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“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.
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.
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.
First time vinyl reissue of the second album (originally released in 1973) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions —all sung in English— betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their seventies version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any ‘70s rock collector.
Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music.
One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.
One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record.
"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.
Orig released in 1978 and unavailable on vinyl since then, "Vampires Stole My Lunch Money", is regarded as one of the best albums by Mick Farren (the Deviants). Featuring guest appearances from Wilko Johnson, Chrissie Hynde, Sonja Kristina and more.
As powerful as rock gets this punk influenced album also includes r&b jams and features an impressive roster of musicians.
As powerful as rock gets this punk influenced album also includes r&b jams and features an impressive roster of musicians.
Impossible rare second album by Chilean beat pioneers The Mac's, recorded in 1967 under the influence of the British Invasion sound, including covers of theRolling Stones, Dylan, the Hollies... and the outstanding original "Qué Clase de Sentimiento".
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.
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.
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.
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.
In the early 80s, futuristic music existed that triumphantly anticipated another musical era for a number of groups that worked on alternative circuits in Spain. Tradition, trajectory and future: these three words sum up a movement that was castrated at birth and sought to bring plurality and nuance to a monolithic cultural scene that was too predictable, commercial and stale.
The musical texture of synth pop, experimental electronic music and the incipient primitivist industrial sound of groups like Esplendor Geométrico or Orfeón Gagarin came up against a lack of social participation that supports a popular and broad-based culture. The living soul of those pioneers was extinguished forever, and now it's time to recover unreservedly the compositions created by these largely misunderstood groups. Both volumes of "Interferencias" seek to do their bit in the odyssey to disseminate rarities from the Spanish musical heritage dating from the 80s, when the dictatorship was over.
In this era, there was a conflict between those who wanted to break with the past and those who preferred designer camouflage. In this second volume of "Interferencias" we continue to explore the interest and attraction of the new sounds back then, which were a kind of pressing need for these embryonic gurus of techno pop, who held on tight to their next-generation instruments as if they were symbols of the post-Francoist advance party. These bands appeared in the middle of the transition to democracy, a strange small breakaway movement, but popular with the minorities on the margins of the dominant and official artistic system. This new movement was anointed by one key idea, namely, moving beyond the discrimination surrounding the use of synthesizers in order to recreate emotions. Adopting a modern attitude, they hung out outside major record label circles but keeping an eye on the media, which was already putting their music out there, exemplified by their sporadic appearances on television programmes such as Musical Express or La Edad de Oro. The dynamism of these groups who were dominated by foreign musical aesthetics was clear to see.
"Interferencias" closes this analytical search for our synthetic and minimalist musical heritage; adopting a respectful, historically accurate, heterodox and undogmatic approach. These sounds embody the perplexity, paradox and confusion of those years, which disconcerted audiences through the use of innovative musical language and discourse and provoked a lack of understanding and enthusiasm in equal measure. Thanks to some of the groups included on this collection we can discover a universe brimming with stimuli and meaning, living matter capable of releasing the energy needed to breathe new life into us and supply us with substance in order to reinterpret and understand the world of popular music from the last few decades.
There's a lot to reclaim, or better said, to explore, in this parallel history of underground mystery that has been hidden for the vast majority of people and which, for various reasons, was deprived of becoming the true electronic pop germ sown in Spain with talent and rebellion. Nevertheless, this music did reach completely uncharted territories for thousands of young people at that time.
Sometimes the most beautiful song is sung in a language we're not familiar with, and this is also true of sounds. For this reason, I invite you to enjoy and engage by listening to this "feast" where the most succulent sonic delicacies are not necessarily laid out in front of us on the table. "Interferencias" is a wonderful soundtrack that guides us down the back streets of memory and oblivion, mindful that memories can sometimes be worth their weight in gold.
Sergio Sánchez.
The musical texture of synth pop, experimental electronic music and the incipient primitivist industrial sound of groups like Esplendor Geométrico or Orfeón Gagarin came up against a lack of social participation that supports a popular and broad-based culture. The living soul of those pioneers was extinguished forever, and now it's time to recover unreservedly the compositions created by these largely misunderstood groups. Both volumes of "Interferencias" seek to do their bit in the odyssey to disseminate rarities from the Spanish musical heritage dating from the 80s, when the dictatorship was over.
