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*2025 repress!!* Made In Japan is the third album by Japanese rock band Flower Travellin' Band, released in 1972. After meeting Lighthouse at the Expo '70 festival in Osaka, Flower Travellin' Band were invited to visit Canada. While there, the group recorded Made in Japan with Lighthouse keyboardist Paul Hoffert helping produce. Due to George Wada becoming ill with tuberculosis, Canadian drummer Paul DeLong plays on some tracks on this album. The lyrics were written by Yoko Nomura, the wife of t…
If you face a „Jesus“ look-alike in a white robe with an acoustic guitar and a beard in full blossom on the cover of a record you know you’re on the trail of a real oddity, in whatever way it might be. Then you check the name and it says D.R. Hooker on the cover. Is it his name or is he a doctor who cures prostitutes, so called “hookers” ? What is this all about? With a bit of effort you may find out that this is the name of a musician from the Connecticut scene of the early 70s and that he gath…
2025 stock Moonmadness was originally released in March 1976. It was their fourth album and the last to feature the band's original line-up (Latimer, Bardens, Ferguson, Ward). After the success of the tightly structured, instrumental The Snow Goose in 1975, the band added vocals to their music again. The tracks that comprised the album were conceived as a loose concept based on the individual personalities that made up Camel; Air Born about Andrew Latimer, Lunar Sea about Andy Ward, Chord Change…
The debut album by forward-thinking English piano player Keith Tippett was a turning point in british jazz evolution. The overall atmosphere and aura of You Are Here... I Am There points at the influences of American jazz musicians such as John Coltrane, Archie Shepp, and Charles Mingus. The record shows a strong tendency, however, towards a distinctive sound that was, at the time, new, embraced by musicians such as Jan Garbarek and Ian Carr. Above all, Keith Tippett's compositional style bears …
Released in 1967 on Reprise Records as a follow up to Part One, Vol. 2 takes the West Coast Pop Art Experimental Band into more ambitious territory. Reaching out to more psychedelic territory than the debut LP, Vol. 2 maintains their unique pop sound mixed with ominous fuzz guitar, jumping from graceful folk-rock to wailing guitar freakouts, to multilayered avant-garde compositions at a moment’s notice. First time reissued in mono, from the original master tapes. Limited Velvet Purple Vinyl.
First-ever reissue on vinyl of the short-lived supergroup’s sole studio album. Originally recorded in 1978, it brings together some of the most renowned figures from the Canterbury Scene.
Krautrock, what is it anyway? A genre, a derogative term, a song by Faust, … or: a welcome (and recurring) opportunity to talk about all of this. The music associated with the term in question has eagerly been canonized. From the enthusiastic and idiosyncratic ramblings of Julian Cope’s “Krautrocksampler” to encyclopaedic approaches like Alan and Stephen Freeman’s “Crack in the Cosmic Egg”, there are plenty of books to read and lists to discuss: Who’s in, who isn’t? The quarrels and disputes sur…
The Serpent Power were amongst the many bands that emerged during those heady days of 1967 but, unlike many of their contemporaries who went on to build solid careers, their arrival was only to be a brief spell in the sun as this delightful album was to prove their sole release as a full band. There is no doubt that it stands proudly alongside other better known works of that time.
Ιn 1966, San Francisco-based poet David Meltzer and his wife Tina, who was a singer, recruited local musicians Clar…
*2025 repress* Produced by David Briggs (Neil Young, Alice Cooper) and recoreded at famous Wally Heider Studio 3 in Hollywood, CA during 1969, their self-titled album features ten original compositions, with essential contributions from the four members of the band. Summerhill certainly spotted a late-1960s West Coast vibe, including Hendrix-Rock style ("Bring Me Around"), sunshine pop ("Soft Voice") and even a touch of ‘flower-jazz’ ("What Can I Say").
Sicilians Flea debuted in 1971 under the name Flea on the Honey and an album indebted to the British pop-psych scene. Their ranks include brothers Agostino (drums) and Antonio Marangolo (vocals and keyboards), Carlo Pennisi (guitar, vocals) - all future members of the legendary Goblin! - and Elio Volpini (bass, vocals, saxophone), the latter later merged into L'Uovo di Colombo.
If the debut album can be considered at least partly immature and derivative, however excellently produced and structur…
Hailing from Milan, the Alusa Fallax were born in 1969 out of the Adelfi, and released their first single in the same year, followed by a second shortly thereafter.Also in 1969, one of the two Guido in the lineup released a 45 under the name Guido degli Alusa Fallax ("Guardarti negli occhi" for the West Side).
The group stayed together for many years, and their only album was released in 1974 by Fonit; a beautiful album, which went sadly unnoticed, in the best tradition of Italian progressive ro…
Hailing from the city of Ancona, Agorà was founded in 1974 and, thanks to a simple demo, managed to capture the attention of the organizers of the legendary Montreux festival (which many will remember for the famous fire that inspired Deep Purple's "Smoke on the Water"). Their technical skills enabled the group to arrive prepared on stage at the event, and to perform an outstanding performance immortalized in this historic LP, which also constitutes the first case of an Italian band's recording …
Norwegian rock trio Crossbreeze’s self-titled LP is one of the rarest of all beasts to emerge from the Scandinavian rock scene of the 1970s. Pressed in minute quantities on Experience, the label and studio founded by engineer/guitarist Nils Johan Øybakken in the small northern town of Mosjøen, Crossbreeze moves between acid rock and prog-y folk-influenced rock, Terje Nilsen’s fuzz guitar and Walter Albriktsen’s Moog bleeps adding shades of psychedelic space-rock. Crossbreeze disbanded after this…
This psychedelic nugget wrapped within a lovely hippie album covers offers to an interested listener both conventional San Francisco psych pop rock, and also experimental material, proving that they were among the rock artists searching the boundaries of their art and style. The composition is interesting and quite innovative within the 1960's American garage scene.
The Outsiders' final LP is one of the finer unsung psychedelic records of the late '60s. Heavy echoes of Syd Barrett-era Pink Floyd, Hendrix, and psychedelic-era Pretty Things, with adroit shifts from crunching rock and soft, almost folky passages to spacy phase shift bits and just plain dementia. The album has an ominous and creepy, but rocking, ambience that still cuts deep.
West Coast blues rock act Tripsichord Music Box were part of San Francisco’s psychedelic underground during the late 1960s and early 70s. Discovered by Matthew Katz, who brokered success for Jefferson Airplane, Moby Grape and It’s A Beautiful Day, Tripsichord’s debut long player somehow faded into obscurity, despite David Zandonatti’s inspired songwriting, his gripping lead guitar licks and some fine Hammond work from Oliver McKinney. The expanded edition has five sought-after bonus tracks, maki…
Milestone! The Texan Psych legends push boundaries on their 1967 debut album. The first and finest album by The Red Crayola – the band feted in psychedelia circles for producing some of the weirdest and most inventive music ever – which sounded unlike anything else from the 60s. At the cutting edge of psychedelic music, The Parable Of Arable Land defies boundaries and unleashes a free-form anti-rock noise on audiences. A precursor to avant-garde/noise & industrial rock, this recording is a conti…
*150 copies limited edition* Easter Island's self-titled 1979 masterpiece rightfully stands in the midst of the top 10 US Prog Classics. It offers an emotionally captivating experience, marked by the melodic ebb and flow that is definitive of dexterously multilayered symphonic prog, interwoven with outbursts of heavy riffs. From the lush Mellotron textures and melodic bass lines of Genius of the Dance to the heavy progression of Face-to-Face, this is an album that grows within its listeners like…