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MR 465LP
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$28.50
PREORDER
RELEASE DATE: 12/13/2024
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in Munster's past release MR 305 (2010) as part of a limited-edition boxset, this is the first time their second album Un Hombre Solo (1984) gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's ideas. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. In 1981, brothers Lars and Per Mertanen 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 the recently split Ejecutivos Agresivos. That's how the story of Décima Víctima started, rehearsing with a drum machine in the cellar of the Mertanens' house in Madrid. Despite commercial success evaded them, their first LP (1982) was acclaimed by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. A second album would follow two years later. It was called Un Hombre Solo (1984) and was released on Grabaciones Accidentales (GASA). Unavailable for years and always in high demand, it now gets an official reissue in its original single LP format.
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MR 466LP
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$27.00
PREORDER
RELEASE DATE: 12/13/2024
This record -- produced by Bomp's Greg Shaw -- is the result of pure teenage exuberance. Garage punk at its best that transports you back to either 1984 or 1966! All Black and Hairy was originally released in 1984 on his label Bomp!, the only LP ever recorded by The Gravedigger V in their short career. Unavailable for over a decade, Munster now reissues this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Includes a booklet with notes by band member John Hanrattie and rare photos. It's been more than 40 years since the Gravedigger V entered Silvery Moon Studios and recorded All Black and Hairy. They had only been a functioning group for about ten months when they entered the studio and had only played a handful of gigs. In March of 1984 the Gravediggers found themselves opening for punk legends the Dickies at The Music Machine in West Hollywood when Greg Shaw showed up early enough to see their concert. A few months on and Shaw call them and say he had booked studio time for the Gravediggers starting the following afternoon for the purpose of making an album. That same year All Black and Hairy, the only LP ever recorded by the band in their short career, was released on Bomp! There are five original compositions on the album, including the great "Tomorrow is Yesterday," "She's A Cur," and "She's Gone." And there are some versions too, like the Omens' "Searching." The album was recorded over the course of two days, and almost all of it was done live in the studio.
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MR 464LP
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$27.00
PREORDER
RELEASE DATE: 11/15/2024
Aguaturbia (1970) is an essential album to understand the construction of Chilean rock. This very influential album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. It comprises original compositions and electrifying renditions of songs brought to fame by the likes of Tommy James & The Shondells, The Beatles, and, of course, Jefferson Airplane elevating these classics to new heights of intensity and rhythmic allure. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late '60s and early '70s. Their influence in their native Chile -- and beyond -- was groundbreaking. It was played live in 1969 on three tracks, and it became an icon of transgression due to its unbridled musical aesthetics and cover art that -- for the time of its irruption -- meant a clear defiance of the conservative logics lived in Chile, which saw in the nudity of the cover a challenge to morality and good manners. The album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Guitarist Carlos Corales shines and when he played solos at the gigs, the effect on the audience was silence and euphoria at the same time, they couldn't believe what they heard. Everything was done with a professional attitude. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. The LP showcases breathtaking moments, like Willy Cavada's masterful drum solo in "Ah Ah Ah Ay" captured flawlessly in a single take. Dive into the sensual psychedelic journey of "Erotica," where Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar. Plus, don't miss their thrilling renditions of "Somebody to Love" and "Crimson and Clover" -- each track elevating classics to new heights of intensity and rhythmic allure. This album is more than music; it's an invitation to experience sheer auditory bliss!
