Browse by Label: MUNSTER RECORDS (SPAIN)

Artist:	GUN CLUB, THE
Title:	Fire Of Love
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 256LP

2003 release. 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 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 and the Cramps, he met Kid Congo Powers (who later played 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. It 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 '80s, with countless musicians declaring their love for the Club.

Artist:	VA
Title:	Spacelines: Sonic Sounds For Subterraneans
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$16.50
Catalog #:	MR 260CD

Spacemen 3 were one of the most revolutionary UK guitar bands, whose influence is still being felt today and whose reputation as one of the leading innovators of the alternative scene keeps growing. The SP3 saga is that of a band who gave up when they were just gaining international success, with a wide recognition in the UK and a cult status in the American underground. Their perfectly integrated mixture of trippy pop, spaced-out poetry, acoustic romance and mind-boggling guitar devastation made them one of the most influential, mind-altering bands of the late '80s. With the band's two leaders, Jason Pierce and Peter Kember (aka Sonic Boom), currently enjoying levels of critical and commercial success (via Spiritualized and Experimental Audio Research, respectively), and the whole SP3 catalog being reissued these days, it's a good time to review the musical history and legacy of this inspirational outfit, disbanded in 1990 after leaving milestones such as 1987's The Perfect Prescription. This compilation is of great interest both for any fan -- you will understand, enjoy and discover the answers to many of the questions the SP3's music asked, in an amazing selection of the best music produced in the last 30 years. These artists are amongst those Sonic Boom considers as the main influences for the sound of Spacemen 3, the "roots" to that amazingly rich musical tree. And they were truly eclectic: here you can find anything from the rural folk-blues of Lightnin' Hopkins or Jesse Mae Hemphill to the gospel of The Staple Singers (whose "Last Time" was likely to be a major influence on Jagger/Richards' own "Last Time"), from exotica (Xavier Cugat!), to Sun Ra's cozmic blues, plus ultra-rare English freakbeat such as The Syndicats, Yes' Steve Howe's first band, with a huge penchant for the feedback of Pete Townshend, L.A. psychedelic surf from the Beach Boys-influenced Fantastic Baggies, and first-generation electronic music acts such as White Noise, or even Detroit high energy rock (MC5 with a rare "Ramblin' Rose" live at the studio). There are even some unclassifiable acts such as Daniel Johnston, the mysterious Honolulu Mountain Daffodils, or Rolf Harris, whose 1960s song "Sun Arise" re-enacts Australian aboriginal chants, and many, many surprises (including a Christmas carol). Search deep and enjoy and find the roots to SP3's musical enlightenment. Other artists include: Bo Diddley, The Red Crayola, Washington Phillips, The Cryin' Shames, The Zodiacs, The Wailers, Evie Sands, The Rays, Juicy Lucy, The Riot Squad and John Mayall's Bluesbreakers.

Artist:	GLUCK & FRIENDS, JEREMY
Title:	I Knew Buffalo Bill
Label:	MUNSTER RECORDS (SPAIN)
Format:	2LP
Price:	$25.50
Catalog #:	MR 293LP

Munster Records reissues an expanded 2LP edition of the seminal 1987 indie-rock album by Jeremy Gluck & Friends -- a unique record with a rootsy, haunting sound, which mixes dark folk, swamp blues and the ghostly side of country music. "It was 1986, autumn. Over the years Nikki Sudden and I had discussed, planned and written songs for an eventual collaboration. Nikki was working on his music full-time; I was writing and raising my kid. One day Nikki calls pretty much out of the blue and says he is in Fairport Convention's Dave Pegg's lush Woodworm Studio recording with his brother Epic Soundtracks and Rowland S. Howard, and do I want to tack a week on and do an album? I started packing. When I arrived at the studio one gorgeous afternoon, the band had just laid down the backing track to Nikki's remarkably beautiful 'Gallery Wharf.' I was awed and enchanted. I still love that song and my good fortune in performing its only recorded incarnation is humbling. In the years since, I Knew Buffalo Bill has been heard more, evaluated further, loved by a few fiercely, liked by many more, overlooked by millions. The unusual combination of players and pieces, and some great production, have earned it a niche all its own. In that time, four of its key players -- Nikki Sudden and Epic Soundtracks, Rowland S. Howard and Jeffrey Lee Pierce (whom I only met briefly before and during the sessions) -- have passed away. It gladdens me that our work on the album has been the cause of one excellent shared homage (Italians Circo Fantasma's 'I Knew Jeffrey Lee'), and that one of its latter tracks, 'Burning Skulls Rise' (from the eponymous EP that followed the original album), was covered by Rowland and Lydia Lunch. Subsequently, it has appeared on a handful of European compilations and even one modern B-movie soundtrack, for I Pass For Human (2004), directed by former Flesheater Chris D. On this deluxe edition, I've included all but one track of the original album, demos, B-sides and, to bookend the album, live material reinventing the songs Nikki, Rowland, Epic and I laid down recklessly over 20 years ago. My favorite line of Nikki's, from 'Gallery Wharf' -- 'What's done can never be put down' - speaks for all of what is here for you to remember, discover or rediscover. It's a strange pile of sounds and songs to have helped create." --Jeremy Gluck; Vinyl-only reissue. Limited edition of only 600 copies. Liner notes by Jeremy Gluck.

Artist:	PLASTIC PEOPLE OF THE UNIVERSE, THE
Title:	Magical Nights
Label:	MUNSTER RECORDS (SPAIN)
Format:	2CD
Price:	$22.00
Catalog #:	MR 294CD

