue interests that were more professional than artistic. The group's origins date back to early 1969, in Valencia's Ruzafa neighbourhood, with an average age of around 16 among its founding members. They adopted the name Modificación, an intriguing name that flagged up their creative intentions and interest in underground sounds, under the influence of bands like Grand Funk Railroad, Iron Butterfly, Vanilla Fudge, Rare Earth, Led Zeppelin... While the bulk of the Valencia rock scene revolved around modest groups making commercial music for dance halls, mostly versions of contemporary hits, they wrote their own songs from day one and set the bar high with daily rehearsals, aiming to perform to perfection. The band's luck seemed to change at a show with the Catalan group Lone Star. Pedro Gené (leader and vocalist of Lone Star) suggested Modificación record a single for the biggest record label in Spain: EMI. "Llegará el día que me quieras" (1971) was a major debut that also brought the arrival of a new vocalist, Juan Bau. Modificación's second record adventure was with the small Madrid label La Corrida in 1972, set up by Félix Arribas and Juan Jiménez, members of the famous Spanish band Los Pekenikes. They would release a couple of singles recorded at the Audiofilm studios in Madrid under the influence of glam, Californian and soft-rock style, international trends at the time. The now legendary freakbeat number "Across The Time" was crafted during these sessions and has become one of the most admired and sought-after singles of Spanish music. This LP brings together all the songs comprised in their three published singles as well as the remaining unreleased recordings from those 1972 sessions in Madrid. An accomplished portrait of one of the most legendary Spanish underground bands from that period whose fans, unable to find the elusive -and now very expensive records, were crying out for an urgent reissue of their work. Extensive liner notes by the renowned specialist Vicente Fabuel and previously unseen pictures have been included here.
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7"
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MR 7323EP
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Reminiscent of early Velvet Underground, Attrix were one of Brighton's most active groups in the vibrant local scene during the early days of punk. Rick Blair, the mastermind behind the band, would work for a time at the Brighton and Hove Community Resource Centre, just above The Vault, a crypt which was the headquarters of the local punk/squatter movement where many musicians would their equipment and rehearse. His connections with the scene would lead him to set up a record shop and an independent label, Attrix Records, home to this debut release -- and only vinyl recording -- by his own band. Both tracks on this homemade looking 7" originally released in 1978 are no short of raw vocals and fierce guitars but the band shows also had pop hooks to spare... First ever reissue.
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MR 7322EP
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Marc Jonson was 19 years old when he made his extraordinary debut album, Years, for Vanguard Records. But his first professional recording session took place several years earlier, in 1966, when he laid down this savage slice of primitive Bo Diddley-fied punk with his teenage garage band, The Gay Intruders. In the United Artists building (NYC) there was a small recording studio, Dick Charles Recording Services, and it was there that the Gay Intruders recorded "In the Race" in August 1966. The tough rocker "It's Not Today" dates from the same period, 1967. "The basic track was recorded at my house back then," says Marc Jonson, "and I just recently added more guitars. Vocals were added to the original vocal, but the harmonica was from back then."
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MR 7321EP
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As a follow-up to Munster Records' previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, Munster presents Ars Erótica, one of his most sought-after singles, in the 50th anniversary of its original release. This is a mysterious and surprising record that was originally released on Concèntric and featured alternative edits of two songs previously included on his classic album Dioptria/1. "Ars Erotica (non est mihi)" is edited to last just under five minutes, after taking out some verses and arrangements, although keeping intact its psychedelic folk-rock essence, with plenty of fuzz guitars. On the flipside you find possibly the most interesting recording on this single, clearly showing what the vibe and work method were at the studio: all the musicians playing simultaneously in a chilled-out atmosphere. This edit of "Rosa d'abril (l'amor s'hi posa)" starts right in the same point where the album edit finishes, with Pau Riba backed by the band Om jamming and some of the guest friends at the studio joining in, including the film producer and script writer Joaquim Jordà, who Riba wrote this song for.
