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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”.


    Vinyl comes with CD version of the album enclosed.

    The Detroit Cobras

    Original Recordings 1995-1997

      Reissue. Gatefold sleeve. Limited pressing. Munster Records proudly presents a compilation of the very first three 7" singles of the great and mighty DETROIT COBRAS, along with no less than NINE previously unreleased studio tracks of the same early days, by the original line-up! Available on vinyl LP, complete with a fantastic essay about the band's beginnings, pics etc. 

      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.

      The In Crowd

      Am I Glad To See You / Blow Up

        In the second half of 1966, The In Crowd - singer Keith West, guitarist Steve Howe, bass player John "Junior" Wood and drummer John "Twink" Alder - were undergoing a radical musical transformation, replacing their soul and R&B covers with more innovative original material. The young actor David Hemmings witnessed their electrifying live set one night at Tiles on Oxford Street and was suitably impressed. Hemmings had recently been cast in a film by Italian director Michelangelo Antonioni, "Blow Up". The two songs The In Crowd recorded for "Blow Up" were shelved and remained unissued until the late 1990s. They encapsulate a thrilling moment of metamorphosis as a uniquely gifted group emerged from its mod chrysalis and unfurled its psychedelic wings for the first time.

        Various Artists

        Interferencias Vol 2

          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.

          John's Children

          Desdemona E.P.

            Marc Bolan was only a member of John's Children for a few short months, but the experience would have an indelible impact on the future trajectory of his music. Prior to Bolan's arrival in March 1967, the group already had a couple of singles to their name, along with a distinctive image and a reputation for controversy. Kit Lambert had recently expressed an interest in signing the group to Track Records, but only if they got themselves a new guitar player. Although Bolan returned to acoustic music with Tyrannosaurus Rex, his time in John's Children served him well when it came time to plug back in again.

            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. 

            Etant Donnes With Michael Gira

            Offenbarung Und Untergang

              Reissue of this 1999 collaboration between Etant Donnes (Eric & Marc Hurtado) and Michael Gira (Swans), featuring Mark Cunningham (Mars) and Saba Komossa (Delkom). The album is based upon the text "Offenbarung Und Untergang" ("Revelation and Demise"), written by the Austrian expressionist poet Georg Trakl in 1914. The Hurtado brothers create a fittingly eerie, somber and desolate soundscape as backdrop to Gira's reading and singing (in German) of Trakl's equally somber poetic text. 

              Johnny Farfisa

              The Sky Is Falling - The Best Of Johnny Farfisa

                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!".

                Various Artists


                  A comprehensive compilation, the first of its kind, of the avant-garde and experimental music scene of Latin America from 1976 to the late 1980s.

                  Featuring pioneering artists from Peru (Miguel Flores, Manongo Mujica), Ecuador (Amauta), Mexico (Decibel, Vía Láctea, Jorge Reyes), Venezuela (Musikautomatika, Miguel Noya), Costa Rica (Autoperro), Argentina (Quum), Uruguay (Carlos da Silveira), Brazil (Grupo Um), Chile (Malalche) and Colombia (Banda Dispersa de la Madre Selva).

                  Includes booklet with liner notes by Luis Alvarado and artist photos.

                  The artists on this compilation come from an intermediate period between the highpoint of diverse artistic currents influenced by the hippie movement and the advent of punk. A watershed between the expansion of the industry and the emergence of a new DIY distribution system. They also belong to an intermediate period in terms of the development of electroacoustic music labs and the arrival of synthesizers and samples available for mass audiences. They hail from that decisive stage of technological socialisation, when small studios and home recording studios were set up.

                  Above all, what these artists have in common is that they are Latin Americans and as such share the difficulties of belonging to a time in history when ideological polarisation resulting from the Cold War was rife, when they would witness complex social processes, military coups, dictatorships, radicalisation and when the legitimacy of music that spoke about the territory was also disputed. It was a time when native sounds were introduced, either linked to the use of poor or austere technologies or to the local context.

                  Many of the artists on this record have acquired cult status and are key figures as regards understanding the cultural periods they belong to in their respective countries, but as such they have also been atypical figures and reflect a sensibility that was spreading across Latin America back then: a spirit of experimentation that was redefining the directions taken by music in the region.

                  More than a movement, it was a group of individuals who worked on counterculture projects. Notwithstanding this mosaic of different sounds, we can identify several trends: free use of folk, open compositions, explorations of the boundaries of rock and experimentation with technology. However, imagination is perhaps what connects more closely all the artists brought together here for the first time.

                  Because all of them needed to imagine a new space, where they could forge a new scene that punk and technology would go on to consolidate. All these artists did things for the first time, they represent the breaking point between clearly defined periods, despite the difficulties and isolation that many suffered when creating their compositions. Now we can listen to them on this compilation which allows us to imagine a time in the past when this other avant-garde music scene exploded.


                  Beautiful Dreams E.P.

                    Twiggy is one of the great icons of the 1960s. Her sudden rise to stardom in 1966 made her the face of Swinging London and her look completely defined that era. Apart from her work as a model, she soon started a career as an actress and a singer. She recorded her first two singles for Ember Records in 1966 and 1967, featuring songs by songwriter and producer Tommy Scott. They are exquisite pop compositions with subtle arrangements, and Twiggy's voice is immediately captivating. The four tracks came out as an EP in France, which has inspired this reissue.

