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LP
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LION 177LP
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"In February of 2009, Jim Valice of Index discovered three reels in a cardboard box stuffed in a closet of his parents home in Michigan. These songs from 1969 were on those reels. Fourteen original compositions by Index, seven making their vinyl debut, the other seven released for the first time ever, all transferred from the original tapes! Index was once again a pure power trio by 1969. There was massive demand for Index personal performances. Index was not interested. It was becoming more difficult for guitarist John Ford to travel back from Yale University to Detroit on a weekly basis. Index wanted to push the bounds of their own creativity. They chose to use their limited time together to write and record. Index were the epitome of a DIY band. They made great use of the newly developed sound on sound (SOS) technology. It allowed Index to record basic tracks (guitars, drums and lead vocals); with SOS they then could add keyboards, additional guitar tracks and vocals. A musical revolution in miniature! The addition of Tom Ballew on bass in 1968 made a positive impact on Index's sound. He and drummer Jim Valice laid down a musical foundation in and around which John would weave his guitar. 'Livin' In Detroit' and 'Kick It Out' are two perfect examples of that dynamic. Here you'll also find over-the-top psychedelic numbers like 'Street Crime' and the fast version of 'Yesterday and Today.' But on this album you'll also find mature romantic ballads filled with angst, such as 'Love is Here To Stay' and 'I Walk Alone.' The hip-shaking, organ-driven '432 Lakeshore' highlights another groovier aspect to Index's sound. The music of Index has been lauded by music heads for decades with good reason: the band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. It's wonderful, droning, murky and introspective: the atonal side of late 1960's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock... artists like Joy Division or the Fall or Felt to name three out of a thousand. Or in the case of the previously unreleased song 'Something Sweet,' The Jesus & Mary Chain. It's as if Index projected their sound through time and space, creating sonic templates for future artists. Index continues to inspire bands all over the world even to this day. Listen to Index and feed your soul. All tracks are new to vinyl +this is first release in any format for seven out of the fourteen total tracks. Includes a 4-panel color insert, written by Index drummer Jim Valice, detailing the band's rock and roll adventures, replete with rare photos."
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LION 172LP
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"Formed in 1970, Carpe Diem started out playing covers by the likes of East of Eden, King Crimson, Deep Purple, and Uriah Heep in clubs along the French Riviera. Original compositions made their way into the band's repertoire over the five years between their formation and the release of their debut album, En Regardent Passer Le Temps, in 1976. Little wonder then that the band sounds as magnificently tight, polished and mature on this classic debut, truly one of the gems of the French rock scene. The success of the album brought them dates with other major French bands like Magma and Ange, led to the recording of a second album, and then ultimately to the sort of nearly total obscurity which deserves to be undone with a reissue such as this one! 'Carpe Diem weave spacey, melodic soundscapes of impossible subtlety and beauty, combining woodwinds and all manner of synthesizers with surging, inspired guitar solos. The playing is free and loose, while yet retaining an air of careful composition. Guitar parts and multiple keyboard lines lock into precise, tightly meshed melodic webs, building tension before bursting into emotive, furious climaxes. Soaring, cosmic guitar melodies glide along churning synthesizer rhythms in the aptly titled opener 'Voyage du non-retour' (Voyage of No Return). The three lengthy tracks that almost evenly divide the album's remainder are uniformly excellent, with nary a superfluous or unnecessary moment. It says something when, in listening to an album, each track convinces you independently that it, indeed, is the best cut on the record. 'Reincarnation' features understated, yet gorgeous, vocal passages in between fiery instrumental portions. The flute and mellotron introduction of 'Jeux du siecle' perfectly sets up the driving grooves to come. In closer 'Publiphobie,' fluid bass-lines and ultra-tight rhythmic work provide the foundation for heavily syncopated, enchanting saxophone melodies. Subtle, smoky vocals return to the fore later in the track, before the band jumps into the closing instrumental finale.' --Greg Northrup, Progweed. First time vinyl reissue of 1976 underground French rock rarity."
