Aguaturbia’s second LP "Volumen 2" (1970) is an essential album to understand the construction of what we know today as Chilean rock. The album is as raw and dynamic as their debut LP, featuring even heavier rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane.

Comparisons with the Grateful Dead, Country Joe and the Fish and Led Zeppelin can be drawn. Splendid heavy psych and proto-stoner tracks make this album a pioneer recording in the history of South American rock.

Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. Reissued on a 45 for the first time.

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s.

Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Creedence Clearwater Revival or The Who but also adding their own style featuring an original and stunning guitar sound.

Remastered from the original tapes.

Faust’s “So Far” (1972) presents the more commercial and accessible side of the legendary German krautrock band without giving up their advanced and experimental personality. It is a perfect album to begin exploring the group's discography, featuring one of their most well-known songs, ‘It's a Rainy Day, Sunshine Girl,’ and is considered a striking work on par with Neu!'s first album or Can's “Tago Mago”. Preceding other artists like Throbbing Gristle and Nurse with Wound, Faust were pioneers in creating industrial and futuristic atmospheres using processed rhythms, as on the track ‘Mamie is Blue.’ An essential krautrock masterpiece.

Remastered from the original tapes.

This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans. Originally published on Greg Shaw’s very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document that portraits the essence of the L.A. 80s garage scene, has been out of print for more than 20 years!

The Zeros is a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. This release compiles all their early singles, some rare tracks (including the previously unreleased ‘Left to Right’) and songs taken from a 1978 live show.

“Blow My Mind!” is the natural sequel to the recent, well-received collection “Lost Innocence” and is an essential purchase for the dedicated garage head. It collects together the best of the quirkier imprints from Hollywood’s heyday in the mid-1960s (the record labels Doré, Era and Mira) in a power-packed set comprising many outstanding garage and proto-psych 45s that today are sought-after collectors’ items.

Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Three of the quirkier imprints from Hollywood’s heyday in the mid-1960s were the record labels Doré, Era and Mira. Like most seasoned indie producers in that epoch, their owners Lew Bedell, Herb Newman and Randy Wood struggled to get to grips with the onslaught of rock’n’roll activity that followed in the wake of the British Invasion. But amongst each company’s catalogue of R&B, pop schlock and novelty discs were a number of outstanding garage and proto-psych 45s that today are sought-after collectors’ items.

“Blow My Mind!: The Doré-Era-Mira Punk & Psych Legacy” collects together the best of this venerated repertoire in a power-packed set that also constitutes the first official reissue for many oft-bootlegged titles. Cuts like ‘The Thief’, ‘Slander’ and ‘I’ll Blow My Mind’ would be expensive to acquire in their original, minutely-pressed incarnation. Here, with top-notch sound and extensive annotation, these totemic garage rock items shine brighter than ever. There is the expected quota of attitude-laden classics such as ‘My Baby’s Barefoot’, ‘Just Wanna Be Myself’ and the incredibly snotty ‘So What!!’, along with less heralded gems by bands such as South Hampton Story, the Puddin’ Heads, Yesterday’s Tomorrow and the Search. An unexpected bonus is a superb unreleased cut by ‘Hey Joe’ hitmakers the Leaves, along with off-beat garage- psych titles by Simon T Stokes, the Outlaw Blues and the Wrench.

“Blow My Mind!” is the natural sequel to the recent, well-received collection “Lost Innocence” and is an essential purchase for the dedicated garage head. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

TRACK LISTING

Side A
1. My Babys Barefoot – The Syndicate
2. Do Me A Favor – The Leaves
3. Gotta Hold On – The No-Nâ-Mee’s
4. The Thief – The Motion
5. So What!! – The Lyrics
6. Leave Me Behind – South Hampton Story
Side B
1. Big City Blues – Simon T Stokes
2. The Other Half – Yesterday’s Tomorrow
3. Worryin’ Kid – The Regents
4. She Touched My Soul – John Winfield Jr.
5. Slander – Ty Wagner
6. Now You Say We’re Through – The Puddin’ Heads
Side C
1. They Can’t Hurt Me – The Lyrics
2. I’ll Blow My Mind – Spencer’s Van Dykes
3. I’m Gonna Dance – The Decades
4. The Day Is Hard – The Wrench
5. Climate – The Search
6. Just Wanna Be Myself – The No-Nâ-Mee’s
Side D
1. Non-Stop Blues – The Outlaw Blues
2. Shame – The Front Page & Her
3. Forget Me Girl – The Bees
4. She’s Gone – The Tormentors
5. It’s No Use – Basil & The Baroques
6. To Make A Lie – Unknown Artist

Top-rated West Coast garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalising obscurities and several previously unheard gems, all from the original master tapes, including tracks by Limey & The Yanks, The Avengers, The Whatt Four, The Buddhas… among many others.

Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

"Diré a mi gente" is a 1969 Colombian pop classic with one foot in protest song and the other in acid rock, harsh sounding but also current and sincere. The rawness of the lyrics, the simple and dynamic electrified instrumentation and the contrast with the sweetness and innocence of the adolescent vocals make it reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Los Yetis duet of Norman y Darío.

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. 

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.

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

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!