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7"
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MR 7372EP
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$15.50
PREORDER
RELEASE DATE: 11/15/2024
Historical rescue of the only existing recording of Antihéroes, yet another mystery of the Argentine musical underground scene of the '80s, now available on vinyl for the first time. This obscure post punk band show their harshness and darkness in these only two songs they recorded, back in 1985, and which were distributed on a cassette that has today achieved cult status. This release is the result of the collaborative work between Twistin' Bones (Costa Rica) and Munster Records. Antihéroes is yet another mystery of the Argentine musical underground scene of the 80s. Back in the '70s, Valentín Alsina, Buenos Aires province. Jurek and Marcelo, children of Polish immigrants, meet at a religious school. Fast forward a few years and Marcelo is given a keyboard and meets Wojtek, another Polish boy with hunger for rock and Siekiera and Brigada Krysys records. They then decide to start a dark wave band. Jurek playing a single drum and a cymbal with an umbrella as stand, Marcelo on keyboards and Wojtek on bass, it's all set to go! Julio Torres became the guitarist and, answering an ad on a magazine, a singer turned up: the charismatic teenage poet Mónica Vidal. After three rehearsal sessions at a metal workshop, they made their first public appearance in 1984, at the basement of the Manzana de las Luces, an almost completely abandoned old 17th century convent in the San Telmo neighborhood. A young and experienced guitarist, Beto Morales, was in the audience and he'd later join the band after Julio quit. They recorded these songs in 1985. Their only existing recording, at the peak of their career, is this single that is finally released forty years after its recording thanks to the collaborative work between Twistin' Bones and Munster Records. The songs keep all their magic and spell intact beyond the passing of time and unfair oblivion.
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MR 462LP
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$27.00
PREORDER
RELEASE DATE: 10/25/2024
The Zeros are a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days. This release compiles all their early singles, some rare tracks (including the previously unreleased "Left to Right") and songs taken from a 1978 live show. Munster are thrilled to reissue this essential '80s power pop gem as part of a series of releases celebrating Bomp! 50th anniversary. Their debut single was released in 1977 on Greg Shaw's very own Bomp! Records. It included "Don't Push Me Around" and "Wimp," two of the greatest punk rock songs of all time, both written by Javier Escovedo. It was followed by another single in 1978, "Wild Weekend" and a third one in 1980, "They Say That (Everything's Alright)." The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days.
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MR 461LP
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$27.00
PREORDER
RELEASE DATE: 10/25/2024
This 1986 album by The Primates remains as the only recording ever released by these four '60s R&B and garage fans. Combining great originals and versions, We Are The Primates remains as a wild, raw, party album that every fan of garage music should own. Originally published on Greg Shaw's very own Voxx and produced by Shaw himself, this valuable musical document portraits the essence of the L.A. '80s garage scene. This issue includes a booklet with liner notes and rare photos and ephemera. The Primates were formed in 1984 and cut their teeth at L.A. spots such as the Cavern Club, as part of a growing scene of devoted Nuggets/Pebbles fans, fascinated with 1960s garage punk classics. The core of the band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm as front man, with different drummers, mostly Brian Corrigan but then also Eric from Threw the Looking Glass and Gene from The Miracle Workers. The opener "I Ain't Like You," "Bad Luck," or the fun cover of Neil Sedaka's "I Go Ape" reflect the wild, party-driven mood of the entire album, making you wonder how crazy their shows were in the golden era of the L.A. '80s garage scene. Combining originals and versions. Munster are thrilled to reissue this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary.
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MR 458LP
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$28.50
PREORDER
RELEASE DATE: 9/27/2024
Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in Munster's past release MR 305 (2010) as part of a limited-edition boxset, this is the first time their debut album gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's original idea. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. In 1981, brothers Lars and Per Mertanen 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 the recently split Ejecutivos Agresivos. That's how the story of Décima Víctima started, rehearsing with a drum machine in the cellar of the Mertanens' house in Madrid. The first single came out in 1982, with Lars playing drums on it. Soon after, Los Esclarecidos introduced them to Jose Brena and he joined Décima Víctima as drummer. The second single was also recorded in 1982. A few months later they went to Vigo for a week to try out their repertoire live, in order to see which tracks the audience liked best and choose 12 for the record. The studio sessions were no short of joy and experimentation. Paco Trinidad, the producer, understood what the band wanted and managed to achieve it technically. Despite commercial success evaded them, their first LP was acclaimed by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. Unavailable for years and always in high demand, this is the first time their debut album gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's original idea.
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MR 460LP
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40 years after its original release date, Munster reissues this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. The Pandoras' debut album, It's About Time, is one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. This reissue includes three bonus tracks and liner notes by Gravedigger V's John Hanrattie. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals and songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in '60s garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure '60s gems.
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MR 459LP
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Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia, and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of Etcétera, they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -- appealing Beatles-style melodies -- and two songs from Saúl and Manuel's archives. "Children," by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. "It's a Sin to Go Away" was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.
