|
|
|
|
viewing 1 To 25 of 79 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
SOMM 073CD
|
$16.50
PREORDER
RELEASE DATE: 5/27/2022
Orang-Utan were in fact a London based band called Hunter, featuring vocalist Terry "Nobby" Clarke (of psych-pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 and DeLane Lea studios. In a bizarre twist of events, their producers/managers ran with the tapes to the US, where they placed the album on Bell Records under a new band name: Orang-Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin-guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff... Legit reissue done in co-operation with the original band members. Insert with liner notes telling the bizarre story of the band, and rare photos. "Quintessentially British hard-rock, transforming the blues in a way American bands rarely did, and with a kind of vocal intensity that compares to Free, Humble Pie, et al." --Aaron Milenski (Galactic Ramble)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 073LP
|
$29.50
PREORDER
RELEASE DATE: 5/27/2022
LP version. New repress in hard cardboard sleeve with obi; includes download card. New repress in hard cardboard sleeve with obi. Orang-Utan were in fact a London based band called Hunter, featuring vocalist Terry "Nobby" Clarke (of psych-pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 and DeLane Lea studios. In a bizarre twist of events, their producers/managers ran with the tapes to the US, where they placed the album on Bell Records under a new band name: Orang-Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin-guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff... Legit reissue done in co-operation with the original band members. Insert with liner notes telling the bizarre story of the band, and rare photos. "Quintessentially British hard-rock, transforming the blues in a way American bands rarely did, and with a kind of vocal intensity that compares to Free, Humble Pie, et al." --Aaron Milenski (Galactic Ramble)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 072LP
|
Sommor Records present the first vinyl reissue of Barcelona Traction's self-titled release, originally released in 1975. Top notch jazz-rock-fusion with funk and Latin touches from Catalonia. Original artwork in gatefold sleeve and insert with liner notes by Àlex Gómez-Font and photos.
"After recording in 1972 the cult album We Are Digging The Beatles with ex-Màquina! sax player Peter Rohr, innovative pianist Lucky Guri decided to form his own band, having jazz as a starting point but taking it to a more electric, eclectic sound with multiple influences. And thus, in 1973, he created the New Jazz Trio, which would become the embryo for Barcelona Traction. Lucky was accompanied by top double bass player Jordi Clua (ex-Dos + Un) and drummer Francis Rabassa (a veteran of the Barcelona '60s beat scene). The New Jazz Trio was the house band at the legendary La Cova del Drac jazz club, where they played every day, even acting as the backing band for international artists that came mainly through the USA-Paris jazz connection. Performing live on a daily basis gave the trio great skills and the confidence to create a more personal sound through improvisation. But the turning point came when they decided to go electric. Lucky Guri moved to electric piano and even introduced the mini-Moog to their sound. Jordi Clua never left the double bass, but started to use an electric bass as well. Add the modern, daring beat of Francis Rabassa and they started delivering a totally electric jazz-rock sound . . .After changing their name to Barcelona Traction, they caught the attention of popular Catalan singer-songwriter Joan Manuel Serrat, who arranged for them to sign for his label, Òliba-Edigsa. The resulting LP contains five instrumental tracks. Three are written by Lucky Guri, the other two are fabulous covers of Rubens Serrano's 'Sudamérica' and James Taylor's 'Fire and Rain', here translated to Catalan as 'Foc i pluja'. On Francesc Bellmunt's film about the famous Canet Rock festival, the band appears playing 'Sudamérica'. Thanks to this footage we can see how powerful the trio was on stage. Barcelona Traction marked an era, and their eponymous debut LP is here to prove it. Modern, fresh music that gets the attention of the listener. Unlike other bands like Música Urbana, more based in sophistication and more technical developments, Barcelona Traction is a combo that stands out due to the apparent simplicity and high energy of their sound, with the quality of being able to appeal and be listened in any situation, taking it beyond strict, pigeonholed mind sets." --Álex Gómez-Font
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 069LP
|
Also known as Música Caliente (Hot Music) and Wild Safari, this is the first album, released in 1972, by Barrabás, the acclaimed Spanish band created by Fernando Arbex after the demise of Brincos and Alacrán. A funk-rock/Latin/Afro bomb, loaded with worldwide hits like "Wild Safari" or "Woman". First ever reissue with original artwork. Barrabás was created by Spanish genius drummer, songwriter and producer Fernando Arbex after the split of his post-Brincos power-trio Alacrán. Busy with his productions and as songwriter for many artists, Fernando still had in mind the desire of international success. Highly influenced by the beginnings of funk music and the Latin-rock of groups such as Santana (influences that were also already present on Alacrán), Arbex formed Barrabás along with his Brincos bandmates Miguel & Ricky Morales on guitars, ace keyboard player Joao Antonio Vidal (from Madrid based psych band Los Grimm), Afro-Cuban percussionist and multi-instrumentalist