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2LP
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LION 174LP
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$31.00
PREORDER
RELEASE DATE: 5/3/2019
"Excavation of astounding underground post-punk recorded from 1979-1983. Vinyl edition comes in a heavy-duty tip-on jacket. First time on vinyl for all tracks If there's one thing we've learned from doing reissues for twenty years, it's that there is often a lack of justice in the arts. All too often, the intensely talented are shunted aside, or not able to access the means to a greater hearing, or marginalized (or eradicated) by larger societal (commercial) (racial) (political) forces, to name just three potential prongs of an art-crushing pitchfork. The less an artist's work can be categorized, the greater the odds of being an eternal outsider. The more pure those artistic efforts are, the greater the chance they cannot be categorized. Such is the case with the music of Daszu. They were three, and minimal. Bass, synthesizer and drums. I'd like to tell you that the music of Daszu reminds me of This Heat. I'd like to tell you that the music of Daszu reminds me of the Pop Group... or A Certain Ratio... or as some have suggested, early Devo. It does, in purity of intent -- in the great expansive reach of the attempt, and the self-assurance of the resulting music. This intensity of intention is evident in the dark, burbling and buzzing electronics; in the propulsive drumming; in the insistent bass-lines; in the emotional vocals; and in the evocative and poetic lyrics."
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LION 184LP
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"Take a look at a quick list of 'Best Albums' from 1987 and you quickly get a sense of the musical mood of the year: the Joshua Tree by U2; Appetite For Destruction by Guns N' Roses; Sign 'O' The Times by Prince; You're Living All Over Me by Dinosaur Jr.; Document by R.E.M.; Sister by Sonic Youth; Darklands by The Jesus And Mary Chain; Diesel And Dust by Midnight Oil; Come On Pilgrim by Pixies; and Pleased To Meet Me by The Replacements. It's not a stretch at all to plunk the Sidewinders Cuacha! right amongst those records -- both in terms of quality and 'sound'. The Sidewinders formed in the spring of 1985. The group released Cuacha! in 1987 (and again in 1988), and subsequently signed to RCA/Mammoth Records, with whom they released two full-length albums, 1989's Witchdoctor and 1990's Auntie Ramos' Pool Hall. Witchdoctor cracked the lower echelons of the Billboard 200 on the strength of two rock radio hits. The band scored exposure on MTV and VH1 and embarked on a worldwide tour. But the Sidewinders were soon sidelined due to legal problems stemming from a challenge over the band's name. As the Sand Rubies, they released an album on Polydor/Atlas in 1993 (at one point, Pearl Jam served as their opening act). However, the strain of the legal tussle led the Sand Rubies to dissolve during a tour in 1993 -- just as two other Arizona rock bands, Gin Blossoms and The Refreshments, attracted mainstream attention. First-time reissue of this 1987 sleeper rural rock classic."
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LION 168LP
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"An album featuring: Helena Noguerra, Fifi Chachnil, Bertrand Burgalat, Sean O'Hagan (High LLamas), Don Fleming, Werner 'Zappi' Diermaier (Faust), wrapped in wonderful, surreal Bart Johnson artwork. With music by: Kevin Coral, Misawa Masanori, Olivier Collet, Joe Wiltshire, Otis Fodder, Sean O'Hagan & Zappi Diermaier"
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Cassette
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LION 102CS
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Black Album on cassette. Five-panel insert; Edition of 300. "In the mid 1960s, Detroit Michigan was a thriving industrial city. It was at the edge of a cliff, however. The great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Vietnam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in the affluent suburbs just outside of the city of Detroit, that Index was formed. The music of Index has been lauded by music heads for decades, and with good reason: it is bizarre, atmospheric, and 'home-made' (in the best of all possible ways); the band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud rhythms. Hidden amongst the echoing canyons of sound there's some snotty post-punk attitude wrapped up in that trippy velvet fuzz; a wonderful bleak sound, both droning and murky, the atonal side of late 1960's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock artists like Joy Division or the Fall. Includes a 32-page booklet, written by Index drummer Jim Valice, detailing the band's rock and roll adventures, replete with photos and lyrics; printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy."