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MR 7370EP
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After two successful albums on MAG, supported by a handful of singles, the Peruvian garage beat band Los York's culminated their disagreements with their label by leaving it in 1969 and signing a new contract with Virrey. Along the way there was an album to finish for which they had already recorded a good part of the instrumental tracks. Los York's 69 finally saw the light of day on MAG but, to the surprise of its fans, the voice of its charismatic singer, Pablo Luna, had been replaced by that of the no less iconic Pablo Branda, also known as Melcochita. The all-round artist, trained in the studios of MAG as a skilled percussionist, guitarist and sonero, proved himself to also sing and shout with the same energy and attitude as the brilliant Pablo Luna. On top of that, it is rumored that it was another MAG artists, Los Teddy's, who actually completed the instrumental tracks for some cuts on the album, something that seems consistent with the much more energetic and surfy style of songs like "El Sicodélico." Two of the best and wildest songs contained on their last LP had never appeared on a single despite their enormous potential for the dance floor and the interest they aroused among DJs since their rediscovery in the '60s scene. Set the dance floor on fire with the first time 45 issue of this Latin garage double-sider.
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MR 456LP
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Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with two bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to '60s power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.
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MR 457LP
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Rare debut LP by the eccentric Peruvian singer Jean Paul "El Troglodita", known for his wild performances and extreme way of life. Often labeled as a nueva ola artist, he rather saw his performance style as a solo artist as following in the footsteps of Los Saicos, also signed to Disperú. This album includes Spanish sung versions of British beat songs and covers of the American songbook as well as various international hits. Enrique Roberto Tellería made his Peruvian television debut in 1965 under the stage name Jean Paul "El Troglodita" and wearing an imitation leopard skin suit. He would switch from melodic calm to shouting wildly or suddenly drop to the floor on his knees and smash the furniture like crazy. At the age of 19, DisPerú signed him to the label on the strength of these early performances. His first single included a freely translated version of "Secret Agent Man" in Spanish. He began to work on the eleven cover versions that would feature on his first LP immediately, writing all his own lyrics and accompanied by the beat band Los Steivos. Despite the predominance of English beat music in Peru, the album only included three songs directly related to the British invasion: "Bus Stop" by The Hollies, also played in raga rock style; "Paint it Black" by The Rolling Stones; and "The House of the Rising Sun," which follows the arrangement recorded by The Animals. El Troglodita's association with the so-called nueva ola, indicated on the back cover, needs clarification. In Peru, nueva ola was a mixed bag rather than a specific musical style and encompassed slow rock, twist, bossa nova and all the styles that the record industry produced to tame the wild rock 'n' roll impulses of teenagers in the early sixties. Jean Paul's "hippie" lifestyle got him arrested by the new de facto military government in 1968, who accused him of promoting drug consumption and corrupting the Peruvian youth. The charges were soon dropped but his reputation was tarnished, and he ended up emigrating to Central America.
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MR 455C-LP
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[sold out version] Splatter color vinyl version. The Loons of Southern California have been playing their uniquely original brand of psychedelic garage and freakbeat for more than 25 years. With Memories Have Faces they've created their most impressive batch of songs to date, along with an intense version of the Pretty Things' "Cries from the Midnight Circus." The Loons keep growing, learning, creating, evolving but never compromising. Formed in San Diego, The Loons have recorded and released five albums along with a slew of singles, and played gigs in more cities around the world than they can keep count of. They've collaborated with original '60s music icons like Glenn Ross Campbell of The Misunderstood, Dick Taylor of The Pretty Things, Randy Holden of The Sons of Adam and Blue Cheer, and Michael Stuart-Ware of Love. Mike Stax, who also publishes Ugly Things magazine, is the lead singer. Anja Stax plays bass and sings backing vocals. Marc Schroeder and Chris Marsteller play guitars, and Chris Cancelliere is on drums. Mike Stax was already a veteran of several other San Diego bands, including The Crawdaddys and The Tell-Tale Hearts, when he first formed the Loons in 1997. Ebbot Lundberg of The Soundtrack of Our Lives produced the group's debut album, Love's Dead Leaves, released by Get Hip Records in 1998. Anja joined on bass after relocating to California from London, where she'd been playing with The Diaboliks, and Marc Schroeder and Chris Marsteller joined soon afterwards. Chris Cancelliere became the group's new drummer at the end of 2018.