Ernesto "Tito" Duarte and Iñaki Egaña (Los Buenos, Alacrán) on vocals/bass. The name of Barrabás came after Fernando watched the movie of the same name by Richard Fleischer. In 1971, the band entered RCA Studios in Madrid for the recording of their first album, sung completely in English. The result was a fabulous mix of funk, Latin music, rock and afro sounds, housed in a striking cover designed by famous Spanish singer-songwriter Luis Eduardo Aute. Songs like "Wild Safari" or "Woman" took the international dancefloors by storm, even reaching the first positions in the US black music charts, being championed by legendary DJs like David Mancuso (The Loft). The album also contained surprises like the mid-tempo "Cheer Up" or the Canned Heat sounding boogie rock of "Rock and Roll Everybody". A groundbreaking debut album, essential to understand the roots of Spanish funk-rock, reissued for the first time on vinyl faithful to the original one. Heavy cardboard cover with obi and four-panel color insert with detailed liner notes in English/Spanish and photos. Remastered sound. RIYL: Santana, Osibisa, Malo, Mandrill.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 070LP
|
Power was the second Barrabás album, originally released in 1973. First ever vinyl reissue in original gatefold cover artwork design. As well as their first album, this is another great example of funk-rock, but this time with glam, hard and psych touches, including some of their most celebrated songs: "Casanova", "The Horse", "Children". After reaching international success with their first album, the line-up of Barrabás experienced some major changes: Fernando Arbex, more and more involved as songwriter and producer for other artists, leaves the drum kit, being replaced by drummer José María Moll (from Juan & Junior's backing band). From now on, Fernando will focus on songwriting and production duties for Barrabás. Also, due to an accident, bass player/lead singer Iñaki Egaña is forced to leave the band. A new powerful singer is found: José Luis Tejada (from Los No, a legendary beat band from Barcelona). And finally original guitar player Miguel Morales switched to bass. For the album recording, Arbex decided to use the same studio where they recorded the first Barrabás album: RCA in Madrid. J. Cobos was again the sound engineer and Fernando was the producer and main songwriter. Power was the result, released in 1973 housed in a glam-tastic gatefold sleeve. Highlights are "Mr. Money" (pure funk-rock which entered the US charts); the atmospheric "The Horse", the psych-funk of "Time To Love" or the catchy "Children", which was a big hit in South America, especially in Venezuela. Remastered sound. Four-panel color insert with detailed liner notes in English/Spanish and photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 071LP
|
¡Soltad a Barrabás! (Release Barrabás!) was the third album by the famous Spanish funk-rock band. Recorded in the US and originally released in 1974, housed in a shocking gatefold cover, this time the sound was 100% funk oriented and included big hits like "Hi-Jack", covered by Herbie Mann. First ever vinyl reissue in original gatefold cover artwork design. After reaching worldwide success with their previous two albums and a lengthy South America tour, Fernando Arbex went even further with Barrabás: he wanted to register their third album in the US. So, he managed to book MGM studios in Hollywood and the band spent a month in L.A. Fernando encouraged all the other Barrabás members to write songs for the planned album. The result was a fantastic pro-sounding recording (thanks to the work of sound engineer Humberto Gatica), where the band nearly dropped their previous Latin influences to concentrate on funk and Black music. "Hi-Jack" rocketed to number one in the Billboard and Black music charts in the US and soon after Herbie Mann released his famous jazzy cover. The album also included other ace tracks like "Tell Me The Thing" -- much in the vein of Chicago and Blood, Sweat & Tears, "Suzie Wong", "Lady Love". Remastered sound. Four-panel color insert with detailed liner notes in English/Spanish and photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 066LP
|
Second album by cult Norwegian heavy prog-psych band Lucifer Was, originally released only on CD in 2000. Epic and doomy atmosphere in the best early '70s tradition with great use of Mellotron, flute, killer hard guitar -- imagine a mix between Black Sabbath and Jethro Tull with a dose of King Crimson and Black Widow. In Anadi's Bower was the follow up to Underground And Beyond (SOMM 055CD/LP) and featured new singer Jon Rude. The band's idea was to make another Underground And Beyond, to record more of the band's 1970-1973 material fast and rough. But this time they chose to use a producer, Rolf Kjernet, and they also had a bigger budget and more studio time. All the basic tracks of guitar, bass and drums plus guide-vocals were recorded live in the studio on analog equipment. Just like before on Underground And Beyond. Even the 11 minutes "Little Child" does not have one single edit of the basic tracks we recorded live-in-the-studio. "We were completely into making it good and really enjoying ourselves in one go. Still, it was also an escape. There were some greening of the grass and auras of the trees seen in the dim light of midnight. Outside. May 'Darkness' bless the child that takes no more and let it play in Anadis's bower. In Norway, maybe..." --Thore Engen (Lucifer Was) Includes insert with liner notes and photos; also includes download card of the full album plus two bonus tracks: "Kill The Rats" and "Legends Waiting (To Appear)".
