The lone album by Milwaukee's Baroques was recorded in 1967 and issued on Chess Records as part of the label's effort to market music to a new audience. It's a beautifully-grungy affair; somewhat lo-fi, featuring many incredible originals, such as "Mary Jane," issued as the lead-off single - and promptly banned by radio for it's supposed drug references. Filled with moody vocals atop clattering and chiming guitar work.
The Baroques' one and only long-player seemingly came out of nowhere in 1967. The first non-R&B act signed to the famed Chess Records, the Milwaukee based Baroques mixed garage intensity with sonic experimentation that would come to define the later part of the decade. Though widely overlooked, their debut album was rumored to outsell Sgt. Pepper's on a local level.
Fronted by the dark baritone vocals of Jay Berkenhagen, the Baroques weave through the structures of early 60s rock, adding a subtly gloomy touch and at times departing into chaotic bursts of noise. Almost as quickly as they appeared, the Baroques quickly dissolved, but not before making their unique statement with an eclectic array of eccentric tracks.
Released in 1980 as a private edition of 300 copies, "Time and Money" finds outlaw rock hero Ray "McKay" Pierle abandoning the rural rock sounds of his famous "Into You" album for a more hard–rock approach.
Twin guitar attacks charged with fuzz–wah and catchy songs full of memorable hooks and melodic vocals.
Recorded mostly at Ray Pierle’s home–made studio and mixed by Moe Whittemore at the legendary 700 West studios in Indiana, resulting in a warm, fabulous analog sound.
Master tape sound. Insert with lyrics and liner notes
"Among the three records with Ray Pierle involvement, "Time & Money" is the heaviest guitar LP" – Stan Denski (Acid Archives)
Sixteen roller coaster rides of authentic neo-psychedelic pop! The Psychedelic Yesterdays of Tomorrow is the first ever vinyl retrospective of pioneering '80s psych band United States of Existence. Includes their fab Introducing: the United States of Existence LP from 1986 (originally on Bam Caruso), plus essential single/compilation-only tracks and fantastic previously unreleased ones. United Sates of Existence were one of earliest neo-psychedelic groups from the US. Born in Baltimore in 1978 out of the ashes of prog-rock outfit Klangfarb, their goal was to reproduce the sound of their favorite '60s psych bands: Strawberry Alarm Clock, Electric Prunes, Blues Magoos, Nazz, The Association... They consisted of Paul Rieger (guitar, bass, electric sitar), Bob Tiefenwerth (organ, electric harpsichord. piano), Dennis Davison of Jigsaw Seen fame (lead vocals, acoustic guitar, Theremin), and Gary Schwartz on drums and harmony vocals. The group used vintage instruments and antiquated recording techniques to fully embrace the sounds of the first psychedelic era (1967-68). They never got to play live, preferring to spend their time recording in their basement studio or going on record-buying binges at all the discount stores, searching for obscure psychedelic albums with weird names like Harumi, Phulph, Bohemian Vendetta... They were championed by Greg Shaw (Bomp!) who chose one of their first recordings, the killer Return To The Psychedelic, as the opening track for the seminal Battle Of The Garages LP compilation (1981). They also appeared in another famous compilation, The Rebel Kind (1983). "Anything Goes!", their first 45, saw the light in 1984, self-released on the band's own label, U.S. Fidelity Sounds, and featuring members of the Association on backing vocals. In 1986, they caught the attention of the Bam Caruso label from the UK, where they released their only album, Introducing: the United States of Existence, in 1986. The Psychedelic Yesterdays of Tomorrow compiles all the material released by United States of Existence, including their Bam Caruso album along with various single / compilation tracks, as well as a few previously unreleased tracks and alternate mixes. Includes color insert with detailed liner notes and rare photos. RIYL: Blues Magoos, Electric Prunes, Strawberry Alarm Clock, The Association, The Seeds, Dukes Of Stratosphear...
Alan Lee Brackett / Peanut Butter Conspiracy Theories / Lost Songs 1967-1971, features previously unreleased recordings by Peanut Butter Conspiracy's mainman Alan Lee Brackett, mostly written and recorded in 1967, when PBC were at their fame peak. Here, Alan explores a number of different styles, encompassing fuzzed out garage numbers, pop, folk rock and full blown psychedelia.