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LION 101D-LP
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"Official authorized reissue of the legendary psychedelic LP by Christopher from South Carolina. One of the absolute best American psychedelic LPs of the 1960's, and one of the rarest -- a copy went for close to $4,000 the last time an original copy sold online, and nearly double that changed hands off-line for an original! Every song is of the highest quality -- they're all self-penned too -- with an accessible sound the suggests that Christopher could have had more widespread success had they ever made it out of their native South Carolina. The What'cha Gonna Do? album was pressed in 1969 to use as a demo (which is why as few as 100 copies exist), but you'd never know it based on the overall quality of the production. When you've got blistering acid rock mixed with acid blues, with a couple of thoughtful melodic songs for good measure, you've got a recipe for something special. Christopher recorded What'cha Gonna Do? at Arthur Smith Studios in Charlotte, NC, a state of the art 8-track studio. Smith himself was a famous performer and songwriter who wrote 'Guitar Boogie' and 'Dueling Banjos.' It was the best studio money could buy in the South at the time, an astonishingly expensive $62 per hour, but the studio wasn't quite sure what to make of Christopher! The engineer, Jerry Black, introduced himself by saying, 'This is the first 8-track stereo recording of an acid rock band I've ever done' in his Southern drawl.' And so it was. The music demands your attention: well-crafted trippy lysergic lyrics about plastic capsules (and more), flanged vocals (among other effects), fine vocal harmonies, extended jamming, and a transcendent quality well expressed by the gutsy and creative guitar work. Acid rock mixed with acid blues, and lovely melodic rock songs, at times reminiscent of Corpus, Moving Sidewalks, Quicksilver, American Blues Exchange, Dragonfly, Litter (circa Emerge), Love, Tripsichord, and many others. Had Christopher's sole record been a major label release it would have been a staple in every head's record collection. An enduring work of stunning proportion. This time out, as is befitting one of the absolute best US psychedelic albums, our deluxe Lion Productions edition of Christopher's What'cha Gonna Do? We've expanded the liner notes to include even more stories from the band + complete lyrics for all the songs. Deluxe authorized reissue of one of the absolute best American psychedelic LPs of the 1960's, and one of the rarest! Includes a 12-page, full-sized booklet, with rare photos, stories from the road, and for the first time, complete lyrics to all tracks."
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LION 175LP
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"What have we here? At first glance it seems like the missing volume from our Groove Club series, which it so easily could have been! This is stunning collection - which took more than fifteen years to put together - of hot, rare tracks that combine cumbia with psychedelic rock. Starting in the late 1960s, there was a boom of tropical music in Peru, both in Lima and the provinces. Cumbia Peruana merged this tropical sound with that of psychedelic rock. Aspects of cumbia were mixed with electric (often fuzz) guitar, played over Andean and jungle rhythms?this combination provoked an explosion of original music. An instrument to lead the way, usually from the introduction of the song; over this, hypnotic layers of keyboards and guitar with fuzz and wah wah; add simple bass-lines; and to top it off, syncopated rhythms from bongos, congas, huiros, cymbals, timbales, often played at breakneck speed. In the end, it's like a sonic cousin to Nigerian music: these musicians liked guitar, they had a fondness for echo, and they loved a murky high-octane jam. Fierce, funky and full of flavor!"
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CD
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DRUG 017CD
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"Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange -- a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtor's prison, with three underground levels -- and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the Astral Disaster album. But there were other tracks recorded too during those Halloween sessions -- the recordings included on this release, Astral Disaster Sessions Un/finished Music. For various reasons, this material and these mixes were omitted from the original (Prescription edition) Astral Disaster album -- including the extremely rare version of 'I Don't Want To Be The One', previously only available on a 1999 promo-only Prescription label sampler, and the 14-minute track 'Cosmic Disaster' (the original working title of the album). Taken from the original masters, this digipack reissue includes an eight-page art booklet, and facsimile signatures of John Balance and Peter Christopherson."
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LP
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DRUG 017LP
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"Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange -- a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtor's prison, with three underground levels -- and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the Astral Disaster album. But there were other tracks recorded too during those Halloween sessions -- the recordings included on this release, Astral Disaster Sessions Un/finished Music. For various reasons, this material and these mixes were omitted from the original (Prescription Edition) Astral Disaster album -- including the extremely rare version of 'I Don't Want To Be The One', previously only available on a 1999 promo-only Prescription label sampler, and the 14-minute track 'Cosmic Disaster' (the original working title of the album). Taken from the original masters, this digipack reissue includes an eight-page art booklet, and facsimile signatures of John Balance and Peter Christopherson. Taken from the master tapes and remastered by Denis Blackham. Recorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor's prison."