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 068LP
|
Originally released as a small private pressing in 1977, Sommor Records present the first ever vinyl reissue of this collectable hard-rock album by Marquee club favorites National Flag. National Flag formed in Kingston in 1973 and they were a big noise for brief period around London in 1975/76. They quickly developed a strong following especially at the Marquee club where they were resident band in summer 1975. Such was their live reputation they were invited to Tokyo and toured Japan in summer 1975 appearing on TV and radio, headlining the infant Fuji Rock Festival, and opening the World Rock Festival in Kyoto with the New York Dolls and Jeff Beck. Thank You and Goodnight was recorded between 1974/76 at EMI Manchester Square, Decca Hampstead with Nick Tauber (Thin Lizzy) and Fulhams Milner Sound with a soon to be famous Julien Mendelsohn (Elton John, McCartney). Approximately 100 copies were pressed as a homemade edition in 1977 and the album became a myth. Its reputation and rarity value has grown over the years and is now sought after by keen rock fans, Marquee fans and '70s record collectors and it's actually a real gem... glorious. That same year, band members Danny Edwardson and Seamus Sell were also responsible for the KPM library album Rock On, for which they used and recycled some riffs of National Flag songs. National Flag should have been huge, but somehow they escaped a record deal, the anecdotes are endless but times were changing, the punk wave swept in and the band broke up playing their last gig in June 1977. Sourced from the original masters; includes insert with liner notes and photos.
"Defined by their good time guitar licks and blazing rhythms, this delight from the UK seemed poised to hit the big time, yet never did. They're a riveting combination of Grand Funk meets Lynyrd Skynyrd, combined with the sensibilities and smart lyrics of The Doobie Brothers, along with the swagger of Neil Young & Crazy Horse..." --Jenell Kessler
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 062LP
|
Sommor Records present the first ever vinyl reissue of Plebb's Yes It Isn't It, a Swedish private press record originally released in 1979. Heavy twin-guitar fueled underground hard-rock with prog/psych touches. Plebb was founded in 1976 in the small town of Mönsterås (Sweden). The band name was based on the initials of the first band members names. The "P" for "Pemce". "LeB" for "Leif Bergqvist" and the last "b" for "Balder". They were just teenagers (16-18 years old) and in 1977 guitar player Leif Bergqvist was replaced by Peter Martinsson and then the band started to develop their sound and began to write their own songs influenced by their favorite musicians. After recording a private cassette, the band decided to make their first album. So, in 1979, they recorded Yes It Isn't It with almost no budget at a makeshift studio using two locations: the attic of a local biker club and a school. It was produced by bass player Tommy Gustavsson and only 485 copies were pressed on the band's own label, Plebb Records, sold mainly locally to friends but also in some shops in consignment. Highly sought-after by collectors of '70s hard-rock and proto-metal. Master tape sound. Heavy cardboard sleeve; insert with rare photos, lyrics and liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 067LP
|
Sommor Records present a first time reissue of Zarpa's Los 4 Jinetes del Apocalipsis, originally released in 1978. Spanish proto-doom/psychedelic hard-rock monster from 1978. A conceptual album featuring five long tracks with raw in-your-face sound and production, over-charged fuzz and wah-wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock/metal/heavy psych aficionado. Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals and lead guitar, Eduardo Feijóo on bass and vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock ("Claw Rock"), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero. Under Zeus Rock guidance, the band did their first recording: a conceptual album titled Los 4 Jinetes del Apocalipsis (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded "live in the studio" in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of heavy metal in Spain, they managed to release two more LPs which established them as a very popular band, even opening for Barón Rojo, true metal stars in the early '80s. Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist and vocalist from Zarpa. Heavy carboard sleeve and OBI.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 064LP
|