Including ahead of its time garage-psychedelic DIY homemade recordings where Alan plays all instruments by himself plus studio cuts. Featuring collaborations with songwriter Knox Henderson of Mouse and the Traps fame. Master tape sound.
The Bitter Seeds were one of the pioneering bands from the early Monterey music scene. Led by flashy guitar player Leonard "Pooch" Paschini, they were active from 1966 to 1970, gigging regularly at such legendary venues as Bull's Eye Tavern, Longshoremen's Hall, The Matrix, and The Fillmore and sharing stages with the Grateful Dead, Jefferson Airplane, Iron Butterfly, and Steppenwolf. In 1967, The Bitter Seeds recorded their only 45, issued on Rowena Records as The Rock Shop to avoid confusion with The Seeds. State of Your Mind/Is That Your Halo is a brutal garage-psych double-sider. The following year the group recorded four studio tracks that have remained unreleased until now. These are perfect examples of the transition from R&B-garage to early psychedelic sounds that many San Francisco ballroom bands experienced at the time. An exciting find for any lover of lost West Coast psychedelic sounds.
Originally released in late 1968, La Conferencia Secreta del Toto’s Bar was Los Shaker’s psychedelic masterpiece.
Inspired by Sgt. Pepper's Lonely Hearts Club Band - a milestone that would change the face of pop music forever back in 1967 – Los Shakers created a fundamental album in the history of South American rock music, a seminal record for many artists to come, full of pleasant surprises, magic sounds and sense of humour.
It offers a complex fusion of styles, with elements from both rock and jazz, plus the use of exotic instruments like the bandoneon–widely used in tango music but unprecedented until then in pop/rock adventures. It all makes the last album by Los Shakers an essential, innovative record for any collector and aficionado.
Sounding as fresh and original today as it did back in the late sixties, here’s the first ever vinyl reissue.
The Grains is one of those legendary band that best represents the term Garage Psychedelic Sound. Most of the band members play since the late 80's, the youngest ones play like they've never heard anything but Back From The Grave, Pebbles and Psychedelic Unknowns on the radio. The look of the bands has recently gone a bit Freakbeat but their sound is still pure US garage punk-psych. Perfect swirling organ, crystalline guitar riffs, solid rhythm section with the right fills, and authentic mono(tone) vocals, singing about..flipped dreams, being alone in the burning sun, summer, men with guns, love and more...like the true garage sound..you'll love the Grains album!
Originally released in 1971 (only in Brazil and Argentine) under the SHAKER’S name, (an idea / imposition of the record label / producer) In The Studio Again was in fact recorded by THE INNOCENTS, an Uruguayan band featuring Roberto "Pelin" Capobianco and Carlos "Caio" Vila from LOS SHAKERS plus Héctor and Carlos Capobianco (Pelin’s twin brothers) and Rubén ‘Lorenzo’ Viela. These top musicians recorded in Brazil a wonderful album full of catchy songs, vocal harmonies, superb arrangements and Beatlesque / baroque-pop / proto power-pop vibes.
Hailing from NYC, The Blues Magoos took the folk,blues soundtrack of their mid-sixties Greenwich Village contemporaries and forged it into a tough, garage,psych hybrid that attracted fans as quickly as it angered folk club owners, incensed by the band's volume and unhinged stage show! Signed by Mercury Records in 1966, their inaugural single for the label, a reading of John D. Loudermilk's "Tobacco Road," was a churning 4:30 minute(!) plunge into crazed guitar,organ,drum,bass pyrotechnics with vocals careening over the top. The release hailed the arrival of a new and wholly unique voice on the rock scene. It was also a signpost for a new genre. One of the first albums to use "psychedelic" in the title, it arrived right on time for a generation ready to expand their consciousness with the aid of their turntables. The album's next single, band-penned "(We Ain't Got) Nothin' Yet," featured one of the all-time great riffs, an insistent bass run over which keyboards swirled and unison vocals chanted. An absolute smash, "(We Ain't Got) Nothin' Yet" zoomed to #5 on the national pop charts and made the band an exotic household name. In total, The Blues Magoos released three amazing albums and eight incredible singles on Mercury. Longtime fans, Sundazed has now gathered all sixteen A- and B-sides together on The Blues Magoos: Mercury Singles (1966-1968). Featuring the accurate, original mono single mixes from the Mercury masters, these songs have never sounded better!