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LION 176LP
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2019 repress. "All of the original compositions from the band's two self-released holy grails of psychedelia (the Black Album and the Red Album, from 1967-68) combined into one collection -- all newly transferred from the original tapes! Most of you have no doubt heard of records that have been touted as 'mind blowing', 'fuzz monsters', or 'lost/undiscovered classics'. The raves rarely turn out to be justified. That's certainly not the case with the music of Index -- if anything, the raves underplay the essence of the band's music, which is seething with cavernous reverb, snaky guitar lines, and downer lyrics. It is fantastically minimalist, starkly atmospheric, and sprinkled with ferocious guitar work. In the mid 1960's, Detroit Michigan was a thriving industrial city. But the great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in those affluent suburbs just outside Detroit, that Index was formed. The music of Index has been lauded by (and bootlegged by) music heads for decades, and with good reason: it is unexpected, atmospheric, and 'home-made' in the best of all possible ways. The band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. And in there amongst the echoing canyons of sound you'll find some snotty post-punk attitude wrapped up in all that trippy velvet fuzz. It's a wonderful bleak sound, droning and murky and introspective -- the atonal side of late 1960's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock... you know, artists like Joy Division or the Fall or Felt to name three out of a thousand. Includes a 4-panel color insert, written by Index drummer Jim Valice, detailing the band's rock and roll adventures, replete with rare photos."
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LP
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LION 120LP
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2018 repress. "Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that's equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar, and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic its only authorized reissue. Audio restoration by Anders Peterson. 180-gram LP in old-style tip-on jacket. Insert is packed with info thanks to Nick Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent -- and perhaps most unlikely -- psychedelic groups to ever record an album." 180 gram vinyl; Edition of 300 (hand-numbered).
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LION 103LP
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2018 repress. "Plastic Cloud recorded, quite simply, one of the greatest psychedelic albums ever made. This is a record with few equals, full of foreboding melodies and lovely hippie harmonies, as well as some of the most superb and trippiest, Eastern sounding fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent -- one is equally as good as the next. Take for example the album centerpiece, the ten-and-a-half-minute 'You Don't Care,' an insane piece of social commentary that features terrific back-of-the-mix fuzz guitar as an elusive focal point to its extended pounding-drum laden instrumental breaks; with a great chorus and a plaintive melody in the verse, it doesn't overstay its welcome, winding its way to a final freak out. Essential psychedelia!" 180 gram vinyl; Edition of 400/ Comes with lyric insert and replica vintage press release.
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2LP
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LION 167LP
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"Essential Michigan garage/psych! Propelled by their local chart-topper 'Rainbow Chaser,' Battle Creek quintet The Troyes entered the orbit of bandleader Ray Anthony ('Dragnet', 'Peter Gunn'), laying down a multitude of Fuzztone laced tracks throughout 1966-1967 that, save for one 7" release on his Space Records label, remained unreleased on vinyl -- until now. The Troyes exploded onto the music scene with 'Rainbow Chaser'. Sensing a new phenomenon, famed bandleader Ray Anthony signed the group to his new rock label Space Records. His faith in the band was so big that nearly two albums worth of material were recorded at United Sound (Detroit). Unfortunately, only two singles were issued. Far-out psychedelia, unhinged fuzz and Farfisa garage, moody haunting sounds, face melters (check out 'Corn Flake') -- it's all here. Rare photos, radio surveys, newspaper articles, Troyes memorabilia, and the story of a band that could have been big. Masters meticulously prepared and cut for vinyl. Comes in deluxe tip-on jacket, including photos, newspaper articles, and the story of a band that could have been big. Edition of 500."
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LP
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LION 156LP
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"Jacqueline Thibault (Laurence Vanay) often worked for other artists at the legendary Château d'Hérouville studio as arranger, keyboardist, co-composer, and assistant sound engineer. Between sessions she sometimes managed to record her own music. Several years after her two acknowledged masterpieces, Galaxies and Evening Colours, she was able to bring together the tracks for La Petite Fenêtre (The Little Window). As the 1970's ended, trouble with the Château finances meant that again it was impossible for her to present her work to interested record labels. Instead, 'I worked in another recording studio in Paris for fashionable artists,' she said, 'and I managed after a time to resume and complete my unfinished songs.' By that time, the French record companies were not interested in instrumental music anymore. The recordings therefore found themselves asleep on Parisian shelves, pending potential better days. Sublime compositions: unique, melancholic and very powerful. First ever release of these late-70's recordings! Six-panel color insert with rare photos and Jacqueline's remarkable story. Limited to 500 copies, housed in a deluxe tip-on jacket."
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3LP
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LION 150LP
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"Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep Psychedelic Moods pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): The Velvet Underground and Nico came along five months later, and the world of music shifted on its axis -- but too late for the Deep. This 3xLP release of Psychedelic Moods is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound."