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MR 7368EP
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Los York's became the epitome of Peruvian garage sound. Abrázame features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem "Abrázame." The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of "Abrázame" was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' R&B classic "Mercy Mercy," the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna. A rawer, fuzzier version of the same song was released one year later and renamed as "Abrázame Baby."
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MR 7369EP
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A chaotic and intense Craig Leon-produced hybrid of Dolls, Stooges, and most of the Nuggets bands by Jeff 'Mono Mann' Conolly's pre-Lyres group DMZ. Unavailable for over three decades, Munster is happy to reissue this garage rock's essential gem, originally released in the early days of Greg Shaw's Bomp! label. DMZ was a predictable proposition, sporting obvious glam roots and an eccentric but dedicated rock and roll fan in lead singer, Jeff 'Mono Mann' Conolly. With killer cuts like "Busy Man" and "When I Get Off," their 1977 EP captured the DMZ zeitgeist considerably better than the album they would later record for Sire.
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MR 455LP
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The Loons of Southern California have been playing their uniquely original brand of psychedelic garage and freakbeat for more than 25 years. With Memories Have Faces they've created their most impressive batch of songs to date, along with an intense version of the Pretty Things' "Cries from the Midnight Circus." The Loons keep growing, learning, creating, evolving but never compromising. Formed in San Diego, The Loons have recorded and released five albums along with a slew of singles, and played gigs in more cities around the world than they can keep count of. They've collaborated with original '60s music icons like Glenn Ross Campbell of The Misunderstood, Dick Taylor of The Pretty Things, Randy Holden of The Sons of Adam and Blue Cheer, and Michael Stuart-Ware of Love. Mike Stax, who also publishes Ugly Things magazine, is the lead singer. Anja Stax plays bass and sings backing vocals. Marc Schroeder and Chris Marsteller play guitars, and Chris Cancelliere is on drums. Mike Stax was already a veteran of several other San Diego bands, including The Crawdaddys and The Tell-Tale Hearts, when he first formed the Loons in 1997. Ebbot Lundberg of The Soundtrack of Our Lives produced the group's debut album, Love's Dead Leaves, released by Get Hip Records in 1998. Anja joined on bass after relocating to California from London, where she'd been playing with The Diaboliks, and Marc Schroeder and Chris Marsteller joined soon afterwards. Chris Cancelliere became the group's new drummer at the end of 2018.
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MR 451LP
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Disperú is the first independent record label in Peru and South America that was founded and run by a woman. In the space of five years Rebeca Llave turned not only Disperú into a successful company but also transformed it into an amplifier and showcase for unique Peruvian popular music projects including the raw, wild and visceral sound of Los Saicos, '60s punk pioneers. This compilation comprises 14 amazing tracks, ranging from cumbia or boogaloo to beat and garage, to celebrate the music legacy of this unique pioneer woman. Disperú was founded at a key moment for Peruvian popular music. In 1965 young Peruvians were gaining prominence in society and the entertainment industry. The hangover of the "new wave," with its balladeers, persisted on the radio and television, but rock bands were also emerging, inspired by what was happening musically in Liverpool and on the beaches of California. Guided by her ability to spot talent and target what she perceived as commercial prospects, Rebeca signed up an impressive lineup of artists. Several of which would move on to bigger labels, after "the girl with the charming smile" had set them on the recording road to fame. Besides gathering young rockers (Los Saicos, Jean Paul El Troglodita) and new wave bands (Los 4 Brillantes, Golden Boys) under its umbrella, Disperú also ventured into coastal and Andean music from Peru and tropical music (Chano Scotty y su Combo Latino, Toño y sus Sicodélicos). This compilation celebrates the music legacy of this unique pioneer woman. Also featuring Gloria Travesí Y Sus Hijos Cantan, Claudio Fabbri, Los Peruvian Brass, Los Guajiros Del Ritmo, and Alicia Estrada Y Su Orquesta.