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MR 407LP
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This reissue is a collaboration between Munster Records and Disques Mono-Tone. With a career that includes hits as producer ("Alley Oop" by The Hollywood Argyles), songwriter ("Nut Rocker" by B Bumble & The Stingers), recordings with Gene Vincent, Jonathan Richman & The Modern Lovers, and countless others, his early management of The Runaways and plenty of glorious failures along the way, Kim Fowley has been a maverick presence in rock n' roll history for over fifty years. Living In The Streets (1977) is a compilation of his solo recordings, some of them dating back to the beginning of the decade. "Born to Make You Cry" and "Thunder Road" -- recorded in collaboration with Mars Bonfire -- had first appeared on a single on Original Sound in 1970. As had "Big Bad Cadillac" (a homage to Vince Taylor's "Brand New Cadillac") and "Man Without A Country", released under the name King Lizard, and recorded in Sweden while he was producing Wigwam's Tombstone Valentine album (1970). Originally released on Chattahoochee in 1973 under the alias Jimmy Jukebox, "Motorboat" is now regarded as a Fowley classic. That song and its B-side, "25 Hours A Day" was written and recorded in collaboration with his good friend Michael Lloyd, who Fowley had been making records with since the mid-sixties. "California Summertime" and "Hollywood Nights" were recorded in 1974 at Gold Star Studios in Hollywood and released as a single on the Now label under the unlikely sobriquet of Lance Romance. Three songs -- plus the spoken piece "Sex, Dope and Violence" -- made their debut on the album: "Summertime Frog", "Love Bomb", and "Living In The Streets". All are acoustic and show a certain Captain Beefheart flavor, the former, and some Dylanesque influence, the later. "Living In The Streets" remains a worthy monument to the seventies recordings of the Dorian Gray of rock n' roll, the human jukebox: the unstoppable Kim Fowley. Includes an insert with extensive notes by Mike Stax (Ugly Things Magazine) and features its original artwork.
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MR 404LP
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Munster Records presents a reissue of Federal Duck's self-titled album, originally released in 1968. It would be difficult to overlook the eye-catching colorful cover, designed by Abe Gurvin, who was also responsible for the very appealing artwork on Tito Rodriguez and Gene Pitney's releases on the New York-based Musicor label. However, this self-titled LP was soon forgotten after not having any singles released as promotional support to the album and also, maybe, due to the complete absence of covers in the track list. Federal Duck was one of many college bands to pop up during the psychedelic years. It consisted of Tony Shaftel (vocals, bass), Jack Bowers (guitar), George Stavis (guitar, vocals, and songwriting), Huck White (guitar, French horn), Ken Stover (keyboards, tuba), Bob Stern (bass, vocals), and Timmy Ackerman (drums, percussion). They met at Haverford College, just outside Philadelphia, and working under other names (Stomp Jackson Quintet and The Guides) the band members came up with a new name one night when they were lying on the bank of the campus duck pond and some ducks started waddling toward them in what looked like a purposeful and menacing way, as if they were working for the government -- or so they thought. They played many gigs over the four years of the band's short life and made a name for themselves as skilled musicians who would be able to play all night long if required. The album was recorded at Groove Sound Studios, NYC, in 1968 and included a number of quality tracks, mixing elements of jazz, country, and soft-psychedelia. "Tomorrow Waits For Today" stands out as a wonderful piece of jazzy pop-psych that easilya rival the best recordings of the genre. But some will find "Bird" the most accomplished song on the album, featuring fierce guitars and energetic drums, bordering on hard psych, that eventually lead into a long jazzy piano solo in the middle of the 5+ minute song. "While You're Away" keeps similarly high levels of energy, echoing harmonies reminiscent of bands like The Byrds. But it is the soft psych approach as on tracks like "Friday Morning" or "Dawn Comes Slow" that best describe the overall sound of the album. "Circus In The Sea," the closing track, successfully mixes a varied combination of sounds and deserved to have made a bigger splash when originally released. Federal Duck is reissued here on vinyl for the first time, with facsimile artwork and 180g vinyl pressing.
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