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7"
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MR 7345EP
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$15.50
PREORDER
RELEASE DATE: 3/25/2022
Brazilian psych gem! No matter how many covers of the "Batman Theme" you may have heard before, this is really something else, as crazy and psychedelic as the tale of Batman traveling to Mars could suggest... Cosmic sound effects, drum breaks, organ riffs and a snotty voice-over building an increasingly chaotic atmosphere that eventually let the "Batman Theme" explode... Célio Balona is a pianist and composer whose very long recording career has been mainly focused on MPB (Brazilian popular music). By the late '60s he would also embrace modern pop and would eventually experiment with the challenging sounds of psychedelia. To round off this fab compacto, the B-side hides another gem: "Tema de Ônibus", a brass section-led instrumental jazz track for the dancefloor with Farfisa sounds, just perfect for those into mod jazz. First time 7" single reissue.
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7"
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MR 7346EP
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$15.50
PREORDER
RELEASE DATE: 3/25/2022
Mainly known for his career as an actor, especially during the post-dictatorship years and through his "soft-erotic" comedy films, the popular Spanish comedian Andrés Pajares also recorded several records since the mid-1960s. Among them, "Dracula Yeyé" is the song that has conquered selected dancefloors worldwide and has been on the wants lists of '60s sounds collectors and DJs for years. A rare artifact that was originally released in 1968 and whose original copies are very scarce and currently fetch exorbitant prices in the second-hand market. The later version recorded by the Spanish band Doctor Explosión in the '90s helped to make this record better known so that has already achieved the status of Spanish garage-yeyé holy grail. The single is completed with another fun and surprising yeyé song on the B-side that could well be the main track of this release since it brings together some of the best artists of the Spanish-sung yeyé scene of the '60s: singers Marta Baizán, Miguel Ríos, and the Venezuelan garage band Los Impala. All of them were the uncredited artists involved in this recording that was originally released as a children's record, with the musicalized narration of the classic tale "Little Red Riding Hood" that these musicians turned into a stunning garage-beat hit. Both songs are reissued here on a 7" single for the first time.
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7"
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MR 7347EP
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$15.50
PREORDER
RELEASE DATE: 3/25/2022
Just under two minutes of music cooked with Farfisa and 12-string guitars were enough for The Avengers to become a garage legend worldwide. Their 1965 anthem counts numerous appearances on -- sometimes shady -- compilations since the 1980s and we are now happy to present it on a 45, backed with its original B-side for the first time. The band was formed in Bakersfield, California, and by 1965 they had gained much local notoriety due to the airplay of their records and the fact they got banned from playing at high school affairs... "Be A Caveman" was the band's second release, originally on Star-Burst Records. In time, the group would open for the Beach Boys, Raiders, Mamas & Papas, and Animals at various big shows, but the Avengers would remain a big fish in a small pond. First time 7" single reissue.
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2LP
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MR 400LP
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$37.50
PREORDER
RELEASE DATE: 2/25/2022
Algo Salvaje ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock n' roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP, gatefold sleeve package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. Features Los Gatos, Los Joviales, Los Geminis, Los Gatos Negros, Los Tiburones, Los Bohemios, Els 4 Gats, Los Pirombodas, Los Watts, Los Flecos, Locomocion, Es Amics, Els Xocs, Los Pasos, Los Diana, Los Pajaros Locos, Los Nivram, Los Brujos, Los Shakers, Los Yunios's, Los Zooms, Atardecer, Los Protones, Los Yetis, Los No, Bertas, Los Faros, and Los Watusi.
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LP
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MR 426LP
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Munster present a reissue of Mick Farren's Vampires Stole My Lunch Money, originally released in 1978. After three albums of raw, rabble-rousing psychedelic street punk with the Deviants, and an esoteric solo album (1970's Mona - The Carnivorous Circus), Mick Farren put his musical activities on hold at the dawn of the 1970s, and focused instead on his writing. By 1976 Farren was making his mark as a staff writer at the New Musical Express, where he was instrumental in chronicling, and to some extent nurturing, the nascent punk rock movement as it jerked awkwardly to life in the streets and pubs of London. Farren felt a natural affinity with the new youth fashion line of pimple-faced punk aspirants, full of piss, vinegar and amphetamines, ranting about anarchy and boredom over a simplistic rock n' roll backbeat. Inevitably, it wasn't long before Mick was off the sidelines and back in the musical fray. Farren got a call from Logo Records who had just acquired the Transatlantic catalog and were re-releasing the Deviants' third album. Mick suggested they also release a new solo album, and to his surprise, after some initial hesitation, they agreed. Andy Colquhoun, the Warsaw Pakt's lead guitarist, soon became his primary musical foil -- in fact, some of the songs on this album were originally intended for the Warsaw Pakt. Also, Farren put a band together, including guest musicians: Wilko Johnson of Dr Feelgood, Chrissie Hynde who was still in the process of forming the Pretenders, Sonja Kristina, the lead singer of Curved Air, and Will Stallibrass who'd played with Graham Parker, Lightnin' Slim and Chilli Willi & the Red Hot Peppers, to name a few. Due to the limited budget, they ended up spending most of their time working on a half-dozen of their favorite tracks, while the rest were "banged down as little more than jamming, art-school R&B, with only a thin coat of metalflake." Unavailable on vinyl for quite some time, Munster Records present the reissue of Vampires Stole My Lunch Money, regarded as one of Mick Farren's finest albums. In Trouser Press, Ira A. Robbins called it "Farren's solo masterwork... a harrowingly honest collection of songs about drinking, dissolution, depression and desperation." Includes liner notes by Mike Stax (Ugly Things Magazine).
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7"
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MR 7336EP
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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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LP
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MR 424LP
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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 (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 7337EP
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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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LP
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MR 416LP
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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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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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7"
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MR 7339EP
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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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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 420LP
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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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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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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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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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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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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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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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7"
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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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