Munster Records presents the most complete anthology of the legendary Czech band The Plastic People Of The Universe. PPUS was formed in autumn 1968 in Prague by teenagers and former school-mates bass guitarist Milan "Mejla" Hlavsa and guitarist Jirí "Premek" Stevich. They teamed up with vocalist and clarinetist Michal Jernek and drummer Pavel "Eman" Zeman. Their increasing popularity attracted attention from Ivan Martin Jirous, until then the artistic mastermind of the legendary Primitives Group. He secured them a professional license and equipment from a state-owned agency. Eventually, another ex- Primitives, Josef Janícek, joined on guitar (later he switched to keyboards). Since the invasion of the Warsaw Pact armies in August 1968, the Czechoslovakian Communist regime was continuously tightening the reins on most segments of the society, and particularly on the West-influenced youth culture. By 1970, the PPU had lost their agency support and the state-owned instruments. Jernek and Stevich quit, replaced by guitarist and violinist Jiří Kabes and the Canadian vocalist Paul Wilson. In 1973, Hlavsa, Janícek and Kabes were joined by saxophonist Vratislav Brabenec. As an experienced jazz musician, Brabenec caused a further major shift in the group's orientation, from relatively straight progressive rock towards more experimental music forms. They also ditched the English lyrics in favor of original Czech poems, supplied at that time by the underground philosopher and poet Egon Bondy. During the winter of 1974-75, the PPU clandestinely recorded their first "album" on archaic equipment in the unheated rooms of the Houska castle. Parts of it were released in France as Egon Bondy's Happy Hearts Club Banned LP in 1978. In 1976, dozens of members from the underground community were arrested by the secret police, including the PPU musicians, and several of them were put on trial. Brabenec and Jirous were sentenced to eight and 18 months in prison. That trial was the impetus for playwright Václav Havel and other intellectuals to publish the Charter 77 document in January 1977. Despite all the hurdles, the PPU kept on writing new material, which they occasionally performed and recorded at Havel's private farm. The persecutions by the secret police continued, and in 1982, Brabenec was forced to emigrate. Although the PPU home-recorded several albums through the 1980s, after 1981 they did not play before an audience until their break-up in 1988. After the Velvet Revolution of 1989, the PPU briefly reappeared in 1992 for a few gigs, featuring the original founding members. In 1997, after being asked by Václav Havel (then Czech president) to perform at the 20th anniversary of Charter 77 at the Prague Castle, the classic 1978-1982 line-up eventually decided to reunite. And despite Hlavsa's premature death in 2001, they continue touring successfully to the present day. This 2CD package features 31 tracks recorded between 1969 and 1985 by this influential and revolutionary experimental band. Includes liner notes by expert Luká Machata, with rare photos of the band.

Artist:	LOS SAICOS
Title:	¡Demolición!: The Complete Recordings
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 295CD

"With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s. The unhinged nature of the song titles is one thing, but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and in kicks the call of the wild. The individuals have no other option than to just go with it. I don't know about you, but I have an intense dislike of artists that are nothing more than a modular, cookery book approximation of what somebody reckons might be a hipster record collection. This is decidedly not a case of that. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton; Includes a 40-page color booklet with extensive notes in Spanish and English with many unseen photos and a free download card.

Artist:	ESKORBUTO
Title:	Maldito País: Primera Época 1982-84
Label:	MUNSTER RECORDS (SPAIN)
Format:	2CD
Price:	$17.50
Catalog #:	MR 297CD

Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single Mucha Policía, taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, no-holds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded as one of the essential bands of the genre all over the Spanish-speaking world. It was a time when the walls were teeming with socio-political proclamations, where the hammer and sickle -- alongside the illegal Ikurriña (the flag of the Basque Country) -- were the most widely-used symbols. A time of general strikes and smoky joints, where huge speakers played loud rock. In Santurtzi, on the left bank of the Nervión estuary, a unique band was born: Eskorbuto. Iosu Expósito and Jualma Suarez lived in working class neighborhoods that had grown fast. In the '60s, industrialization and rampant development transformed them into urban areas without any investment in urbanism. Some elements for the alchemy led to the explosion: intelligent young guys who were nevertheless incapable of adhering to school discipline, a country in full swing towards freedom after 40 years of dictatorship. One day at the end of the '70s, they decided to start a band. The first period of Eskorbuto's life, before the damage done by the needle became noticeable, was incredibly fruitful. They soon found a rehearsal space, thanks to their first drummer ("Gu"), and there the first songs were born: "Enterrado Vivo," "Busco En La Basura," 'Éste Es El Porvenir," and "Mucha Policía, Poca Diversión." It was a period of line-up changes. Iñaki Laiseka played bass for them, and that role was also taken by "Seni" and "Garlopa," two precursors of "left bank" punk. Later on they found Paco Galán, who also came from a similar neighborhood to theirs. Paco always was the necessary engine, the piece around which the rest revolved, which guaranteed continuity. His drumming also added an apparently chaotic element to the already unbridled guitar melodies and visionary texts, halfway between dirty realism and Edgar Allan Poe's nightmares. These recordings are taken from those early times of excitement and vertigo, of journeys to Madrid and endless trips up and down the left bank looking for "someone that I've heard is selling an amp." Completely remastered from the original sources. Includes two previously-unissued tracks. Includes a 12-page booklet with notes and rare photos.

Artist:	JOHNSTON, DANIEL
Title:	The Story Of An Artist
Label:	MUNSTER RECORDS (SPAIN)
Format:	6CD BOX
Price:	$80.00
Catalog #:	MR 298CD

Limited edition 6CD box set of the very early recordings by Daniel Johnston, one of the most gifted American songwriters of the last three decades. Includes Daniel's six cassette-only albums recorded between 1980 and 1983, packaged in individual sleeves, plus a two-sided A2 poster and a 64-page booklet with Daniel's artwork from those years and extensive notes by music journalist Everett True.
"When I first met Daniel in 1985, he was already quite well known. He had been giving away homemade cassettes for months and his live performances were attracting enthusiastic crowds. He had even been on MTV. The cassettes were his business cards and he used them well, with Hi, How Are You, Yip/Jump Music, Retired Boxer, Respect and Continued Story finding their way into the hands of seemingly every band in town. As the attention increased, so did the need to keep making and handing out cassettes. It reached a point where much of his paycheck from McDonald's would be spent on blank tapes, so I began talking to him about ways to at least break even. By the time Daniel left Austin a year later, things had changed considerably. I was finding national distribution for the tapes, but he wasn't well, and didn't wish to continue in the music business. He gave me a couple of tapes I hadn't heard before throwing most of his remaining possessions into a dumpster. By the time I found out about the dumpster incident and frantically dug through it, trying to salvage any tapes that I could find, it was too late. What was lost in that dumpster is something we'll never know. The two unreleased tapes he had given me were More Songs Of Pain and Don't Be Scared (ironically misspelled Don't Be Scarred). Both were unlike anything I had previously heard. Recorded in the semi-privacy of his parents' basement in the early 1980s, before he'd moved to Texas, the sound was slightly better than the tapes I was already distributing, and the material so strong that I knew he deserved a place among the all-time great songwriters. Both were and are fully realized masterpieces to my ears ... I was able to borrow a tape he had given Glass Eye's Kathy McCarty titled The Joker -- it turned out to be one of several versions of the Songs Of Pain tape that he had given out to his friends in West Virginia before moving to Austin. I knew it had to be the first of the 'new' releases, so I began distributing Songs Of Pain in 1987. A few months later, I borrowed another tape he had given to one of his friends. This led to the release of The What Of Whom. In 1988, I released More Songs Of Pain and in 1989 Don't Be Scared. In 1990, Daniel found some tapes under his bed (!) called The Lost Recordings, and these were released in 1991. Most of Daniel's early recordings were done on a $59 Sanyo jam box using the cheapest tape he could find. The term 'lo-fi' was still a few years away and I never gave the low fidelity of these recordings a second thought. It was about the music and the story of an artist. Songs Of Pain, More Songs Of Pain, The What Of Whom, Don't Be Scared and The Lost Recordings tell the story of that artist. They may have been 'just' cassettes, but Daniel owned his own publishing and these releases led to more songs being published, and ultimately more songs being covered by other bands. I'm very grateful that Munster Records has chosen to package the recordings from Daniel's West Virginia years as a box set. I hope you enjoy it." --Jeff Tartakov, Stress Records