Fabulous UK psych and proto prog, recorded in 1970 at IBC Studios and originally pressed only as a handful of ultra-rare test pressings. Melodic vocals, killer Hammond with distorted guitar, and fabulous songs. With connections to Scots of St James, Hopscotch, Fleur De Lys, Glencoe, Studd Bump. Five Day Rain was formed when Rick Sharpe (guitar), Clive Shepherd (bass), and Dick Hawkes (drums), from power trio Iron Prophet, met organ player Graham Maitland (Scots of St. James, Hopscotch, Fleur De Lys). The original intended name for this new band, "The Entire Building Is About To Collapse", was soon discarded in favor of Five Day Rain. Thanks to a mutual friend, they were recruited by the producer/engineer team of Brian Carroll and Damon Lyon-Shaw, famous for their work at IBC Studios with some of the top bands from the '60s. Drummer Dick was replaced by Kim Haworth and sessions for the FDR album began at IBC in late 1969. Guitar player John Holbrook (Baba Scholae) was invited to play some leads and the great Sharon Tandy and members of America did some backing vocals. The result was a perfectly recorded and executed finished album comprised of ten songs. Showcasing the stellar work of Rick and Graham on guitar/organ on tracks like "Marie's A Woman" and the long instrumental "Rough Cut Marmalade", the FDR sound is a great example of the transition from post-mod psychedelia to early prog. Once the album was finished and a few test pressings in blank sleeves pressed, the whole project was abandoned due to some disagreements with the producer, so the album was never actually released. In the late '80s, copies of the original test pressing were discovered by psych collectors and bootleg reissues appeared on the collectors' market. It wasn't until 2006 that an official reissue, done with involvement from the band members, was released by the Nightwings label from Italy. After many years out-of-print, we present a long overdue new vinyl edition of the Five Day Rain album. Remastered sound; Includes insert with detailed liner notes and rare photos/memorabilia; New artwork by artist Sara Gossett.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SOMM 065LP
|
Sommor Records present the first legitimate vinyl reissue of Little Big Horn's self-titled album, originally released in 1971, expanded to a double-LP set with the addition of the killer 45 B-side "Just A Game" and excellent unissued material from the time. Little Big Horn evolved from Luton-based pop-psych band Wild Silk. As occurred with many British bands from the '60s, they adopted different musical influences as the decade progressed and "underground" was the thing to be, so by the late '60s, Little Big Horn incorporated West Coast, Americana, and hard-rock elements to their powerful sound. Their sole album was released only in Germany in 1971 as part of a deal between Shel Talmy Productions and the Bellaphon label (along with other obscure acts like Sunday and Diabolus) and it's an interesting mix of roots-y Americana and heavy rock. Transferred from original master tapes. RIYL: The Band, Led Zeppelin, Byrds, Badfinger, Grapefruit, Bronco, Plastic Penny, Youngbloods. Gatefold sleeve; includes insert with rare photos and detailed liner notes by Alec Palao. "A fine example of its era, showcasing seasoned, but not slick, ensemble playing, and it has enough flashes of genuine inspiration to warrant reappraisal." --Alec Palao
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 059LP
|
First ever reissue of this ultra-rare acetate (two copies pressed) from 1972, Grit's self-titled album. Featured in Hans Pokora's book with the maximum scale rarity. Psychedelic hard-rock with furious drumming and stunning lead guitar by this unknown until now London based band. Includes the four tracks from the original acetate (taken from the master tape) plus two bonus tracks taken from lo-fi, crude rehearsals: "1000 Miles" (a Grit original) and a killer demo version of "Mineshaft". Born from the ashes of a London band called Merlyn, Grit consisted of Frank Martinez (lead guitar, vocals), Paul Christodoulou (bass, vocals), Tom Kelly (drums, vocals), and Jeff Ball (vocalist). Frank, nicknamed "Spider", has an interesting story: at the beginning of his musical career he auditioned for Joe Meek at his Holloway Road studio. Later, he also played with a band called Grand Union -- who supported Pink Floyd in 1968 -- and with members of the John Dummer Band. An electronic wizard, Frank also worked building amps and electronic equipment at Nolan Amps, MIDAS, etc. Tom Kelly came from a band called Connexion and Paul Christodoulou had played in Merlyn along with Frank. After some attempts, the definitive line-up of Grit was born when Frank and Paul convinced drummer Tom Kelly to join them, after assisting to a Nazareth concert. They also recruited powerful singer Jeff Ball after an ad in Melody Maker. On Christmas Eve, 1972, Grit recorded a demo at SWM Studios and two copies of a one-sided 12" acetate were pressed for promo purposes. It featured four self-penned songs, the killer "Mineshaft" (pure underground fuzz hard-rock), and two lengthy numbers: "Child and the Drifter" (furious drumming, stunning leads, hard-prog moves), and the hard-psychedelic "What Do You See In My Eyes"/"I Wish I Was". 