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MR 7367EP
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After the Dead Boys, Stiv Bators embarked on a musical journey that saw him touch upon power pop during a brief solo career. This is the first Bators single to emerge from Greg Shaw's Bomp! Records (1979) and includes a stunning version of The Choir's original "It's Cold Outside" and the original "The Last Year" on the B-side. This is the first time the single gets an official reissue in its original format. This is an essential power pop classic! As the frontman for the Dead Boys, Stiv Bators terrorized audiences with his snotty, in-your-face punk rock style. This is an essential power pop classic!
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MR 453LP
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Virgin by Traffic Sound is described as the band's greatest album, capturing the essence of their musical and existential outlook. Recorded by youthful members barely 20 years old, the album reflects the non-conformist, profound, and occasionally otherworldly spirit that characterized the youth in Lima during the late '60s. The influence of Anglo-Saxon psychedelia is evident, representing a defiance against the prevailing conservative traditions of the city. Released in January 1970, the album exhibits the bold and free spirit of late '60s pop music, drawing inspiration from post-Sgt. Pepper's rock and Peruvian psychedelia. The lyrics, predominantly in English, emphasize the youthful desire to break free and search for answers in both the real world and the hidden corners of a stimulated mind. The album was a gateway to a more pedestrian future, where Latin music exerted greater influence, and individual egos re-emerged in the wake of hippy collectivism. Virgin also reflects the band's desire to express themselves freely and dream of becoming rock stars. The recording process involved meticulous analysis of foreign records, shaping the band's ability to mix and arrange their own compositions. The album's context is set against the socio-political backdrop of Peru in the late '60s, characterized by a military dictatorship with progressive policies. While most local rock bands embraced the aesthetics of psychedelia, they were viewed with distrust by political activists. Traffic Sound, however, adopted a political stance with the song "The Revolution," criticizing the military government. Virgin itself is described as a sonic journey with carefully arranged tracks. The album's songs are divided into "Tomorrow" and "Today," each offering a unique emotional and sonorous experience. The album includes notable tracks such as "Virgin (I Can't Regret You, My Friend)," "Tell The World I'm Alive," "Yellow Sea Days," "Jews Caboose," "A Place in Time Called 'You And Me,'" "Simple," "Meshkalina," and "Last Song." These songs cover themes ranging from failed romance to personal rebirth and socio-political commentary, all infused with psychedelic and experimental elements. Virgin set a high standard in Peruvian rock in the early 1970s, showcasing Traffic Sound's musical prowess and leaving a lasting impact on the country's music scene. Despite releasing two more albums in the following years, Virgin remained the band's best-selling record, continuing to resonate with audiences even years after its initial release. Extensive liner notes and the original artwork on tip-on gatefold sleeve.
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MR 454LP
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Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their rare 45s, now classic DJ spins in the mod/psych '60s scene, boast a funky Le Beat Bespoke style freakbeat sound. Three singles were released on Philips between 1968-69, including their stunning take on Nonato Buzar's "Vesti Azul" and the outstanding original "I'm Just a Fool", as featured on Ivan Zulueta's cult film Un, Dos, Tres, Al Escondite Inglés. This collection not only encapsulates the entirety of their known discography but also unveils many previously unreleased recordings, providing a treasure trove of sonic gems that now see the light of day for the first time. These recordings were made for a TV show and consisted of international hits of the moment performed by Shelly, mainly soul songs brought to fame by the likes of Stevie Wonder, Aretha Franklin, The Temptations, and The Four Tops. This compilation stands as both a celebration of the band's legacy and a rediscovery of the timeless allure that made Shelly y Nueva Generación an enduring force in the annals of Spanish music history. Includes eight-page booklet with extensive notes and rare photos of the artists.
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MR 7366EP
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Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their songs have been included on various compilations several times since the '90s, making their records highly sought-after by collectors worldwide. Their stunning take on Nonato Buzar's "Vesti Azul" and their mind-blowing original "I'm Just a Fool" have become classic DJ spins in the '60s scene, being the latter one of their most popular songs after being featured on Ivan Zulueta's cult film Un, Dos, Tres, Al Escondite Inglés that showcased some of the most interesting Spanish bands from the late '60s. First time single reissue.