Artist:	MATADORS, THE
Title:	Get Down From The Tree!
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 299CD

Munster Records presents The Matadors' studio recordings from 1966-1968 for the first time ever as a complete collection. From the early twist instrumentals through to solid R&B/soul covers and up to their classic psychedelic freakbeat originals, all tracks have been remastered from the original analog master tapes. Even 40 years after they disbanded, the legendary Matadors still remain one of the best known "big beat" bands from the former Czechoslovakia. Some of the original members would continue with much-respected groups such as The Blue Effect or Emergency. Includes liner notes by expert Luká Machata plus photos and original sleeves. The actual birth of The Matadors dates to May 1965, after Wilfried Jelinek secured a deal at the Expo Leipzig for extensively testing and promoting various music equipment on tour. Among those instruments was an electric organ named "Matador." They initially performed solely in Germany, mainly in Jelinek's home region around Zittau. As second lead vocalist and rhythm guitarist came Karel Kahovec, formerly of the Hell's Devils. In September 1965, Jelinek gave up on drumming, and The Matadors' line-up was completed with another ex-Hell's Devils, the drummer Miroslav Schwarz, better known as Tony Black. In April 1966, The Matadors finally returned to their hometown, Prague. Their first gigs were an immediate success, putting the group on a par with local stars like Donald, Mefisto or Olympic. With the latter they began to regularly share the stage at the renowned clubs Olympik and Sluníčko, eventually presenting weekly "beat news" with cover versions of the world's latest rock hits. One of their first original compositions was "Sing A Song Of Sixpence," an early psychedelic effort with rather meaningless lyrics extracted from an English children's book, but it already carried Kahovec's signature songwriting, which he further developed later as a member of Flamengo. Vocalist Vladimír Misík, on the other hand, leaned towards heavy blues rock, as apparent, for example, from his "Malej Zvon Co Mám." By the end of the year, both lead vocalists were replaced by ex-Flamengo singer Viktor Sodoma, with Misík only guesting once more for a recording session in January 1967. Sodoma and bassist Otto Bezloja began to form the group's visual image, influenced by Western magazines showing the first reports about American hippies. Bezloja presented himself with an androgynous glam look, possibly even preceding David Bowie or Marc Bolan. The only Matadors album was recorded within a week between May and June 1968, ordered by the PZO Artia company and intended mainly for export. Besides their own material and several solid pop, soul and R&B cover versions, it contained the remarkable psychedelic studio improvisation "Extraction." In the summer of 1968, Sodoma and organist/keyboardist Jan Farmer Obermayer left the group. Sodoma was replaced by yet another Hell's Devils and Komety veteran, the highly-talented soul singer Milo "Reddy" Vokurka, and Jiří Matousek took over the organ. In the meantime, The Matadors were asked to perform as backing band for the brand-new German version of the musical Hair in Munich, West Germany. In October, guitarist Radim Hladík quit as well, later forming The Blue Effect with Misík a few weeks later. Bezloja, Black, Reddy and Matousek were then joined by the young guitarist Petr Netopil, with whom they played the last few gigs in Prague, before the band relocated to Munich for good. Eventually, the nucleus of the band transformed into the legendary international prog rock combo Emergency, still including Bezloja, Reddy, Matousek and Berka, as well as a certain young drummer named Udo Lindenberg.

Artist:	MATADORS, THE
Title:	Get Down From The Tree!
Label:	MUNSTER RECORDS (SPAIN)
Format:	2LP
Price:	$25.00
Catalog #:	MR 299LP

Gatefold 2LP version. Munster Records presents The Matadors' studio recordings from 1966-1968 for the first time ever as a complete collection. From the early twist instrumentals through to solid R&B/soul covers and up to their classic psychedelic freakbeat originals, all tracks have been remastered from the original analog master tapes. Even 40 years after they disbanded, the legendary Matadors still remain one of the best known "big beat" bands from the former Czechoslovakia. Some of the original members would continue with much-respected groups such as The Blue Effect or Emergency. Includes liner notes by expert Luká Machata plus photos and original sleeves. The actual birth of The Matadors dates to May 1965, after Wilfried Jelinek secured a deal at the Expo Leipzig for extensively testing and promoting various music equipment on tour. Among those instruments was an electric organ named "Matador." They initially performed solely in Germany, mainly in Jelinek's home region around Zittau. As second lead vocalist and rhythm guitarist came Karel Kahovec, formerly of the Hell's Devils. In September 1965, Jelinek gave up on drumming, and The Matadors' line-up was completed with another ex-Hell's Devils, the drummer Miroslav Schwarz, better known as Tony Black. In April 1966, The Matadors finally returned to their hometown, Prague. Their first gigs were an immediate success, putting the group on a par with local stars like Donald, Mefisto or Olympic. With the latter they began to regularly share the stage at the renowned clubs Olympik and Sluníčko, eventually presenting weekly "beat news" with cover versions of the world's latest rock hits. One of their first original compositions was "Sing A Song Of Sixpence," an early psychedelic effort with rather meaningless lyrics extracted from an English children's book, but it already carried Kahovec's signature songwriting, which he further developed later as a member of Flamengo. Vocalist Vladimír Misík, on the other hand, leaned towards heavy blues rock, as apparent, for example, from his "Malej Zvon Co Mám." By the end of the year, both lead vocalists were replaced by ex-Flamengo singer Viktor Sodoma, with Misík only guesting once more for a recording session in January 1967. Sodoma and bassist Otto Bezloja began to form the group's visual image, influenced by Western magazines showing the first reports about American hippies. Bezloja presented himself with an androgynous glam look, possibly even preceding David Bowie or Marc Bolan. The only Matadors album was recorded within a week between May and June 1968, ordered by the PZO Artia company and intended mainly for export. Besides their own material and several solid pop, soul and R&B cover versions, it contained the remarkable psychedelic studio improvisation "Extraction." In the summer of 1968, Sodoma and organist/keyboardist Jan Farmer Obermayer left the group. Sodoma was replaced by yet another Hell's Devils and Komety veteran, the highly-talented soul singer Milo "Reddy" Vokurka, and Jiří Matousek took over the organ. In the meantime, The Matadors were asked to perform as backing band for the brand-new German version of the musical Hair in Munich, West Germany. In October, guitarist Radim Hladík quit as well, later forming The Blue Effect with Misík a few weeks later. Bezloja, Black, Reddy and Matousek were then joined by the young guitarist Petr Netopil, with whom they played the last few gigs in Prague, before the band relocated to Munich for good. Eventually, the nucleus of the band transformed into the legendary international prog rock combo Emergency, still including Bezloja, Reddy, Matousek and Berka, as well as a certain young drummer named Udo Lindenberg.