40 years later, one of the two copies of the original Grit acetate was found at a flea market in Germany, which led to its inclusion in the 7001 Record Collector Dreams book by famous collector Hans Pokora. By pure chance in 2019, Alex Carretero from Guerssen found Frank Martinez and he opened his vault, which included the original master tape of the Grit acetate and several tapes with rehearsals from Grit and Merlyn. Master tape sound. Includes insert with rare photos/memorabilia and detailed liner notes. Free download card includes the full album plus another three digital-only bonus tracks, also taken from rehearsal tapes, including cool cover versions of "Chicken Shack" and "Burnin' Red Ivanhoe".
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 061LP
|
Sommor Records present the first ever official vinyl reissue of Hackensack's Up The Hardway, originally released in 1974. Classic, raw UK blues-hard-rock from 1973 featuring powerful guitar player/vocalist Nicky Moore. With a name taken from a Thelonious Monk album track, Hackensack became in the early '70s one of Britain's hardest rocking and hardest working acts and are still remembered fondly today by those who experienced their unforgettable, powerhouse live shows. Up The Hard Way was their debut album, recorded in late '73 at De Lane Lea Studios, Wembley, and released the following year on the Polydor label, housed in a fab sleeve by Jim Fitzpatrick. Musically, it's a varied album which goes from hard-rock to blues and rural rock. Includes an eight-page insert telling the comprehensive history of the group from their Gas Avenue roots in 1969 to 2019, plus many rare photos and memorabilia; extensive liner notes by Pete Sarfas. A must for all fans of a band who deserved to be as big as Free. Original artwork. Master tape sound. 8-page insert reproducing the original insert plus & rare photos / memorabilia From original masters. Insert with full band history by Pete Sarfas of Audio Archives plus rare photos and memorabilia.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 060LP
|
Split release by Sommor Records and Pakistan Rock And Roll Crusade. Warlock could be considered the first satanic/occult hard-rock band from Spain. With roots in proto-doom band Necrophagus, formed in Madrid by singer/guitar player Victor Ramos in 1974, Warlock were heavily influenced by Black Sabbath, Lucifer's Friend, and Hawkwind, but they were too dark and wild-looking for the record companies of the time. During their brief existence, 1977-79, they supported the Ian Gillan Band at the Teatro Monumental, Madrid, 1979. They also shared stage with bands like Burning, Cai, Teddy Bautista & Canarios, Azahar, John Martyn, Eduardo Bort, etc. In 1978, they recorded a bunch of demos, collected here for the first time. Raw and wild lo-fi psychedelic hard-rock/proto-doom with space-rock touches. Eight self-penned songs with titles like "Archives Of The Universe", "Cortocircuito", "Earth", "Control Perdido", "Space Ritual" (which is not a Hawkwind cover but a tribute to Dave Brock's band, whom Victor once met in France), plus a cover of Black Sabbath's "Paranoid". RIYL: Black Sabbath, Lucifer's Friend, Pentagram, Hawkwind... Includes color insert with photos/memorabilia and liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 058LP
|
Sommor Records present the first legitimate reissue one of the rarest private blues-rock albums from the UK, Levee Camp Moan's self-titled release, originally released in 1969. In 1969, Bracknell-based blues rock outfit Levee Camp Moan released what was destined to become one of the most sought-after UK private pressings of the period on the County Recording Services label. This LP marked their status as one of the most exciting bands to emerge out of the thriving local underground scene in the Bracknell Delta. The group had taken their name from the old blues number and the band members, manager and assorted roadies took up residence in a local farmhouse known as Peacock Farm. It was there that LCM would rehearse