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7"
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MR 7365EP
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The mind-flowing "Dices" somehow did not make it onto the Grupo Pan's only album and instead found its home on the B-side of a long-forgotten 1972 single. One can only wonder why this great song with a devastating guitar riff and an irresistible rhythm section was not granted a place in the grooves of the LP of the Venezuelan band? Late '60s hard rock sounds made by salsa musicians! First time reissue! On the flip, a rare hard psych gem from Peru by the one and only Jean Paul "El Troglodita." First time single reissue! The few records released by Venezuela's most prolific percussionist, Nené Quintero, and his first band sound like a somewhat artisanal classic rock recording from the end of the '60s but made by "salseros" (as involved in salsa music). Their only LP Pan (recently reissued for the first time on Vampisoul) succeeded in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. Grupo Pan also released a bunch of 45s mostly comprising LP tracks. Enrique Tellería (aka Jean Paul) was nicknamed "El Troglodita" (The Caveman) due to his wild performances in his native Peru. Screams, extreme body shaking and, quite often, stage destruction were part of his energetic shows. His hard psych gem "Fuera de Atracción" was originally released on a much sought-after 45 on the tiny Peruvian label Rey Record.
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2LP
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MR 447LP
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Blow My Mind! is the natural sequel to the recent, well-received collection Lost Innocence and is an essential purchase for the dedicated garage head. It collects together the best of the quirkier imprints from Hollywood's heyday in the mid-1960s (the record labels Doré, Era, and Mira) in a power-packed set comprising many outstanding garage and proto-psych 45s that today are sought-after collectors' items. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD, it is now available on vinyl for the first time. Three of the quirkier imprints from Hollywood's heyday in the mid-1960s were the record labels Doré, Era and Mira. Like most seasoned indie producers in that epoch, their owners Lew Bedell, Herb Newman, and Randy Wood struggled to get to grips with the onslaught of rock and roll activity that followed in the wake of the British Invasion. Blow My Mind! The Doré-Era-Mira Punk & Psych Legacy collects together the best of this venerated repertoire in a power-packed set that also constitutes the first official reissue for many oft-bootlegged titles. Cuts like "The Thief," "Slander" and "I'll Blow My Mind" would be expensive to acquire in their original, minutely-pressed incarnation. Here, with top-notch sound and extensive annotation, these totemic garage rock items shine brighter than ever. There is the expected quota of attitude-laden classics such as "My Baby's Barefoot," "Just Wanna Be Myself" and the incredibly snotty "So What!!," along with less heralded gems by bands such as South Hampton Story, the Puddin' Heads, Yesterday's Tomorrow, and the Search. An unexpected bonus is a superb unreleased cut by "Hey Joe" hitmakers the Leaves, along with off-beat garage-psych titles by Simon T Stokes, the Outlaw Blues and the Wrench. Also featuring The Syndicate, The No-Nâ-Mee's, The Motion, The Lyrics, The Regents, John Winfield Jr., Ty Wagner, Spencer's Van Dykes, The Decades, The Front Page & Her, The Bees, The Tormentors, Basil & The Baroques, and Unknown Ar.
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7"
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MR 7364EP
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With a short discography consisting of just two singles -- one of them was even released in Argentina with an alternative cover -- the band All & Nothing has become one of the icons of Spanish underground rock of the '70s and their records are among the most sought-after pieces by collectors. The group was really nothing more than a studio project, put together by journalist and record producer José Luis Álvarez, who never performed in public. Their goal was to record songs in the same style that the emerging Andalusian rock scene was already doing in the south of Spain under the influence of the latest international rock trends -- imported through the US military bases -- and the local musical idiosyncrasy. Although most of the recorded songs -- some of whom remained unreleased for years -- succeeded in reflecting the original goal, for this first single of All & Nothing their producer instructed the band to record something similar to Iron Butterfly's classic In-a-gadda-da-vida, and Underground Vibrations No. 2 seems to be a very accomplished effort. The record has become a very sought-after item for those collecting the lesser-known side of '70s Spanish underground rock. The stunning rhythm section on both sides of the single plus the overwhelming organ solos and firing wah-wah and fuzz guitars explain the high interest on this elusive 45, a must in the top DJs record boxes. Munster Records presents this amazing All & Nothing debut 7" for the first time, remastered from the original tapes and featuring the 1970 sleeve artwork.
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LP
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MR 450LP
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This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp!: "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary: "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called bubblegum punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Includes bonus tracks.
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