In this era, there was a conflict between those who wanted to break with the past and those who preferred designer camouflage. In this second volume of "Interferencias" we continue to explore the interest and attraction of the new sounds back then, which were a kind of pressing need for these embryonic gurus of techno pop, who held on tight to their next-generation instruments as if they were symbols of the post-Francoist advance party. These bands appeared in the middle of the transition to democracy, a strange small breakaway movement, but popular with the minorities on the margins of the dominant and official artistic system. This new movement was anointed by one key idea, namely, moving beyond the discrimination surrounding the use of synthesizers in order to recreate emotions. Adopting a modern attitude, they hung out outside major record label circles but keeping an eye on the media, which was already putting their music out there, exemplified by their sporadic appearances on television programmes such as Musical Express or La Edad de Oro. The dynamism of these groups who were dominated by foreign musical aesthetics was clear to see.
"Interferencias" closes this analytical search for our synthetic and minimalist musical heritage; adopting a respectful, historically accurate, heterodox and undogmatic approach. These sounds embody the perplexity, paradox and confusion of those years, which disconcerted audiences through the use of innovative musical language and discourse and provoked a lack of understanding and enthusiasm in equal measure. Thanks to some of the groups included on this collection we can discover a universe brimming with stimuli and meaning, living matter capable of releasing the energy needed to breathe new life into us and supply us with substance in order to reinterpret and understand the world of popular music from the last few decades.
There's a lot to reclaim, or better said, to explore, in this parallel history of underground mystery that has been hidden for the vast majority of people and which, for various reasons, was deprived of becoming the true electronic pop germ sown in Spain with talent and rebellion. Nevertheless, this music did reach completely uncharted territories for thousands of young people at that time.
Sometimes the most beautiful song is sung in a language we're not familiar with, and this is also true of sounds. For this reason, I invite you to enjoy and engage by listening to this "feast" where the most succulent sonic delicacies are not necessarily laid out in front of us on the table. "Interferencias" is a wonderful soundtrack that guides us down the back streets of memory and oblivion, mindful that memories can sometimes be worth their weight in gold.
Sergio Sánchez.
TRACK LISTING
1. La Canción Del Metrónomo (Teléfono Rojo) - MUZAK
2. La Fuga - DIAGONAL
3. Óxido - TV SOVIÉTICA
4. Teatro Sucio - ORFEÓN GAGARIN
5. Horno Fundidor - ESPLENDOR GEOMÉTRICO
6. Teoría Del Contacto - LOGOTIPO
7. Camino A Venus - JAN
8. La Espía Que Me Amó - CLAUSTROFOBIA
9. De Picnic - DE PICNIC
10. Deja De Lamentarte - FANZINE
11. Déjame Ahora Dormir - Q
12. Kopek - DEMIAN
13. Ciudad Estelar - FLASH CERO
14. Francotirador - FLÁCIDOS LUNES
15. MS 20 - BETTY TROUPE
16. Television - MANÍA
17. Adiós - MINUIT POLONIA
18. Esto No Es Broma - HEROICA
19. Blonde Venus - V GENERACIÓN
20. Programa-1 – PROGRAMA
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.
Obscure 1965-1968 recordings, most of them previously unreleased, by The Individuals, The Tokays and Euphorian Railway, bands which featured Andy Cahan aka Johnny Farfisa as main songwriter and organ player.
Over those three years, Cahan and his teenage bandmates produced a remarkable set of R&B/garage/blue-eyed soul tracks of outstanding quality, collected here for the first time.
Growing up in the town of New Rochelle, New York, young Andy Cahan got his kicks making horror films using an 8mm movie camera and a Wollensak tape recorder. But Cahan was also a gifted piano player with a good musical ear. Like thousands of American kids, his life changed forever on February 9, 1964 - the day The Beatles debuted on the Ed Sullivan Show. "I was totally amazed at these four guys who could sing and play perfectly and had awesome haircuts, matching suits and very cool boots," he says.
His first surf band The Jaguars became The Tokays, named after a brand of sweet white Hungarian wine. The group started to play some of Andy's original material, inspired by The Beatles and other British invaders like The Zombies and The Dave Clark Five. One of those tracks, the plaintive minor-key ballad 'Where Young Lovers Go', is included here, a remarkably mature effort for a bunch of 17-year-old kids. "Reno Franze and Richie Struts were the lead singers, Sandy Reiner was on drums, Larry Kramer on guitar, and I played the grand piano and organ. There was no bass."
Soon after, Andy made an important change. "The Beatles all played guitars, so I had to either learn guitar or, since I already was a piano/organ player, emulate Mike Smith of The Dave Clark Five with his red Vox organ. That's when I traded my old Thomas organ for the new Farfisa Combo Compact red organ. After opening the factory package on the living room floor and setting it up, I immediately assumed the stance that Mike Smith had. I purchased Beatle boots, as did my band buddies, and we changed the name to The Individuals."