into the small hours, thumping out a mixture of blues standards as well as their own compositions until they had become a tight unit ready to "take on the world". Influences ranged from the urban blues of Otis Rush, Buddy Guy, and Junior Wells to Muddy Waters, Skip James, and beyond. The more or less contemporary white blues of the time, Canned Heat, Savoy Brown, and Paul Butterfield also served as a major source of inspiration. From their humble roots LCM quickly built up a following on the British Blues circuit, frequenting the likes of the Marquee, Crawdaddy, Klooks Kleek, Eel Pie Island, and Rikki Tik club. On the college circuit they toured extensively with Chickenshack, Canned Heat, and Muddy Waters with performances being of a high enough standard to generate record company interest. Unable to secure a record deal, they had no other choice but to do it themselves. And so, in the winter months of early '69 that LCM entered Virgin Sound in nearby Windsor to lay down eight tracks recorded on a four-track machine. With no record company interference, the archetypal private pressing, raw, under-produced, and thrillingly primitive. The project successfully captured the spirit and aggression of an exciting new band and the original artefact is now a zeitgeist of that remarkable era. After Levee Camp Moan, Ian Campbell went on to carve out a busy musical career performing with, amongst many others, the Nashville Teens, Arthur Brown's band and Mungo Jerry. Bassist Dave Stubbs played with a host of notables, including Eric Clapton's band and Uli Jon Roth (ex-Scorpions). Original artwork. Includes insert with rare photos and full band history by Pete Sarfas.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 057LP
|
Sommor Records present the first ever vinyl reissue of Alacrán's self-titled release, originally released in 1971. Powerful hard-rock with West Coast, psychedelic, prog, and Latin-rock touches from Spain, featuring killer lead guitar and organ, sung in English. The missing link between Los Brincos and Barrabas! Alacrán was a Spanish power-trio formed by legendary drummer, songwriter and producer Fernando Arbex along with guitar/keyboard player Oscar Lasprilla and bass player/singer Ignacio "Iñaki" Egaña. Fernando and Oscar had previously played in famous Spanish beat band Los Brincos; Fernando was a founding member and Oscar, who came from Colombia where he had been part of Los Speakers, was recruited for their final line-up, recording with them the psych masterpiece "Mundo, Demonio y Carne". Iñaki Egaña was an acclaimed bass player who came from psych/blues band Los Buenos. So basically, these are three of the best musicians from the Spanish '60s-70s scene. When they started to play together, chemistry occurred and soon, guided by Fernando, they entered the studio to lay down some tracks. Alacrán was the result, the only album by this short-lived power-trio, recorded in 1969 but not released until 1971 (as a self-released edition, distributed by the Zafiro label). It was released in Spain and Brazil but despite the good reviews and interest from some record labels in the US, the band never got to play live and soon they split. Alacrán was over but Barrabas, featuring Fernando and Iñaki, was born... Master tape sound; Hard cardboard sleeve and obi; Includes four-page, color insert with liner notes and rare photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 056LP
|
2021 restock. Complete recordings by The Beatstalkers, 1963-69, the legendary band from Glasgow. Fabulous mod-beat, wild R&B, and pop-psych, including all their 45 sides for Decca and CBS plus early demos. Formed in Glasgow in 1962 during the early beat boom by Alan Mair and Eddie Campbell, their line-up also included Davie Lennox, Tudge' Williamson (replaced by Jeff Allen) and Ronnie Smith. Playing an authentic brand of rhythm n' blues and soul covers, they soon took the city by storm and were famous for their riotous shows, attracting hordes of screaming girls and young fans. No wonder they were dubbed "the Scottish Beatles" by the press. Between 1965 and 1969, The Beatstalkers would go on to release a total of seven singles. All these sides are featured here. Including mod/freakbeat classics like "Base Line", "Ev'rybody's Talkin' 'Bout My Baby", "You'd Better Get A Better Hold On", plus several tracks penned by a young David Bowie ("Silver Tree Top School For Boys", "Everything Is You", "When I'm Five"), a killer psych cover of The Action's "Little Boy", and more. The Beatstalkers were a strong live attraction in the clubs and ballrooms around Great Britain (they also held a residence at the Marquee) and