                    The Lyres

                    Lucky 7

                      Seven 45s, including their never-released first acetate, with 16 tracks spanning from 1979 to 1991 that prove why Lyres are one of the truly essential garage bands. Contains a 20-page booklet with photos and liner notes by Jeff Conolly. Includes a CD with all 16 tracks. Limited edition of 700 units. Formed in Boston in the late 70s out of the ashes of the legendary DMZ, Lyres are one of the truly essential garage bands and the seven 45s contained in this box set clearly prove why. Featuring 16 tracks spanning from 1979 to 1991, they're loaded with sound, attitude and a way of making music not found around too often. Included is their never-released first acetate, recorded live and self-pressed only two weeks after the band's first rehearsal. Their amazing debut 7" on Sounds Interesting Records is presented in facsimile artwork, as are a string of magnificent tracks the band recorded during the 1980s for Boston's Ace of Hearts Records, run by Rick Harte, who also produced the recordings. Among them, titles such as 'Buried Alive', 'Help You Ann', 'I Really Want You Right Now', 'She Pays The Rent', 'Not Looking Back' and other staples of the 1980s rock & roll scene that show the band (and its varying line-ups) at the top of their game.

                      FORMAT INFORMATION

                      Box set Info: 7 x 7" + CD.

                      Legendary Stardust Cowboy

                      Paralyzed / Down In The Wrecking Yard

                        The Ledge's unforgettable 1968 debut, 'Paralyzed', backed with non-compilation track 'Down In The Wrecking Yard', from 1969.

                        The record comes sleeved in a special Ledge themed company bag designed by Olaf Jens.

                        Whooping, hooting and hollering rock’n’roll genius of the kind that helps you get through life.

                        The Japanese Girl

                        Sonic-Shaped Life

                          The Japanese Girl is a Portuguese band formed in late Dec 2013 by Bruno Sousa, Corinna Sousa and Emanuel Cunha. Starting with two guitars, an organ and vintage drum machines, they immediately forged a raw and powerful sound somewhere between garage rock and psych lo-fi, while recently they have been joined by a drummer hammering through their opiated layers of reverb. Their intense, noise-filled live shows are accompanied by mysterious visual elements, and besides their own headlining shows the band has also played with Jacco Gardner, The Wand, Girls Names and as part of the Reverence Festival Party.

                          In early 2015 they recorded "Sonic-Shaped Life", their debut album. It was put down on tape at Oporto's renewed studio Sá da Bandeira by Cláudio Tavares and João Brandão, and mastered by Miguel Pinheiro Marques at SDB Mastering. Leading single 'You Should Have Switches', released in September, gave the first clues about their own brand of hypnotic rock, where pulsating psychedelia, droney garage and shimmering, trippy pop provide the setting for haunting compositions, catchy hooks and engaging melodies. Over the course of ten tracks, the band sounds commanding in the darker passages or punked-up outbursts and shine in the more sunny, coloured moments, while the flow and pace of the album produce a wholly entrancing record.

                          Teenage Filmstars

                          (There's A) Cloud Over Liverpool


                            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

                            Reissue of the second album by Lyres from 1986. Sound, attitude and a way of making music that you don't see around too often. Amazing track after amazing track make this record a brilliant example of a band at the top of their game.

                            FORMAT INFORMATION

                            LP Info: 180 gram vinyl.

                            The Cramps

                            File Under Sacred Music - Early Singles 1978-81 - 7" Box Set

                            Compilation of the The Cramps’ early singles plus some tracks from the same period that were never issued on that format.

                            The vinyl box-set contains six replica sleeves and four new sleeves especially designed for this edition, along with photos and memorabilia.

                            "I’ve no idea why The Cramps don’t seem to figure in a lot of alleged histories of punk or just plain music in general. This could be down to them being utterly unpigeonhole-able (is that even a word?) or just outright ignorance. Perhaps a bit of both but hey, let’s not concern ourselves with that. The band changed the face of culture. Period. Without bothering “the charts” or playing too many stadiums, their seismic effect on everything you hold dear will be felt for all time. This ancient knowledge – some of their grooviest gravy – is presented here for your delectation and delight. So get a crack-a-lackin’ with blasting these twisted hymns morning, noon and night. And while the ruckus is in full swing, pray to whoever might listen that Ivy will get around to compile the ultimate document of her undulating combo in commemoration of their services to entertainment. The bloody gears of this here rockin’ machine will be rolling way beyond the foreseeable future. Reasons outwith anyone’s control might mean that you can’t see the band anymore but no one – no how – will be able to make this thing stop. Meanwhile, dig into this feast for the little ghouls that understood all along or indeed anyone with a decent set of ears." Lindsay Hutton

                            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.

                            The Detroit Cobras

                            Original Recordings 1995-1997

                            Licensed from the band (and their lawyers etc etc.)!! Munster Records proudly presents a compilation of the very first three 7" singles of the mighty Detroit Cobras, along with no less than nine previously unreleased studio tracks of the same early days by the original line-up!! All complete with a fantastic essay about the band's beginnings, pics etc.


                            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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