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LP
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LION 155LP
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"With beginnings firmly in the secular realm and a strong following in the Northwest, Wilson McKinley signed to Alshire Records (home of 101 Strings) and recorded one album under the label's 'acid-rock' moniker, The California Poppy Pickers. With the proceeds from those sessions, they self-released a 7" EP in 1970. But then they met street minister Carl Parks, gave up the rock 'n' roll lifestyle and effectively ended the first incarnation of the group. Parks encouraged the remaining band members to pick up their instruments again to create music for a street meeting, and thus the first 'Jesus Rock' group was born. Buoyed by the confidence developed during the Spirit of Elijah sessions, Wilson McKinley's third LP from 1971 maintains the quality songwriting but adds even better production values. It was housed in a suitable-for-black-light jacket printed with neon inks. Sadly, after this there would be no more Wilson McKinley LPs, with their next release being the cassette-only Country in the Sky. Good news is that they made this dayglo-adorned proof of their rapidly-developing skills and musical interests before abandoning wax -- Wilson McKinley's most adventurous effort, boasting entirely original tunes and complex, heavy arrangements at times reminiscent of the Allman Brothers. Obscure Oxide and Lion Productions are proud to announce a brand new, 100% legitimate high-quality vinyl pressing of this classic LP, using exclusive transfers from the original analog reels, with all lacquer cutting and plating done under one roof for the most accurate sound. The bands' longtime associate Timothy Smith has written detailed liner notes for a new insert, featuring vintage photos and press clippings. Original jacket artwork and label art are faithfully reproduced."
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LION 154LP
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"With beginnings firmly in the secular realm and a strong following in the Northwest, Wilson McKinley signed to Alshire Records (home of 101 Strings) and recorded one album under the label's 'acid-rock' moniker, The California Poppy Pickers. With the proceeds from those sessions, they self-released a 7" EP in 1970. But then they met street minister Carl Parks, gave up the rock 'n' roll lifestyle and effectively ended the first incarnation of the group. Parks encouraged the remaining band members to pick up their instruments again to create music for a street meeting, and thus the first 'Jesus Rock' group was born. The first Wilson McKinley LP, 1970's Live on Stage, was a slapdash effort on all fronts and is generally dismissed by everyone involved (maybe why nobody seems to know the whereabouts of the masters for that one). Chastened by their debut, Wilson McKinley took a more focused approach to Spirit of Elijah: the result was a major leap forward, and a faithful representation of their massive talent; the power of the message and the playing shine through! However, what Wilson McKinley recorded onto the master tape and what made it to a buyer's phonograph in 1971 were vastly different things, with inconsistent patches of reverb in the final mix plus other anomalies that a minimally-financed, privately-pressed LP might have. After suffering the indignity of being pirated from the only source material available (a poorly-pressed, poorly-mastered decades-old record), Obscure Oxide and Lion Productions are proud to announce a brand new, 100% legitimate, high-quality vinyl pressing of this classic LP, using exclusive transfers from the original analog reels, with all lacquer cutting and plating done under one roof for the most accurate sound. The bands' longtime associate Timothy Smith has written detailed liner notes for a new insert, featuring vintage photos and press clippings. Original jacket artwork and label art are faithfully reproduced."
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CD
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LION 686CD
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"In the years close upon the creation of his 1977 masterpiece Into You (as McKay), Ray 'McKay' Pierle released two more long-players, Time and Money (1980) and Rhythm of the Highway (1981). As with Into You, both had press runs of 300 and both met with thunderous indifference. By the time of these albums, the rural, organic feel of the earlier recordings had given way to a harder-edged compositional style, but not without a few quirks emblematic of the era. Time and Money adhered closely to the hard-rockin' twin-lead quartet sound, while Rhythm of the Highway added synthetic elements and some ever-so-slight new-wave/power-pop leanings; plenty of bar-band gigs ensured Pierle was always fully-informed of current trends. Obscure Oxide and Lion Productions are proud to present the first-ever reissue of these two LPs, conveniently fitting on one compact disc in their entirety, with all tracks transparently transferred from the original analog master-tapes. All original text and imagery from each release is also preserved, and Ray has been kind enough to provide newly-transcribed lyrics for everything, along with detailed liners putting everything in context."