were highly praised by their contemporaries, including The Who, with whom they shared a "Ready Steady Go" television appearance. David Bowie was also among their crowd and through mutual manager Ken Pitt, he ended up writing three songs for them. He also played guitar and sang backing vocals on some of the recording sessions. Some of The Beatstalkers 7" were also released in the US, Australia, and France (where an EP housed in a cool picture sleeve was issued). The band also toured Germany many times. In 1969, after their van was stolen with all their equipment, The Beatstalkers broke up. Eddie Campbell was later in Tear Gas and Jeff Allen went on to play for Dr. K's Blues Band and then East Of Eden. Alan Mair was a co-founder of The Only Ones (of "Another Girl Another Planet" fame). The band reunited for a show in Glasgow and in 2018 a book about the band was published. Remastered sound; includes color insert with rare photos and detailed liner notes by Lenny Helsing (Ugly Things).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SOMM 055CD
|
Sommor Records present a reissue of Lucifer Was's debut album Underground And Beyond, originally released in 1997 as a picture disc LP. Killer hard psych-prog from Norway, Underground And Beyond from cult proto-metal band Lucifer Was, contains songs written in 1971-72, but not recorded until 1997. Established in 1970 in Oslo, Lucifer Was were a powerful psychedelic hard-rock/hard-prog band that lasted until 1975. During those years, they gigged locally and played at some big festivals but they never got the chance to register any recording. The band hibernated until 1996 when they reunited again for a live concert. The chemistry was still there so they entered a recording studio and recorded in just 18 hours their first ever album, Underground And Beyond, featuring songs written in 1971-72. Their line-up included two flute players plus bass, drums and the killer lead guitar of Thore Engen. Fully '70s analog -- a powerful sound with devastating distorted lead guitar and flute. Imagine a cross between Jethro Tull, Black Sabbath, and Atomic Rooster. Remastered sound; includes color insert with liner notes by Klemen Breznikar (It's Psychedelic Baby) plus rare photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 055LP
|
LP version. Sommor Records present a reissue of Lucifer Was's debut album Underground And Beyond, originally released in 1997 as a picture disc LP. Killer hard psych-prog from Norway, Underground And Beyond from cult proto-metal band Lucifer Was, contains songs written in 1971-72, but not recorded until 1997. Established in 1970 in Oslo, Lucifer Was were a powerful psychedelic hard-rock/hard-prog band that lasted until 1975. During those years, they gigged locally and played at some big festivals but they never got the chance to register any recording. The band hibernated until 1996 when they reunited again for a live concert. The chemistry was still there so they entered a recording studio and recorded in just 18 hours their first ever album, Underground And Beyond, featuring songs written in 1971-72. Their line-up included two flute players plus bass, drums and the killer lead guitar of Thore Engen. Fully '70s analog -- a powerful sound with devastating distorted lead guitar and flute. Imagine a cross between Jethro Tull, Black Sabbath, and Atomic Rooster. Remastered sound; includes color insert with liner notes by Klemen Breznikar (It's Psychedelic Baby) plus rare photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 054LP
|
Sommor Records present the first vinyl reissue of The Fox's For Fox Sake, originally released in 1970. Sounding more akin to something released in '67-68, For Fox Sake is a superb example of UK psych, highly recommended if you're into Apple, Koobas, Zombies, Octopus, Skip Bifferty, Spencer Davis Group, Rubbles... Formed in Brighton in 1968 with roots to the mod-soul scene, The Fox consisted of Steve (Stephen) Brayne on lead guitar and vocals, Winston Weatherill (ex-Gary Farr & The T-Bones) on lead guitar and sitar, Alex Lane on keyboards and vocals, Tim Reeves on drums, and Dave Windross on bass. During their brief existence they supported The Herd and opened for David Bowie. Their sound was loud and righteous with great vocal harmonies, tight rhythm section and wonderful keyboard/guitar solos. After getting signed to a London management, they recorded their only LP in one session and they had it released in the UK on the Fontana label and on the USA on Crewe, featuring a different cover. Sadly, the band broke up following year and since the inclusion of "Butterfly" in one of the Rubbles comps several decades later, they've become a cult group among psych collectors. Remastered sound; Includes insert with photos/memorabilia, plus liner notes by band member Steve Brayne. Includes original UK artwork.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SOMM 053LP
