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MUNSTER

Eve

Take It And Smile

    File under: Girl Group/Psychedelic country/ Cosmic Americana Munster Records is proud to present the first installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of Eve's, "Take It And Smile". The ethereal harmonies of Eve were ever present, but the psychedelic girl group feel of their previous band, Honey Ltd, was replaced with funky grooves and a stoned country rock vibe that permeated Los Angeles in the early 1970s. First ever vinyl reissue. Newly remastered from the original analog tapes by GRAMMY -nominated engineer John Baldwin.

    The Coterie

    A Swing To Folk (RSD21 EDITION)

      THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

      IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).


      Splatter colour vinyl. 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 us 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.

      Eve

      The Warrior / It Don't Matter To Me

        This single contains two previously unreleased tracks from 1970 by Eve (formerly Mama Cats, Honey Ltd.), the legendary Detroit girl group who were signed by Lee Hazlewood for his LHI label. 

        The Flippers

        Discotheque

          First facsimile reissue of the ultra rare 1966 debut LP by Colombia's The Flipper's. Don't be fooled by its title, this is a full-on garage masterpiece bursting with twangy, fuzzed-out and wailing guitars. Includes amazing covers (Yardbirds, Zombies, Larry Williams...) and equally brilliant original compositions. 

          Traffic Sound

          Traffic Sound

            The second Traffic Sound album, released in 1970 after their Latin rock masterpiece "Virgin", deserves to be considered one of the greatest recordings of its ilk,as essential as the most hailed works of Cream, Caravan or Led Zeppelin that served as a bridge for rock music between the 60s and 70s. The band incorporates complex arrangements and long song structures with which they approach psychedelic and prog music. However, the immediacy of songs like 'Yesterday's Game', with a fierce and contagious guitar riff, or 'Chicama Way', a terrific anthem, clear any possible doubt about the sound principles of the band: hypnotic, groovy ROCK, in capital letters! The band's music was featured in season 3 of NARCOS. 

            The Belairs

            Mr Moto

              The story of The Belairs started in 1959 in Southern California, more precisely in South Bay, Los Angeles. The first line-up consisted of Eddie Bertrand (guitar), Paul Johnson (guitar), Chas Stuart (saxophone), Richard Delvy (drums) and Jim Roberts (piano). They were descendant of the Bohemian tradition of the Beatnik culture, which was, musically speaking, more attuned with the cool jazz than the nascent rock & roll.

              At the time, surf music (or surf culture in general) was on its first steps: surf boards, flirting with the girls, dancing in the ballrooms, the love of cars, cruising the boulevards... Instrumental music fusing early rock & roll with Middle Eastern, Mexican and Hawaiian rootsy touches was the order of the day. Playing melodic fast scales and dealing closely with the use of reverb, it was a truly innovative sound. Artists such as Dick Dale, The Ventures and Duane Eddy hit the venues and airwaves.

              In this context, in the first months of 1960, the two school kids Eddie Bertrand and Paul Johnson were giving birth to their trademark dual guitar sound and propelling each other’s instruments in rhythm and dialogue. Creating a unique sound to make their strings “reverberate”, the duo composed their first songs.

              The band signed with a label called Arvee, which put out the superb single ‘Mr Moto’ in 1961, an instrumental surf rock song with a flamenco-inspired intro backed by ‘Little Brown Jug’, a jazzy-rock & roller-swing marked by reverbing guitars on the flip side. Their sound didn’t have – at least during their first phase – a bass player. For one reason or another, the bass-less structure worked very well in their favour, giving a special character to all the guitar nuances. They also considered using vocals, but it never happened properly.

              Their short and successful career (not exactly in terms of ground-breaking sales but in opening all doors for other surf sound groups and packing up venues up to their roof) was destined to produce only one more official single, however with a different line up. Their second 45, ‘Volcanic Action’ / ‘Runaway’ (included here), was not even officially released – apart from a number of promotional copies. Then, the band had some line-up changes, including – for the first time – a bass player named Steve Lotto, and new members like the drummer Dickie Dodd and the guitarist Art Fisher.

              The LP includes four tracks from a recording session at Gold Star studios in Hollywood which took place while The Belairs were without a record label. Songs like the propulsive ‘Chiflado’ (featuring the services of bass player Steve Lotto and lovely sax flourishes by Chaz Stuart), the very danceable rock & roll ‘Duck Waddle’, the swinging jazzy ‘The Shimmy’ and the hypnotic ‘Squad Car’ (with fantastic “siren” counterpoints made by Chaz blowing his saxophone mouthpiece) prove the quality of the band’s repertoire.