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LP + 7"
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LION 140LP
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"Tin House were so good -- their music was a hard-rocking onslaught of lust, chops and powerhouse riffs that gripped like an alligator bite -- they were signed to Epic Records out of high school. They were respected by Leslie West and Johnny and Edgar Winter. Their album (released in 1971) was produced by Rick Derringer. But like other almost famous bands, Tin House fell away into unjust obscurity. Tin House's focus was on heavy rock like the sex-fueled opener, 'I Want Your Body,' and standout track 'Be Good and Be Kind,' with a catchy up-and-down, down-and-up riff played adeptly by guitar prodigy Floyd Radford, and a driving monster beat laid down by drummer Mike Logan; the song tears in as a fast as a Florida hurricane and sweeps the listener up into its vortex for two-and-a-half minutes of energized bliss. Yet the album also showed diversity: Radford's melancholy ballad 'Tomorrow;' the jivin' honky tonk of '30 Weight Blues' (a tribute to the band's 1962 Ford Econoline van); 'Lady of the Silent Opera,' which featured orchestration by seasoned studio musicians from New York City's Local 802 Union to underscore its positive message of 'look to the heaven -- smile to the blue sky.' This Lion Productions reissue includes everything Tin House recorded for Epic, including two previously unreleased tracks and the elusive (and unique) single versions of 'I Want Your Body' and 'Be Good and Be Kind' -- all taken directly from 24-bit/96kHz master tape transfers. Four panel insert has liner notes by Doug Sheppard (Ugly Things) and photos from the archive of drummer Mike Logan. Lean, fluid, tight, and the best hard rock album from the USA you probably never heard of (until now)!"
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2CD
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LION 680CD
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"Enigmatic exemplar of subterranean overachievers, Michael Angelo Nigro, has long been known to sound-hounds searching for esoteric figures on the fringe. He was a man out-of-time, with unerring vision and dedication, principally known for his head-of-the-class 1977 private-press joy, Michael Angelo (Guinn 1050 -- aka The Guinn Album). The Guinn Album, almost entirely an effort of self-creation, is a staggering, hook-filled, inner space hi-fi snap-shot of dreamy pop psychedelia, filled with contemplative, arresting lyrical imagery that etches lovely figures and carries little to ally it to its time. The same can readily be said of his other recordings of that era, the Sorcerer's Dream tracks, which make their CD debut here. Highly trippy acid guitar with a West Coast edge mingles with haunting melodic vocals, acoustic guitar, synths, gentle percussion and mystical songs; moments of oddness which are difficult to capture on tape, yet done so in an accomplished manner on these recordings. 'I began my recording career in 1975 by becoming a studio musician at Liberty Recording in Kansas City. Between recording commercials and backing other artists I started doing my own recordings. This was the birthplace of the original Michael Angelo album. After about a year, I left Liberty Recording to become a studio musician at Big-K records, also in Kansas City. By coincidence Big-K used the same type of equipment as Liberty, so I finished mixing the first album there. After that, I began recording my second album, which would become A Sorcerer's Dream. Although this album was completed in 1978, it was never released because Big-K closed down' --Michael Angelo. Michael Angelo is a true master of brilliant, spacey, endlessly melodic DIY pop psych. We have to admit, there's something magical about music that sounds like it was made in Anywheresville, Midwest, U.S.A., by a lone hermit painstakingly recording each layer of each song by himself in an empty studio. The end result? well, it's something like a less-produced Bobb Trimble. Much beloved in the world of psychedelia, and with good reason!"
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Cassette
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LION 101CS
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"Limited cassette edition of 300x hand-numbered copies! Plastic Cloud recorded, quite simply, one of the greatest underground psychedelic albums ever made: a swirl of gossamer vocals and Tolkien references, swathed in the some of the most relentless fuzz guitar you will ever hear. There is no point singling out a specific track, they are all excellent -- one is equally as good as the next. Take for example the album centerpiece, the ten-and-a-half-minute 'You Don't Care,' an insane piece of social commentary that features terrific back-of-the-mix fuzz guitar as an elusive focal point to its extended pounding-drum laden instrumental breaks; a ten-minute swath of lysergic fuzz guitar that closes out the first side, it doesn't overstay its welcome, winding its way to a final freak out. A record with few equals, full of foreboding melodies and lovely hippie harmonies, as well as some of the trippiest fuzz guitar ever recorded. Essential psychedelia!"