Artist:	MICKY
Title:	La Cuenta Atrás
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$16.50
Catalog #:	MR 302CD

Micky, a rock & roll pioneer in Spain along with his legendary backing band Los Tonys, has recorded a new album featuring 12 hits at Jorge Explosion's Circo Perrotti vintage studio. This time he's accompanied by a band of true lovers of rock & roll, including members of Doctor Explosion, Raunch Hands, The Kaisers, The Reak McCoyson and Bubblegum, among other underground garage stars. "In 1997, on the occasion of a Dr. Explosion show at the Actual Festival in Logroño, the organizers suggested each band play a couple of songs that night along with a singer from a '60s band. So there's me, meeting up with Micky at Hotel Pathos and rehearsing Los Tonys' 'I'm Over.' During the following 11 years, we saw each other a couple of times thanks to a friend in common, Miguel Escalada, who in the '60s led his own beat group, Los Sonys. A June Sunday in 2008 when I was working in the studio, I got a call from them and we met up for an aperitif. I was really glad to see Micky again, and when he asked me what I was up to, I told him about Circo Perrotti and he seemed really interested. We ended up having lunch together and talking about rock & roll, and one thing led to another. Suddenly it struck me. I'm tired of seeing old rock & roll stars from past decades coming back and trying to recapture that period with records that sound, to put it gently, 'rather cheesy.' So I thought: 'Wouldn't it be amazing to work on something with Micky? Would he be willing to be in my hands and trust my judgement?' Without thinking twice, I asked him. I immediately thought about getting my friend John Gibbs, founding member of The Kaisers, involved. Micky was a rock & roll pioneer in Spain with Los Tonys, and he's probably the only person from the '60s with the required energy to get on board with something like this. He's an artist whose emotion while talking and singing is contagious. But this time, he's doing it in a brutal, raw and honest way, without overblown productions or flashy musicians, where the recording breathes with the urgency and excitement of proper rock & roll." --Jorge Explosion

Artist:	MICKY
Title:	La Cuenta Atrás
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 302LP

LP version, limited edition of 500 copies. Micky, a rock & roll pioneer in Spain along with his legendary backing band Los Tonys, has recorded a new album featuring 12 hits at Jorge Explosion's Circo Perrotti vintage studio. This time he's accompanied by a band of true lovers of rock & roll, including members of Doctor Explosion, Raunch Hands, The Kaisers, The Reak McCoyson and Bubblegum, among other underground garage stars. "In 1997, on the occasion of a Dr. Explosion show at the Actual Festival in Logroño, the organizers suggested each band play a couple of songs that night along with a singer from a '60s band. So there's me, meeting up with Micky at Hotel Pathos and rehearsing Los Tonys' 'I'm Over.' During the following 11 years, we saw each other a couple of times thanks to a friend in common, Miguel Escalada, who in the '60s led his own beat group, Los Sonys. A June Sunday in 2008 when I was working in the studio, I got a call from them and we met up for an aperitif. I was really glad to see Micky again, and when he asked me what I was up to, I told him about Circo Perrotti and he seemed really interested. We ended up having lunch together and talking about rock & roll, and one thing led to another. Suddenly it struck me. I'm tired of seeing old rock & roll stars from past decades coming back and trying to recapture that period with records that sound, to put it gently, 'rather cheesy.' So I thought: 'Wouldn't it be amazing to work on something with Micky? Would he be willing to be in my hands and trust my judgement?' Without thinking twice, I asked him. I immediately thought about getting my friend John Gibbs, founding member of The Kaisers, involved. Micky was a rock & roll pioneer in Spain with Los Tonys, and he's probably the only person from the '60s with the required energy to get on board with something like this. He's an artist whose emotion while talking and singing is contagious. But this time, he's doing it in a brutal, raw and honest way, without overblown productions or flashy musicians, where the recording breathes with the urgency and excitement of proper rock & roll." --Jorge Explosion

Artist:	LEGENDARY TIGERMAN, THE
Title:	Femina
Label:	MUNSTER RECORDS (SPAIN)
Format:	2LP
Price:	$25.50
Catalog #:	MR 303LP

This is the fourth album by the Portuguese blues one-man-band who combines the tradition of the original blues from the Mississippi Delta with new technology (samples, beats, loops). The Legendary Tigerman (Paulo Furtado: ex-Tédio-boys, Wraygunn) is the man behind the kick, the hi-hat, the kazoo and the guitar, here accompanied by several famous women from the musical scene. Following the tradition of the old blues men, this one-man-band literally jumped from Coimbra, Portugal to the world. Well, the Tigerman has the roots but he also combines it with new technology (samples, beats, loops), always keeping it real, playing the instruments live. The consequences of this blend are explosive and have brought him exposure in Europe, USA, Brazil and Japan. Being a one-man-band, it's hard to think of a live show as something that has a lot of stir. But, in fact, it has. There's something of a punk attitude in the Tigerman's shows. The blues is alive in the music he plays, but it always feels like a riot is about to explode and we can't guess when, such is the tension he brings onstage. Now, it's time for Femina, the fourth album of The Legendary Tigerman. This time, only women are allowed to step in the Tigerman's world. After three records where, in an explicit or hidden way, women just existed in the songs, the lonesome Legendary Tigerman isn't alone anymore. Asia Argento, Peaches, Lisa Kekaula, Becky Lee, Phoebe Killdeer, Cibelle, Maria de Medeiros, Rita Redshoes, Claúdia Efe, Mafalda Nascimento, Dorit Chrysler, Rita Braga and Cais Sodre Cabaret are this album's co-owners. Like a Serge Gainsbourg drunk on blues or a post-punk Lee Hazlewood, the Legendary Tigerman has created an album where two worlds collide and the result is an album of duets, but not as you know them. Double LP gatefold vinyl in a limited edition of 1,000 copies only.

