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2LP
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MR 425LP
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Known as The Other Them or as the Belfast Gypsies, or simply as Them outside of the UK -- where Van Morrison's group was granted in court to use that name -- this bunch of Irish rockers (some of them former members of the real Them) briefly became the world's most dangerous punk R&B band following a chance encounter with Kim Fowley. Sparks flew in the studio as howling Gloria/Mystic Eyes R&B collided with the freak-out sounds of the Sunset Strip. Kim pushed hard to make the sound even rawer than it already was and, in a matter of months, a few releases saw the light of day in different countries -- under various names. "Gloria's Dream" became a small hit in certain markets including Seattle, Orlando and Detroit. The band headed to Denmark where they could make some much-needed money touring as Them. In Copenhagen they recorded five more songs to complete the album, including "Portland Town", "Boom Boom", "Midnight Train" and a superb version of "It's All Over Now Baby Blue". Although Fowley wasn't present for the sessions, his influence can be clearly felt on a new band composition, "Suicide Song". By late 1966 it was apparent that the band had run its course, and in early November, after some final shows in Stockholm, they quietly disbanded. Meanwhile, Fowley continued to make deals for their recordings. This double-LP comprises the complete works of the band, including the updated version of "People! Let's Freak Out" -- as released on Island in 1966 -- with added psychedelic effects (apparently courtesy of Guy Stevens and Robert Wyatt) and a couple of demos recorded at KPS Sound Studio. This release is a Munster/Mono-Tone Records co-production.
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LP
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ST 5116LP
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Exact repro of the second post-Van Morrison album from Them, originally released in 1968. Sitar-soaked Eastern psych-pop with heavier R&B numbers and a couple of trippy ballads.
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LP
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SG 3011LP
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Following the departure of Van Morrison in June 1966, Them regrouped in Belfast and then relocated to California in 1967. An established live attraction, they gigged widely and embraced the psychedelic movement, releasing this fine album in February 1968. Adding a trippy, experimental edge to the heavy R&B they were renowned for, it's best-known for the mind-blowing 10-minute raga "Square Room." It makes its long-awaited return to vinyl here, complete with an insert featuring rare pictures and background info. On 180 gram vinyl.
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LP
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SG 3012LP
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Originally released in November 1968, following the departure of founding member Ray Elliott, the second of Them's post-Van Morrison LPs finds them continuing the psychedelic experimentation of Now and Them, which had appeared that February. Blending sitar-soaked Eastern psych-pop with heavier R&B numbers and a couple of trippy ballads, it's an essential spin for fans of acid-tinged pop-rock. It makes its long-awaited return to vinyl here, complete with an insert featuring rare pictures and background info.
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CD
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REL 3024CD
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The complicated life of this legendary R&B outfit was almost over when this, their penultimate album, appeared in 1970. Astonishingly, by then they were reduced to a duo consisting of original bassist Alan Henderson and U.S. vocalist/percussionist Jerry Cole. It ranges from pounding psychedelia ("I Keep Singing") and snotty garage punk ("Lonely Weekends," a shameless rewrite of "Gloria") to furious rock and roll ("Jo Ann") and even a country ballad ("Take a Little Time"). As the original sleeve notes declared: "The THEM sound combines the typical British style with an air of mystery and an atmosphere of excitement... mythical, mystical, Oriental, African, electronic, and computer rhythms included."
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CD
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REL 3025CD
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In 1971, following the departure of his bandmate Jerry Cole, bassist Alan Henderson joined forces with U.S. guitarist Jim Parker and drummer John Stark to make this lost power trio classic -- the last to be issued under the legendary Them moniker. It opens with a searing medley of the Them classics "Gloria" and "Baby Please Don't Go," boasting superb interplay and savage psychedelic guitar throughout. Elsewhere, Stark and Parker flex their songwriting muscles on a series of powerful compositions, and even an acid-folk number. Like its equally-overlooked predecessor, this lost classic is guaranteed to find favor with fans of top-end garage rock.
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