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CD
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LION 7667CD
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"The first (and so far only) live recording of a Peruvian rock band from the 1960's, and therefore of incredible importance to lovers of rock from that exciting scene! Those of you who already have our previous Mads/Molesto release might remember the story of the Mads: early television performances in Peru; the chance sea-side encounter with Mick Jagger and Keith Richards that got the Mads the chance to go to England; Stones' manager Marshall Chess giving the Mads recording time in the Rolling Stones' studio and at Jagger's Stargroves castle. They played the Marquee, the Lyceum, the Roundhouse. They jammed with Steve Winwood and Brian Davison (The Nice). They played with Jeff Beck and Carmine Appice. Molesto's guitar player, Alex Ventura, worked in a clothing boutique alongside Freddie Mercury and Roger Taylor. But before all the craziness in London, the Mads gave a farewell concert for their fans in Peru, on 18 December 1969, at the Auditorio del Colegio Santa Ursula. The recordings on this disc come from that show. One quick listen makes clear that the Mads demonstrated a lot of Jimi Hendrix Experience influence at this stage of their brief career. Still, it's clear straight away why the Stones were impressed, why Dennis Hopper told them during the intermission of this very concert how great they were (he wanted to hook them up with Phil Spector), and why they are legends of Pervian rock. Heavy, hard, and loud. Two bonus tracks come from their sessions at the Stones' studio in London, and are in the same hard-edged vein."
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LP
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LION 141LP
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"With their first album, legendary French art-rock band Wapassou found a distinctive musical voice: well-developed melodies, rhythmic organ, prominent droning violin, and guitar doubling-up as a rhythm instrument. They often conjure up what it might have sounded like had John Cale and Stereolab formed a band in 1974, the year this album was released. The five tracks are highly original, varied and inventive, steeped in post-psychedelic rock. Although Wapassou are noted for playing without a rhythm section, the two most striking songs include bass and drums. Why some enterprising dj hasn't created a chill mix from the drum track and provocative vocals on 'Chatiment' (guitarist Karen Nickerl murmuring about the cigarettes she has consumed and that she is a killer, 'Je suis l'assassin,' in the midst of the pulsing drone of the band), we don't know. The 13+ minute long 'Trip' is a revelation: for the first two minutes you will think you stumbled into the Cocteau Twin's 'Victorialand'; the band then jam for six and a half minutes before they drop one of the trippiest ethereal breakbeat grooves you'll ever hear; the last two minutes of solo sitar are sonic lysergia of the highest quality. Lest we startle you with excited pronouncements of how good this album is, we've forced ourselves to be matter of fact! it is unique, with slight nods to groups like Amon Düul, Popol Vuh, Czar, and Ash Ra Tempel. A colorful insert has the detailed history of the making of the album, plus photos and other marvels. Remastered and sounding better than it ever has."
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LP
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LION 146LP
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"First time vinyl reissue of 1972 South American Holy Grail. Grooving and edgy rock with native Uruguayan rhythms. Insert packed with photos, detailed history, and bi-lingual lyrics for this important Uruguayan band. Limited to 500 copies. The one and only album by Montevideo Blues (1972) is a serious contender as one of the most important, and as it happens, most grooving records released in Uruguay. It's also incredibly rare, fetching big prices when it appears, which is almost never. But there is another reason that the album has attained exalted status: Montevideo Blues was founded by Uruguayan song-writing legend Gastón 'Dino' Ciarlo as a way to fuse the rawness of rock music with obscure native Uruguayan rhythms like malambo, milonga, and chamarrita. 'At the time, we were revolutionary and looking for change,' said Dino. Montevideo Blues demonstrated an unyielding and combative attitude. During live shows in 1971, Dino criticized the government -- a dangerous level of political commitment, reflected in the lyrics of the songs, some of the most radical ever set to music. Eduardo Mateo, the sacred monster of modern Uruguayan music, was succinct: 'You have decided to prune the tree,' he said to Dino. The album opens with one of Dino's most famous songs 'Milonga de Pelo Largo' ('Milonga of the Long Hair'), a sinuous groove transformed by the arrival of the dictatorship into a hymn of Uruguayan popular resistance. The rest of the album tracks -- the fantastic 'Para Hacer Mùsica, Para Hacer' and 'Un Color' are standouts -- have an edgy quality, with terrific unconventional angular guitar and a kind of ragged glory, driven along by insistent grooving rhythms. Insert is packed with photos, detailed band history, and bi-lingual lyrics for this important Uruguayan band."
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