Artist:	DECIMA VICTIMA
Title:	Décima Víctima
Label:	MUNSTER RECORDS (SPAIN)
Format:	3LP BOX
Price:	$78.00
Catalog #:	MR 305LP

This box-set contains all the music made by Hispanic-Swedish quartet Décima Víctima, including two unreleased tracks, released almost 30 years after their first record. For this edition, the sound of the original tape recordings has been cleaned and improved. In 1981, brothers Lars and Per formed the instrumental band Clausula Tenebrosa. After a show, they started talking about the possibility of rehearsing with Carlos, a friend at the time and ex-singer of Ejecutivos Agresivos. That's how the story of Décima Víctima starts -- rehearsing with a drum machine in the cellar of the Mertanen's house in Madrid. "After a few months, in the year 1981, we made our first studio recording, a demo recorded on a 4-track. A little later on, with our friends from the band Esclarecidos, we started the independent label Grabaciones Accidentales (GASA), and we were able to start releasing our own records. The first single came out in 1982, with Lars playing drums on it. Soon after, Los Esclarecidos introduced us to Jose Brena, brother of one of the original members of their band, and he joined as our drummer. The second single was also recorded in 1982. A few months later, we went to Vigo for a week to try out our first LP playing our repertoire live, in order to see which tracks the audience liked best and chose 12 for the record. Paco Trinidad, our producer, always understood what we wanted and he researched how to achieve it technically. The LP was very well received by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. Our next recording was the maxi-single Un Lugar En El Pasado, with three tracks. With regards to our audience, we didn't make any concessions. Our shows were static. Carlos would sing sitting down like a crooner while Lars and Per only moved as little as necessary and Jose remained behind his drum kit. The sound, despite being made using only three instruments and voice, managed to be as enveloping live as it was on record, thanks to the Mertanen brothers' personal way of playing and to having, most of the time, Paco Trinidad as our sound technician. Our last show was at Madrid's Rock-Ola on December 3, 1983. In the winter of 1983 we recorded live, on a 4-track, a demo of our second LP, Un Hombre Solo. A few months later, already disbanded, we recorded it in the studio. In our opinion, it contains some of our best tracks. The band ended mainly for work reasons beyond our control. There were no musical or personal differences. Although we would argue sometimes, we always were, above all, very good friends. In 1999, Jose Brena, our drummer, died. It was a hard blow for everyone. He appears on the cover of Los Que Faltan, reminding us that there are things which, unfortunately, won't ever happen again." --Décima Víctima; Includes a 24-page LP-size booklet in Spanish and English that tells the band's story in their own words and includes many unseen pictures, a full discography and complete lyrics.

Artist:	WHITFIELD AND THE SAVAGES, BARRENCE
Title:	Savage Kings
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 306CD

Back in 1983, Barry White (aka Barrence Whitfield) and Peter Greenberg were working at Nuggets, a used record store in Kenmore Square in Boston. Greenberg, who had previously played guitar in DMZ and The Customs, had recently quit his job playing guitar with Lyres and had begun to form an instrumental rock & roll band with ex-Lyres Phil Lenker on bass, Howie Ferguson (and Real Kids, too) on drums, and another Nuggets employee, Steve LaGrega, on sax. One day, Barry White began singing at the record store and -- Barrence Whitfield And The Savages were born. The first iteration of the Savages went on to record two critically-acclaimed, blockbuster LPs produced by Greenberg that combined the best of '50s/'60s rocking R&B with some high octane garage/punk thrown in. The first LP, Barrence Whitfield And The Savages, was released on Mamou Records in 1984 and has been recently reissued on Ace Records. John Swenson wrote in the Ace liner notes that in the dark days of the early 1980s, "The Savages kept rock & roll alive." The original Savages recorded a second LP, Dig Yourself, on Rounder Records that rocked just as hard. According to Andy Kershaw of the BBC's Old Grey Whistle Test, "What positioned Barrence and the band way beyond any other rock & roll of the era was a unique marriage of Barrence's personality and R&B shouter élan to the bounce and insolence of Peter Greenberg's essentially rockabilly guitar style. With the addition of much ill-mannered saxophone, we have here a band which embodied the heart and soul of rock & roll." In 1986, Greenberg and Lenker threw in the towel and quit playing music, and the original Savages disbanded soon after. Barrence kept it alive touring worldwide and becoming internationally renowned for his wild performances. Spun out of a magnetic vortex in the mountainous, desert town of Taos, New Mexico -- Barrence Whitfield And The Savages re-emerged -- cleansed and revitalized. In 2010, Whitfield, Lenker and Greenberg decided to hang out in the desert and play some shows in the Southwest. This led to the recording of the Savage Kings LP, again produced by Greenberg, in December 2010. It was decided that Cincinnati, Ohio -- the home of King Records -- would provide the necessary inspiration to the Savages to produce a great rock & roll record. And it did! The core Savages line-up of Whitfield, Lenker and Greenberg was now ready to go, supported by an All-Star team on Savage Kings: Andy Jody has played drums for Pearlene, The Customs, Thee Shams, Viva La Foxx, Cincinnati Suds, Oxford Cotton and most recently with James Leg of Black Diamond Heavies; James Cole on piano and organ has played in The Customs, The Auburnaires as well as The Cole Brothers. Tommy Quartulli has played sax in The Kings of Nuthin', The Allstonians and Darkbuster. Barrence Whitfield And The Savages intend to start touring Europe soon after the release of Savage Kings.

Artist:	ESKORBUTO
Title:	Eskizofrenia
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 307CD

Munster Records proudly reissues Eskorbuto's first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. When asked to describe the album tracks in an interview at the time of its release, band member Iosu preferred instead to tell some anecdotes about the band and share his views on a few issues. Some excerpts from that interview give a good idea of what this record and band were about:
"Many bands have good ideas and I like what they're saying, but when it comes to it, they're just a lie. You're not alive, you're not dead, just condemned. It's worrying, you're part of what you most hate: the system. It's unbelievable. The earth is a big toilet where we all survive and if it's flushed we'll all go to shit. When we were recording 'Rogad A Dios A Los Muertos' and listened to the vocals without music, it seemed like a sort of evil ritual. If we've used the Simmons electronic drums it's because it suited us during the recording. If it's good, hurray for science! The last lyrics we've written say: 'Ignorant people that were afraid of us before/become friendly without our permission/cowards pretending to be brave/badmouthing us in front of people/but careful, we warn you, we're the same as when we started'."