|
Sommor Records present the first ever vinyl reissue of Synchro Rhythmic Eclectic Language's Lambi, originally released in 1976. Impressive jazz-rock-fusion with progressive, funk, Afro-Caribbean and Zeuhl elements courtesy of multi-cultural French band Synchro. The band features drummer Steve McCall (Air, Cecil Taylor), sax player Jo Maka (Intercommunal Free Dance Music Orchestra), violinist Jean-Yves Rigaud (ZAO), electric guitar player Gerard Curbillon (Speed Limit), pianist Georges-Edouard Nouel (Noel McGhie & Space Spies), and bass player Louis Xavier (Ladja). You'll find Zeuhl grooves ("Rigibo"), jazz-funk-breaks galore ("A.B.C.D."), Afro-Latin-jazz ("Pasto", "Rete"), library jazz funk ("El Gason"), and many more surprises. Originally released on the Moshé-Naïm label in 1976, here's the first ever vinyl reissue, expanded to a double album including some essential bonus tracks taken from the recording sessions. Master tape sound. Original artwork in gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 052LP
|
Sommor Records present the first ever vinyl reissue of Franck Valmont's Et Synchro Rhytmic Eclectic Language, originally released in 1976. A fabulous French/West Indies Afro-jazz-funk-Caribbean-fusion album, originally released on the Moshé-Naïm label by poet-singer-painter Franck Valmont accompanied by multicultural progressive jazz-rock band, Synchro. Featuring Jo Maka (Intercommunal Free Dance Music Orchestra) on sax, Louis Xavier on bass and fuzz-bass, Georges Nouel on electric piano and organ, Gerard Curbillon from Magma-related prog-fusion band Speed Limit on electric guitar, and Yves Dolphin on drums. Includes "Diamant", "Maléré", and more. Remastered sound. Original artwork; includes insert.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOMM 051LP
|
2020 restock. Sommor Records present the first ever legit vinyl reissue of Charge's self-titled album, originally released in 1973. An impossible-to-find, private psychedelic hard-rock album. Charge were a British power-trio born from the ashes of local South Coast heavy-blues bands Baby Bertha and Sweet Poison. Comprised of Dave Ellis (guitar), Pete Gibbons (drums), and Ian Mclaughlin (bass), they played heavy rock influenced by Hendrix, Cream, Free, Peter Green's Fleetwood Mac, etc. In 1973, they cut a demo album at SRT studios of which 99 copies in blank covers were pressed and later distributed between family and friends, with a few of them also shipped to record companies in what proved to be an unsuccessful attempt at earning a recording contract. The music is raw hard-rock with unrestrained guitar, Lemmy-esque vocals, and psych/heavy progressive touches. Side B contains the epic anti-war suite "Child Of Nations". Remastered sound. Includes color insert with rare photos and liner notes by David Wells; includes download card.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
SOMM 042LP
|
Double LP version; includes download. Ear-splitting hard-rock/proto-doom-metal from the early '70s, Electric Funeral were a pioneering Swiss hard-rock band who sadly never registered any studio recordings at the time. Formed in the late '60s by Edi Hirt (drums), Pierrot Wermeille (bass), Alain Christinaz (guitar), and Dominique Bourquin (vocals), they were influenced by bands like Deep Purple, Black Sabbath, and Led Zeppelin. Famous for their loud (they played behind giant stacks of Marshall amps) and powerful shows, their sound was too heavy-sounding for a regular label to offer them a contract. The Wild Performance is made of private live and rehearsal tapes recorded in 1970 -- very raw and lo-fi -- but it's the only testimony of their brutal sound. First released in 1991 as a limited LP, this is an expanded edition with newly remastered sound and four killer bonus tracks, taken from reels and tapes recently found in the band's archives. These tracks were also recorded in 1970 except for "My Destiny", which dates to 1973. The sound is still lo-fi but slightly better than the original tracks, especially on the killer "You Can Help" (proto-punk á la Electric Eels), "My Destiny" and the alternate version of "You Can Help". RIYL: Black Sabbath, Iron Claw, Edgar Broughton Band, Moses, Sainte Anthony's Fyre. Includes insert with rare photos and liner and notes by Klemen Breznikar (It's Psychedelic Baby).
|
viewing 1 To 25 of 79 items
Next >>
|
|