By this time Richie Struts had left the group. The Individuals worked hard and soon began making a name for themselves. "We rehearsed every day until we were so good that we won three separate Battle of the Bands contests in New Rochelle and other cities in Westchester County, New York." The group also found time to go into the studio in 1965 and 1966 to record demos - most of which can be heard on this album. The tough Farfisa-led garage rocker 'She's Gone Away' is one of the highlights. With its memorable guitar and organ hook and haunting vocal melody, 'I Don't Play' is one of the band's strongest compositions from this period. In the studio they tried several different approaches, one with an overdubbed 12-string guitar, and another - designated the 'soul version' - with Reno doing a moody spoken vocal. Another standout is the hard-driving 'The Sky Is Falling'.
The Individuals broke up around 1967 when Larry Kramer elected to go to college rather than pursue music full-time. Andy, Sandy and Reno reconfigured as The Boys in Dutch, adding Jerry Delesio on guitar, and gigged across the New York area throughout 1967. After that band ran its course, Andy decided to start a new project, Euphorian Railway, with Reno on lead vocals, Vinny Derminity on guitar and vocals, Ken Lennington on bass and vocals, and Frank McConville on drums.
Euphorian Railway went into the studio in March 1968 and in one five-hour session cut an album's worth of original material. Five tracks are featured here, including a powerful remake of 'The Sky Is Falling', along with dynamic new material like 'She Showed Me'. The influence of The Rascals is strong, especially in Reno's impassioned Eddie Brigati like vocals, but Cahan's electric harpsichord provides some distinctive touches, especially on the psychedelically-inclined 'On My Way To The Sun'.
The band was short-lived. In the summer of 1968 Cahan relocated to Los Angeles, where he quickly made a name for himself as a keyboard player and arranger, working with such people as Graham Bond, Dr John, Chuck Berry, Little Richard, Harry Nilsson and Flo & Eddie of The Turtles. He was also a founding member of Geronimo Black, along with ex-Mothers Jimmy Carl Black, Denny Walley and Bunk and Buzz Gardner, and one-time Love member Tjay Contrelli.
As for his Johnny Farfisa alias, that originated with David Gibson of Moxie Records, who in 1980 released a seven-inch EP of The Individuals' mid-60s recordings titled "Johnny Farfisa's Greatest Hits": "He was the one who gave me the name Johnny Farfisa from the idea of combining Johnny Rotten and my Farfisa organ!".
Over those three years, Cahan and his teenage bandmates produced a remarkable set of R&B/garage/blue-eyed soul tracks of outstanding quality, collected here for the first time.
Growing up in the town of New Rochelle, New York, young Andy Cahan got his kicks making horror films using an 8mm movie camera and a Wollensak tape recorder. But Cahan was also a gifted piano player with a good musical ear. Like thousands of American kids, his life changed forever on February 9, 1964 - the day The Beatles debuted on the Ed Sullivan Show. "I was totally amazed at these four guys who could sing and play perfectly and had awesome haircuts, matching suits and very cool boots," he says.
His first surf band The Jaguars became The Tokays, named after a brand of sweet white Hungarian wine. The group started to play some of Andy's original material, inspired by The Beatles and other British invaders like The Zombies and The Dave Clark Five. One of those tracks, the plaintive minor-key ballad 'Where Young Lovers Go', is included here, a remarkably mature effort for a bunch of 17-year-old kids. "Reno Franze and Richie Struts were the lead singers, Sandy Reiner was on drums, Larry Kramer on guitar, and I played the grand piano and organ. There was no bass."
Soon after, Andy made an important change. "The Beatles all played guitars, so I had to either learn guitar or, since I already was a piano/organ player, emulate Mike Smith of The Dave Clark Five with his red Vox organ. That's when I traded my old Thomas organ for the new Farfisa Combo Compact red organ. After opening the factory package on the living room floor and setting it up, I immediately assumed the stance that Mike Smith had. I purchased Beatle boots, as did my band buddies, and we changed the name to The Individuals."
By this time Richie Struts had left the group. The Individuals worked hard and soon began making a name for themselves. "We rehearsed every day until we were so good that we won three separate Battle of the Bands contests in New Rochelle and other cities in Westchester County, New York." The group also found time to go into the studio in 1965 and 1966 to record demos - most of which can be heard on this album. The tough Farfisa-led garage rocker 'She's Gone Away' is one of the highlights. With its memorable guitar and organ hook and haunting vocal melody, 'I Don't Play' is one of the band's strongest compositions from this period. In the studio they tried several different approaches, one with an overdubbed 12-string guitar, and another - designated the 'soul version' - with Reno doing a moody spoken vocal. Another standout is the hard-driving 'The Sky Is Falling'.