              Then, late in ‘63, the instrumental fever gave its way to the explosion of the vocal surf music and the glories and success of the Beach Boys, Jan & Dean, The Trashmen, The Rivieras, The Challengers (who featured Paul Johnson plus Richard Delvy and Art Fisher, two other Belairs) and even more popsters such as Annette Funicello, Frankie Avalon and Fabian mixing the surf aura in a more pop and commercial approach.

              Curiously, Johnson was invited to be part of The Beach Boys, but he declined the offer. He stayed firm with his convictions and unique sound surf waves. In a short reflection he concludes: “It is very gratifying to be remembered for my tunes and performances, etc. I am also very happy to see that the genre carries on with so many excellent new bands, and that the music is continuing to evolve”.

              TRACK LISTING

              1 Mr Moto
              2 Little Brown Jug
              3 Kamikaze
              4 Vampire
              5 Squirt
              6 Chiflado
              7 Duck Waddle
              8 Squad Car
              9 The Shimmy
              10 Rampage
              11 Rockin’ Pants
              12 Runaway
              13 Volcanic Action
              14 Davy Crockett Meets Mickey Mouse

              The Wire "office ambience" - Dec 2018

              New volume of Mattin's "Songbook" series, one of the most interesting works in the current experimental, improv and noise field. Layers of avant-garde tradition culminate into a set of songs that go beyond themselves. In times of increasing desperation here emerges a strange record: a disintegrated manifesto exploring the truth of disagreement.

              "Songbook #7" digs into some of the most important issues today: dissolution and disappointment of the social fabric, the rise of fascism, lack of coherence in a collective vision for the future and the shortcomings of democracy in a capitalist system. These times feel like being stuck in a gif, and here the response is to look for different understandings of time and history. If you want some musical references you can imagine one of those collaborations between Red Crayola and Art and Language if it was produced by Roberta Settels.

              TRACK LISTING

              January
              February
              March
              April
              May
              June
              July

              Volume 1 of Munster's in-depth survey of synth music created in Spain during the 1980s. From chart-friendly techno pop to obscure experimental acts, these 20 tracks reflect a fast-moving decade and music scene. TodoTodo, Oviformia SCI, Ultima Emocion, WAQ, Justine, Septimo Sello, Laneas Aereas, MD, Lavabos Iturriaga, Vocoder, Metal y Ca, La Mode, Aviador Dro, Kalashnikov, Tomates Electricos, Metropakt, El Humano Mecano, Disero Corbusier, Los Iniciados, Bola/Banda Electronica. 

              Teenage Filmstars

              (There's A) Cloud Over Liverpool

                THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                RSD 2014 exclusive.

                First vinyl reissue of the recordings of Teenage Filmstars, one of the early bands of maverick pop artisan Ed Ball, also a member of 'O' Level, Television Personalities and The Times.

                Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: '(There's A) Cloud Over Liverpool' (Clockwork Records), 'The Odd Man Out' (Wessex Records/Blueprint Records) and 'I Helped Patrick McGoohan Escape' (Fab Listening Records). After self-releasing two records with his band 'O' Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that band's 'The Malcolm EP' (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help Ball released a first single inSeptember 1979 featuring two songs: the A side is taken by '(There's A) Cloud Over Liverpool' (a tremendous chorus-song ) and the B side contained 'Sometimes Good Guys Don't Follow Trends' (a comment on youth culture). The song '(There's A) Cloud Over Liverpool' received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon.

                This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of 'O' Level: 'He's A Professional' (antimilitary punk-pop) and the folk-punk anthem 'The John Peel March', dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated in November 1980 which produced three tracks ('Storybook Beginnings', 'Dressing Up For The Cameras' and 'The Sun Never Sets') which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times.

                Jonathan Richman

                No Me Quejo De Mi Estrella

                  "He gave us the wine to taste it, not to talk about it." Jonathan asks us to let the songs "swim in their own water", like that desire of Coltrane to release a record with no liner notes whatsoever and let the music speak for itself. It's better that words do not imprison us, so "cantante, a cantar!" (Sing, singer!) But perhaps the listener may appreciate a little explanation about this collection. Jonathan intended it as a gift for his audiences in Spain (and outside the US in general): to give them a selection of songs that are well known through live shows but not so easy to find on CD or LP up until now, given the fact that records such as "Her Mystery Not Of High Heels And Eye Shadow" or "Not So Much To Be Loved As To Love" are out of print today. On the other hand, all of the songs in this collection -chronologically ordered from the present backwards to the past- were written in the 21st century, so this record fulfills a second function as a thermometer of Jonathan's music in the new millennium, in the fourth decade of his unique music career. This goes to show that we got a whole lotta JoJo going on, that we have here a rare case of a musician who gets richer, more colorful and stronger with time, yet never forgetting his original flavor. Just like a good wine. Munster Records is proud to present "No me quejo de mi estrella" as a sample of Jonathan's most recent body of songs. You could pick sixteen different titles and still come up with an equally solid album, because the "duende" of this music does not come from a particular hit single but from the soul, from the connection with that Great Spirit where music and beauty are born. It is not then a question of "greatest hits" but of love. Still, the sixteen songs we present to you here have good credentials, as their author personally chose them for this collection.

                  Five years after its completion, Munster is very proud to present the third and final full length by Danny & The Nightmares, described by Daniel Johnston as his "best album ever!"

                  It had been close to a year since they had gotten together to play music. The Nightmares set up in Danny's garage and pressed record. Danny had a couple of ideas for songs. After those were played through, a few more songs came forth. When the music was over and they listened to play-back, they realized they had recorded a core of songs to constitute a new album. Never knowing which end of the compass they might bend in any particular night of playing, Danny and the Nightmares recorded everything. Over the years they recorded on micro-cassettes, reel to reel, boom boxes, and a four track recorder. This time they had recorded on a digital machine. Over those years they had kept it close. They played and recorded at the Haunted House, or in Danny's garage. With snickers and grins, they knew they had a strong enough set of songs to elaborate on what they had recorded. They toted the machine to a string quartet. As they stood outside, they smiled while listening to the strings layering the songs.

                  Danny and the Nightmares then returned to a couple of unfinished songs that weren't sitting still in the balance when they had submitted what was to become "Freak Brain". With the capacities of the new machine, they also decided to rework a couple of songs that had already been released, and struck in the excitement, recorded a couple more new numbers. In more spells of revelry came another album, the "Death of Satan".

                  It has been five years since the album was completed. Daniel has mentioned it in interviews while promoting his solo career, stoking the curiosity of some his fans. The distracters claim that Danny and the Nightmares are not good for Daniel's image. Conversely, some fans have claimed that what he does with Danny and the Nightmares is like an 'alter ego' to his other work. It is tough to argue with his lyrics, "My friends really are the best in me." That is pretty much what it is, three friends that Rock 'N' Rolled when they could. If the album is good enough for them, well, they are obliged to share it. Danny and the Nightmares is "dead". The Death of Satan is their third and final full length album

                  Young Fresh Fellows

                  I Don't Think This Is.....The Young Fresh Fellows

                  Seattle most-loved rockers and the reverends of the irreverent the Young Fresh Fellows are back with "I Don't Think This Is...", their first full album since 2001, and 25 years since the release of their ground-breaking first LP, "Fabulous Sounds of the Pacific Northwest". Before grunge and way before indie was so indie, Fellows Scott McCaughey, Kurt Bloch, Tad Hutchison and Jim Sangster were issuing their signature shotgun blasts of punk energy and wry lyricism. And, against all odds, still are! Produced by Robyn Hitchcock, frequent collaborator of Scott McCaughey on The Venus 3, this brand new album is a compendium of punk, 70s rock and 60s pop, from the propulsive guitar rawk of "Shake Your Magazines" and "After Suicide," to the psych-tinged melancholy of "The Guilty Ones" and "Never Turning Back Again." With "I Dont Think This Is...", the YFF remind us that two guitars, bass and drums, plus a barrel of beer is still the perfect recipe for success. Or maybe failure. But that's cool.

                  Fleshtones

                  Blast Off

                    220 gram vinyl!! Garage punk authority from the late 70’s. This is the legendary group’s first album. Originally unearthed and released as a cassette only by ROIR label in 1982. Now licensed by the superb Munster label to highlight the very early years of this kick-ass NY band!


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