Artist:	ESKORBUTO
Title:	Eskizofrenia
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 307LP

Limited vinyl edition comprised of two 500 copy pressings, each featuring one of the two original sleeve designs. Munster Records proudly reissues Eskorbuto's first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. When asked to describe the album tracks in an interview at the time of its release, band member Iosu preferred instead to tell some anecdotes about the band and share his views on a few issues. Some excerpts from that interview give a good idea of what this record and band were about:
"Many bands have good ideas and I like what they're saying, but when it comes to it, they're just a lie. You're not alive, you're not dead, just condemned. It's worrying, you're part of what you most hate: the system. It's unbelievable. The earth is a big toilet where we all survive and if it's flushed we'll all go to shit. When we were recording 'Rogad A Dios A Los Muertos' and listened to the vocals without music, it seemed like a sort of evil ritual. If we've used the Simmons electronic drums it's because it suited us during the recording. If it's good, hurray for science! The last lyrics we've written say: 'Ignorant people that were afraid of us before/become friendly without our permission/cowards pretending to be brave/badmouthing us in front of people/but careful, we warn you, we're the same as when we started'."

Artist:	TNT
Title:	Manifiesto Guernika
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 308LP

A key piece in the birth of Spanish punk, the core of TNT formed after Ángel Doblas and José Antonio García got together in the village of Huétor Tajar in 1978. At the same time, in Granada, Jesús Arias was feeling the loneliness of being the only Sex Pistols fan around. When he found out that there was a punk band looking for members, he didn't hesitate to travel the 25 miles to Huétor Tajar. He also recommended his friend Joaquín Vilchez to fill in the drummer position. In January 1982 they recorded the demo Una Naranja Mecánica, which included covers of Clash songs, "Johnny B. Goode" and original songs. They sent a copy to the Radio 3 program Diario Pop, and it was very well-received. After a break due to Ángel's compulsory military service and the departure of José Antonio, the band would carry on with the addition of José Castro as bass player. At the end of 1982 they signed a contract with DRO to record one single, Cucarachas/1984 *Euroshima*, which although at first was supposed to feature José Antonio back on vocals, became Jesús' debut as singer. That 7" was followed by one of the most impressive singles of early '80s Spanish punk: TNT paired "Guernika," based on Pablo Picasso's painting, with "Gilmore '77," an intense track about the case of U.S. convict Gary Gilmore. Their following recording was their collaboration on the Rimado De Ciudad release, shared with the band Magic, where they put music to the verses of Granada poet Luis García Montero. When in early 1983 the record label told them they needed to release an album, the band had already conceived a specific project, a kind of collage where they could express the ideas they had in mind: the Spanish Civil War, George Orwell's 1984, Stanley Kubrick's A Clockwork Orange, poems by authors from Granada, etc. Other tracks such as "Habitación 101" kept up the same level of intensity, and cuts like "Nadsat," based on Joy Division's "Day Of The Lords," with which it shares a sinister mood, or "Todo Está Bien," reminiscent of Combat Rock-era Clash, widened the spectrum of the record. The band would carry on with some line-up changes until they finally split up in 1985. Since then, they have reunited on different occasions, the last one more recently, when they decided to re-record some of this album's tracks in 2010. Limited edition reissue with original insert.

Artist:	ESKORBUTO
Title:	Ya No Quedan Mas Cojones, Eskorbuto A Las Elecciones
Label:	MUNSTER RECORDS (SPAIN)
Format:	12"
Price:	$16.50
Catalog #:	MR 310EP

Reissue of this 1986 cassette by Eskorbuto, one of the most influential punk bands in the Spanish and Latin American scenes. Its original release was part of their campaign to enter the Spanish general elections as a political party. They didn't achieve it, but the songs here told more truths that any political speech. These six tracks offer what they are known for: radicalism, a self-taught style and crude lyrics. Another blow of their anti-everything stand. Includes insert.

Artist:	LYRES
Title:	Live At Cantones, Boston 1982
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 311LP

The 1970s garage punk band from Boston, DMZ, had dissolved in a 1978 train wreck. Jeff "Mono Mann" Conolly, DMZ's inspired singer and songwriter, decided to take a Vox organ-driven direction next in his Lyres. Lyres evolved into an amorphous group of players moving in and out of the band over the years with certain mainstays like Paul Murphy and Ricky Coraccio, DMZ's drummer and bass player respectively, hanging in longer than most. Ricky "Little Man" Carmel was the original guitarist for Lyres and was with Conolly, Murphy and Coraccio when they recorded the classic 1979 45 Don't Give It Up Now/How Do You Know? By the time Peter Greenberg, DMZ's lead guitarist, returned to Boston from Cincinnati in the summer of 1980 to join Lyres, the original line-up had also dissolved and Conolly was filling in players on an ad hoc basis. The next iteration of Lyres had some staying power and included, along with Conolly and Greenberg, Michael Lewis, DMZ's original bass player, and Howie Ferguson, who had been the drummer for the Real Kids. This band recorded Lyres' first two releases for Ace of Hearts Records, the EP AHS1005 and the 45 Help You Ann/I Really Want You Right Now. This batch of Lyres collapsed at the end of 1981. Conolly re-recruited Murphy, Coraccio and Carmel back to Lyres at the start of 1982. However, for the recording at hand, Live At Cantone, Boston 1982, Carmel was indisposed and Greenberg got "the call" from Conolly to fill in the night of the show. From a historical perspective, this night at Cantone's is reported to be the only night where Conolly, Murphy, Coraccio and Greenberg -- four fifths of DMZ -- played together as Lyres -- except for a much later Spanish tour in 2009. Cantone's was an Italian restaurant in Boston's financial district by day. By night, the suits were gone and left those cold and empty streets to the kids. This particular show is an energetic and raucous representation of the many, many nights Lyres cranked it out at Cantone's. It was commonplace for the night to end at 2:30am with brawls that spilled out through broken windows into the street. This is a great rock & roll recording of early Lyres material with a bit more of a DMZ edge to it. None of this material has ever been released before.

Artist:	DMZ
Title:	Radio Demos
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP
Price:	$19.50
Catalog #:	MR 312LP

"In the mid to late '70s, a seam of largely underground music got to percolating around the world to counteract the bombast-choked mainstream. This was before pub rock was tweaked to become punk. This bunch was one of those units from a time when everything was much less premeditated and I'm pretty sure no one had come up with the curse-word that is 'spreadsheet.' Sometimes the racket they made was as rough as a bear's behind but as you'll hear here, that just added to the explosive quality. It's odd that two of the covers would overlap with another band that ended up on Sire Records, The Rezillos. That Edinburgh-based combo also featured 'Glad All Over' and 'Somebody's Gonna Get Their Head Kicked In Tonight' in their live set way before they ventured into a studio. So it was strange to encounter those because it caused a definite flashback to the days when this level of energy could have lit up a small city. Generally, what people were used to was the 'rock.' There was largely no conception of the 'roll' aspect. What an act like this brought to the party was to celebrate both. They recognized the greatness of The Stooges, New York Dolls or Flamin' Groovies and correlated that work with Lenny Kaye's Nuggets to create music that would never go out of fashion. There was an attitude that would breathe fresh life into their choice of covers. To unearth gems and relocate them in the hearts and minds of a new generation has always been a worthy endeavour. Instant gratification wasn't possible, but much of the excitement was in chasing up the originals. Just one instance was that DMZ introduced people like me to The Sonics. And it was something of a thrill to be confronted with a version of 'Search And Destroy' in the teenage wasteland that was 1976. Much of this material was recorded at a Boston radio station in that very year. Two years before, their Flo & Eddie-produced proper debut hit the racks. By that time, 'new wave' was used as a catch-all and the photography on the cover of that album might have been shot by Mick Rock but -- in my opinion -- entirely misrepresented the contents. 'First Time Is The Best Time' and 'Teenage Head' originally came out on Todd Abramson's Telstar imprint in 1986. The sleeve lettering was done by a young lady called Elinor Blake prior to her becoming April March. The band was firing out short, sharp anthems of their own alongside choice covers to packed crowds that wanted to dance. It was about having fun first and foremost, then building on the music they loved. Listen to this and I reckon that you'll agree that it shows." --Lindsay Hutton

Artist:	DMZ/LYRES
Title:	Radio Demos/Live At Cantones, Boston 1982
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 313CD

Two essential documents of Boston's underground compiled on one CD. First, an incredible collection of tapes recently discovered in Peter Greenberg's garage, featuring radio station recordings from 1976. A great example of Boston rock & roll that sees the light of day after 35 years! As if that wasn't enough, a furious live set by Lyres at a tiny Italian restaurant that became the home of Boston's underground punk and rock & roll movement. The 1970s garage punk band from Boston, DMZ, had dissolved in a 1978 train wreck. Jeff "Mono Mann" Conolly, DMZ's inspired singer and songwriter, decided to take a Vox organ-driven direction next in his Lyres. Lyres evolved into an amorphous group of players moving in and out of the band over the years with certain mainstays like Paul Murphy and Ricky Coraccio, DMZ's drummer and bass player respectively, hanging in longer than most. Ricky "Little Man" Carmel was the original guitarist for Lyres and was with Conolly, Murphy and Coraccio when they recorded the classic 1979 45 Don't Give It Up Now/How Do You Know? By the time Peter Greenberg, DMZ's lead guitarist, returned to Boston from Cincinnati in the summer of 1980 to join Lyres, the original line-up had also dissolved and Conolly was filling in players on an ad hoc basis. The next iteration of Lyres had some staying power and included, along with Conolly and Greenberg, Michael Lewis, DMZ's original bass player, and Howie Ferguson, who had been the drummer for the Real Kids. This band recorded Lyres' first two releases for Ace of Hearts Records, the EP AHS1005 and the 45 Help You Ann/I Really Want You Right Now. This batch of Lyres collapsed at the end of 1981. Conolly re-recruited Murphy, Coraccio and Carmel back to Lyres at the start of 1982. However, for the recording at hand, Live At Cantones, Boston 1982, Carmel was indisposed and Greenberg got "the call" from Conolly to fill in the night of the show. From a historical perspective, this night at Cantones is reported to be the only night where Conolly, Murphy, Coraccio and Greenberg -- four fifths of DMZ -- played together as Lyres -- except for a much later Spanish tour in 2009. Cantones was an Italian restaurant in Boston's financial district by day. By night, the suits were gone and left those cold and empty streets to the kids. This particular show is an energetic and raucous representation of the many, many nights Lyres cranked it out at Cantones. It was commonplace for the night to end at 2:30am with brawls that spilled out through broken windows into the street.

Artist:	CRAMPS, THE
Title:	File Under Sacred Music: Early Singles 1978-1981
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 315CD

Munster Records presents a compilation of the The Cramps' early singles plus some tracks from the same period, 1978-1981, that were never issued in that format. Six replica sleeves and four new sleeves were especially designed for this edition, reproduced in the CD booklet, which includes photos of 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 or 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

Artist:	LA BARRA DE CHOCOLATE
Title:	La Barra De Chocolate
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 316CD

La Barra De Chocolate was a short-lived project led by Pajarito Zaguri, a former member of Los Beatniks, Los Náufragos, and a key figure in the birth and development of Argentine rock. In 1968, he gathered some musician friends that used to visit the legendary Buenos Aires venue La Cueva. They soon caught the attention of the Music Hall record label and in 1969 released their first single, Hippies Y Todo El Circo/¿Cuál Es La Forma?. They also won the Festival Beat talent contest and their second single, Alza La Voz, sold over 40,000 copies. However, after the recording of their first album and the release of a few more singles, the band split the following year, unable to cope with their newfound success and perhaps due to the other music projects all the members had. This brief period was enough to produce a fantastic LP containing garage, beat, psychedelia and the influence of Bob Dylan which represents a brilliant portrait of late 1960s Buenos Aires. Includes 8 bonus tracks not included on the vinyl version.

Artist:	TRAFFIC SOUND
Title:	Virgin
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 317CD

Formed in 1968 by members of bands from Lima, Peru, such as Los Hang Tens and Los Mads and other musicians, Traffic Sound started as a covers band playing songs by The Doors, Cream and Jimi Hendrix. Their influences came from England and the U.S., and apart from some bossa nova played at rehearsals, Latin music didn't feature in their repertoire. However, their origin and background could still be heard in their sound, something which they embraced even more after Santana's success. Their first LP with self-written songs, Virgin (1969), is a masterpiece of Latin rock. In it, the band from Lima combined psychedelia, hard rock, a hint of progressive rock and a Latin tinge to create a personal, mighty sound full of details. The best example is "Meshkalina," a track with references to Incan culture which became an anthem of the period and was heard all over Peru. The LP was a great success and even saw a U.S. release. Traffic Sound would record another two albums (Traffic Sound and Lux) which took them to greater success and tours in Brazil and Argentina, before finally disbanding in 1972.

Artist:	JUANITA Y LOS FEOS
Title:	Pesadilla Adulta
Label:	MUNSTER RECORDS (SPAIN)
Format:	LP+CD
Price:	$19.50
Catalog #:	MR 318LP

LP version. New album by Juanita y Los Feos, one of the most active bands in the thriving Spanish garage/punk/new wave scene. Pesadilla Adulta is a major step forward for the band, who have been together since 2004. The sharp production takes JYLF to new wave and post-punk perfection in should-be-hits such as "Autolesionarse," "El Final," "500 Muertos" or "Circo Roma," while maintaining a trace of their garage punk origins. Includes a free CD version of the album, plus an insert.

Artist:	VA
Title:	Tensiòn: Spanish Experimental Underground 1980-1985
Label:	MUNSTER RECORDS (SPAIN)
Format:	CD
Price:	$17.50
Catalog #:	MR 319CD

It happened during the peak of the media excitement over the countercultural movement known as "Movida Madrileña." That DIY spirit, that in Spain was awakened later than in others due to the political ballast of nearly 40 years of dictatorship, had but one stage where not all of its protagonists could fit. Still, some even preferred to move away from the spotlight. Between 1980 and 1985, through the width and breadth of all of Spain, groups began to emerge that captured the fundamental essence of underground acts from other parts of the globe. New York's No Wave, the avant-garde pop of The Residents, the possibilities of technical manipulation or the less exhibitionist side of post-punk were adopted with the radical imagination, passion and freedom that comes from not having to answer to anyone. The success of those bands lay with breaking with the past and never looking back, burning their boats with each recording; they gave everything without expecting anything, making tension the criterion for quality. At a time when certain kinds of records weren't easily available in Spain and the chances to see the most fearless foreign bands live were scarce, a number of people and small collectives, inevitably centered around Madrid and Barcelona, created a diverse scene of bands, labels and fanzines which slowly and bravely developed and gained followers across the whole country. Cities like New York, London and Berlin served as examples to follow. Within this varied group of artists there was room for industrial sounds, daring post-punk, out-rock, mutant funk, dark wave, weird dance music and pure experimentalism. Tensión is the first comprehensive compilation of this most daring side of the early '80s Spanish music scene. Most tracks reissued for the first time, plus two previously-unreleased tracks. Sleeve notes written by César Estabiel, illustrated with original artwork and memorabilia.

Artist:	VA
Title:	Tensiòn: Spanish Experimental Underground 1980-1985
Label:	MUNSTER RECORDS (SPAIN)
Format:	2LP
Price:	$25.50
Catalog #:	MR 319LP

Gatefold 2LP version. It happened during the peak of the media excitement over the countercultural movement known as "Movida Madrileña." That DIY spirit, that in Spain was awakened later than in others due to the political ballast of nearly 40 years of dictatorship, had but one stage where not all of its protagonists could fit. Still, some even preferred to move away from the spotlight. Between 1980 and 1985, through the width and breadth of all of Spain, groups began to emerge that captured the fundamental essence of underground acts from other parts of the globe. New York's No Wave, the avant-garde pop of The Residents, the possibilities of technical manipulation or the less exhibitionist side of post-punk were adopted with the radical imagination, passion and freedom that comes from not having to answer to anyone. The success of those bands lay with breaking with the past and never looking back, burning their boats with each recording; they gave everything without expecting anything, making tension the criterion for quality. At a time when certain kinds of records weren't easily available in Spain and the chances to see the most fearless foreign bands live were scarce, a number of people and small collectives, inevitably centered around Madrid and Barcelona, created a diverse scene of bands, labels and fanzines which slowly and bravely developed and gained followers across the whole country. Cities like New York, London and Berlin served as examples to follow. Within this varied group of artists there was room for industrial sounds, daring post-punk, out-rock, mutant funk, dark wave, weird dance music and pure experimentalism. Tensión is the first comprehensive compilation of this most daring side of the early '80s Spanish music scene. Most tracks reissued for the first time, plus two previously-unreleased tracks. Sleeve notes written by César Estabiel, illustrated with original artwork and memorabilia.

Artist:	NATIVOS, THE
Title:	She Belongs To Me
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7232EP

The Nativos were a supergroup from Madrid formed around 1985 by two musicians with a shared vision to start a garage rock band. For that purpose, Esteban Hirschfeld (Uruguayan and original member of Los Mockers) and Jimmy García (from Valladolid's Fallen Idols) didn't hesitate to enroll members of other established bands such as Ciudad Jardín, Pistone and even Los Enemigos. These four tracks (one original and three covers) were released as a maxi-single on the Twins label in 1986.

Artist:	CRAMPS, THE
Title:	File Under Sacred Music: Early Singles 1978-1981
Label:	MUNSTER RECORDS (SPAIN)
Format:	10x7" BOX
Price:	$78.00
Catalog #:	MR 7239EP

Repressed on vinyl; Limited edition 7" boxset. Munster Records presents a compilation of the The Cramps' early singles plus some tracks from the same period, 1978-1981, that were never issued in that format. Six replica sleeves and four new sleeves were especially designed for this edition. Plus a stamped envelope includes 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 or 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

Artist:	DUSTAPHONICS
Title:	The Jinx
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7240EP

A vintage now sound of soul, surf and rock & roll led by Heather Selecta, a top member of London's live and club scene in his roles as musician, producer, DJ and promoter. London's The Dustaphonics are backed by the "king of British beat" Bruce Brand (Milkshakes, Billy Childish, Ronnie Dawson), bass player Michael J. Bluesmith and the velvety voice of Kay Elizabeth. Delta blues, R&B, Memphis soul, instrumental surf and '70s punk rock create a rock & roll sound that grooves.

Artist:	WHITFIELD AND THE SAVAGES, BARRENCE
Title:	(Your Love Is Like A) Ramblin' Rose/Bad Girl
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7245EP

After 25 years, Barrence Whitfield And The Savages got together again at the end of 2010 and recorded a new kicking and shouting rock & roll album, Savage Kings (MR 306CD). Released in 2011 to great acclaim, the band featured original line-up core members Barrence Whitfield, Peter Greenberg and Phil Lenker. They were supported by an all-star team and toured Europe, unleashing their rock & roll force and raw soul power upon delirious audiences. Here are two highlights from the album on a limited edition 7".

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Artist:	CICATRIZ
Title:	Escupe
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7230EP

Artist:	LOS COYOTES
Title:	Aqui Estoy De Nuevo
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7233EP

Artist:	LA POLLA RECORDS
Title:	Y Ahora Qué?
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7234EP

Artist:	DMZ
Title:	First Time Is The Best Time/Teenage Head
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7236EP

Artist:	LOS CAVERNICOLAS
Title:	Primer Grupo ''Punk-Infantil''
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7237EP

Artist:	CAPOTE, MAX
Title:	Ana/Si Nena
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7238EP

Artist:	PARAISO
Title:	Makoki
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7242EP

Artist:	LA BANDA SIN FUTURO
Title:	Nos Van A Desinfectar
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7243EP

Artist:	GLUTAMATO YE-YE
Title:	Corazón Loco
Label:	MUNSTER RECORDS (SPAIN)
Format:	7"
Price:	$8.50
Catalog #:	MR 7244EP