The Individuals broke up around 1967 when Larry Kramer elected to go to college rather than pursue music full-time. Andy, Sandy and Reno reconfigured as The Boys in Dutch, adding Jerry Delesio on guitar, and gigged across the New York area throughout 1967. After that band ran its course, Andy decided to start a new project, Euphorian Railway, with Reno on lead vocals, Vinny Derminity on guitar and vocals, Ken Lennington on bass and vocals, and Frank McConville on drums.
Euphorian Railway went into the studio in March 1968 and in one five-hour session cut an album's worth of original material. Five tracks are featured here, including a powerful remake of 'The Sky Is Falling', along with dynamic new material like 'She Showed Me'. The influence of The Rascals is strong, especially in Reno's impassioned Eddie Brigati like vocals, but Cahan's electric harpsichord provides some distinctive touches, especially on the psychedelically-inclined 'On My Way To The Sun'.
The band was short-lived. In the summer of 1968 Cahan relocated to Los Angeles, where he quickly made a name for himself as a keyboard player and arranger, working with such people as Graham Bond, Dr John, Chuck Berry, Little Richard, Harry Nilsson and Flo & Eddie of The Turtles. He was also a founding member of Geronimo Black, along with ex-Mothers Jimmy Carl Black, Denny Walley and Bunk and Buzz Gardner, and one-time Love member Tjay Contrelli.
As for his Johnny Farfisa alias, that originated with David Gibson of Moxie Records, who in 1980 released a seven-inch EP of The Individuals' mid-60s recordings titled "Johnny Farfisa's Greatest Hits": "He was the one who gave me the name Johnny Farfisa from the idea of combining Johnny Rotten and my Farfisa organ!".
TRACK LISTING
Side 1
THE INDIVIDUALS
1. SHE'S GONE AWAY (Vocal)
2. I DON'T PLAY (Version 1)
3. IT MAY BE
4. THE SKY IS FALLING
5. I DON'T PLAY (Soul Version)
6. MONKEY ON MY BACK
7. MY BABY'S BAD
THE TOKAYS
8. WHERE YOUNG LOVERS GO
Side 2
THE INDIVIDUALS
1. I DON'T PLAY (12-string Version)
EUPHORIAN RAILWAY
2. THE SKY IS FALLING
3. SHE SHOWED ME
4. ON MY WAY TO THE SUN
5. I THOUGHT I KNEW YOU
6. NOTHING AND NO ONE
THE INDIVIDUALS
7. SHE'S GONE AWAY (Instrumental)
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.
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.
"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
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
Reissue of the legendary and unbeatable first Gun Club LP, originally released on Ruby Records in 1981.
Jeffrey Lee Pierce - reggae enthusiast, heroin addict, and former president of the Blondie fan club - suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record by his band. The Gun Club recorded 16 years earlier, the masterful "Fire Of Love". A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene.
Inspired by bands like X, Television, the Cramps, he met Kid Congo Powers (who will later play with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP –released in 1981 on Slash’s Ruby Records.
What makes "Fire Of Love" such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive - in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs’ “GI”). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time.
From the immensely dark and aggressive sexuality of "Sex Beat", Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in “For The Love Of Ivy”, including the hellfire classic “She’s Like Heroin To Me”, a 2:33 masterpiece in which everything comes together; “Fire Of Love” is pure perfection. They would never reach this level again. No one would, either. "Fire of Love " stands among the greatest classics of Rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of
the most influential records of the 80’s, with countless musicians declaring their love for the Club. Can’t be recomended enough, this album is a real classic that has been criminally underrated. The beginning of a legend. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey.
Jeffrey Lee Pierce - reggae enthusiast, heroin addict, and former president of the Blondie fan club - suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record by his band. The Gun Club recorded 16 years earlier, the masterful "Fire Of Love". A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene.
Inspired by bands like X, Television, the Cramps, he met Kid Congo Powers (who will later play with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP –released in 1981 on Slash’s Ruby Records.
What makes "Fire Of Love" such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive - in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs’ “GI”). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time.
From the immensely dark and aggressive sexuality of "Sex Beat", Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in “For The Love Of Ivy”, including the hellfire classic “She’s Like Heroin To Me”, a 2:33 masterpiece in which everything comes together; “Fire Of Love” is pure perfection. They would never reach this level again. No one would, either. "Fire of Love " stands among the greatest classics of Rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of
the most influential records of the 80’s, with countless musicians declaring their love for the Club. Can’t be recomended enough, this album is a real classic that has been criminally underrated. The beginning of a legend. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey.