COUNT FIVE - PSYCHOTIC REACTION#### (DOUBLE SHOT 1966) Japan mastering cardboard sleeve + bonus

Count Five was a 1960s garage rock band from San Jose, California, best known for their Top 10 single "Psychotic Reaction".
The band was founded in 1964 by John "Mouse" Michalski (born 1948, Cleveland, Ohio) (lead guitar) and Ken Ellner (born 1948, Brooklyn, New York) (harmonica, vocals), two high school friends who had previously played in several short-lived outfits. After going shortly under the name The Squires, and several line-up changes later, the Count Five were born. Roy Chaney (born 1948, Indianapolis, Indiana) took over bass duties, John "Sean" Byrne (born 1947, Dublin, Ireland, died 2008) played rhythm guitar and lead vocals, and Craig "Butch" Atkinson (born 1947, San Jose, California, died 1999) played drums. The Count Five gained distinction for their habit of wearing Count Dracula-style capes when playing live.
"Psychotic Reaction", an acknowledged cornerstone of garage rock, was initially devised by Byrne, with the group refining it and turning it into the highlight of their live sets. The song was influenced by the style of contemporary musicians such as The Standells and The Yardbirds. The band members were rejected by several record labels before they got signed to the Los Angeles-based Double Shot Records. "Psychotic Reaction" was released as a single, and found immediate popularity in the protopunk scene, peaking at #5 in the U.S. charts in late 1966. The band got along for about another year, but dropped out of view altogether when their only hit had fallen from public memory. Another setback to a potential career in the music business was the decision of the five members (who were between the ages of 17 and 19) to pursue college degrees...
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NOTES FROM THE UNDERGROUND #### (VANGUARD 1968) master edition

Berkeley, CA, psychedelic outfit Notes from the Underground formed in 1965, originally comprised of singer multi instr. Fred Sokolow, guitarist Mark Mandell, bassist Mike O'Connor, keyboardist John Miller, and drummer Joe Luke. One of the first Bay Area rock bands of any real distinction, the group played at the first Longshore's Hall concert presented by the now legendary Family Dog collective -- they also regularly headlined the local club the Jabberwock when the house band, their chief rivals Country Joe & the Fish, were taking a night off. With the exits of Miller and Luke, Notes from the Underground recruited keyboardist Jim Work and drummer Peter Ostwald; soon after, fledgling producer and folklorist Chris Strachwitz proposed helming the Notes' first recording session, which yielded a self-titled EP issued in 1966 on the Changes label.
The attendant publicity no doubt prompted an offer to serve as the house band at Berkeley's New Orleans House, followed by a contract with Vanguard Records -- after swapping Work for jazz-trained keyboardist Skip Rose, the Notes traveled to New York City to cut their lone LP (also self-titled), an expansive, eclectic affair highlighted by the single "Down in the Basement." However, both O'Connor and Ostwald resigned soon after the sessions wrapped, and Vanguard -- questioning the band's continued existence -- opted to cut its losses, spending no money on promotion and voiding their contract...
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SOUL SURVIVORS - WHEN THE WHISTLE BLOWS...(CRIMSON 1968) Remastered reissue + bonus

The Soul Survivors began their singing career in New York City as a street corner vocal group known as The Dedications. The early days were spent trying to audition and be heard by record companies and music publishers located in Broadway's famous Brill Building. Eventually, they found their way into the recording studios,landing their own record deal with Bell Records. Their first recording "I Ain't A Bit Sorry" reached the top ten list on New York's popular rhythm and blues radio station WWRL.
After several years of playing various venues in the New York area, they teamed up with a group of instrumentalists and became the band known as The Soul Survivors. As their popularity grew, especially in the Atlantic City - Philadelphia area, they attracted the attention of record producers Kenny Gamble and Loen Huff. Their meeting resulted in the recording of "Expressway To Your Heart". The record was a smash reaching one on all regional charts and number four on Billboard's national chart. Written and produced by Gamble and Huff, it would be that duo's first "crossover" hit and would serve as a cornerstone of what would later become known as "The Sound Of Philadelphia". In polls taken by the Philadelphia Inquirer and Philadelphia's City Paper, "Expressway" was voted the number one record ever to come out of Philadelphia."Expressway" was followed by two other chart records, "Explosion In My Soul" and "Mission Impossible". At this time they also released their first album,"When The Whistle Blows". A second LP, "Take Another Look" for Atco Records, was recorded at Atlantic Records' New York studios and in the legendary Fame Studio in Muscle Shoals, Alabama with producer Rick Hall and his famous session musicians which included guitarist Duane Allman, as well as keyboardist Barry Beckett, guitarist Jimmy Johnson, drummer Roger Hawkins, bassist David Hood and, of course, The Memphis Horns. From these sessions came "Mama Soul",a regional hit in many markets including Memphis, Georgia, Connecticut, and Europe...
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GEORGIE FAME - SHORTY (EPIC 1970) Japan cardboard sleeve remastered

Clive Powell, 26 June 1943, Leigh, Lancashire, England. Entrepreneur Larry Parnes gave the name to this talented organist during the early 60s following a recomm. from songwriter Lionel Bart. Parnes already had a Power, a Wilde, an Eager and a Fury. All he now needed was Fame. It took a number of years before Fame and his band the Blue Flames had commercial success, although he was a major force in the popularizing of early R&B, bluebeat and ska at London's famous Flamingo club. The seminal Rhythm And Blues At The Flamingo was released in January 1964. Chart success came later that year with a UK number 1, "Yeh, Yeh". Fame's jazzy nasal delivery, reminiscent of Mose Allison, made this record one of the decade's classic songs. He continued with another 11 hits, including two further UK chart toppers, "Getaway" and "The Ballad Of Bonnie And Clyde", the latter of which was his only US Top 10 single. Even the lesser hits such as "Something" (written by John Mayall) and "In The Meantime" (written by John Burch, were of a high standard. They all maintained his jazz feel, which continued on such striking mood pieces as "Sunny" and "Sitting In The Park". Thereafter for a few years, Fame veered towards straight pop. His recent change of record labels (from Columbia Records to CBS Records) was an attempt to re-market him and at one stage he was teamed with the Harry South Big Band. While his albums showed a more progressive style his singles became lightweight, the nadir being when he teamed up with Alan Price to produce some catchy but dire pop songs. "Rosetta" being the lowest point of musical credibility but the highest point in commercial terms...[net]
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ROBIN LENT - SCARECROW'S JOURNEY (NEPENTHA 1971) Japan cardboard sleeve remastered

"I was born in Cuba and raised in the US, Asia, and Europe. I started playing the guitar quite young, but was never a serious student. My parents watched me play a tennis racket along with the radio for a year and bought me an acoustic guitar. We were living in Japan then. I picked up the electric bass years later. In my early teens, I met an incredibly talented singer & guitarist, Anne Hughes, who inspired me to get serious about my playing and singing.
I've spent a few decades now in the world of music, playing in various bands in clubs in California, then in England's folk scene. My big break came when I landed a part in the musical HAIR. This was in the 70's and I played Woof in the Amsterdam production. It was a great gig. We recorded a double album of the musical and I sang lead and back up vocals. At this time, I landed my album deal for "Scarecrow's Journey" through Peace Productions in Holland. Following the release, I giged several years as a solo artist, in the UK and in Europe..." [net]
UNIQUE UK PROG.FOLKROCK...A MUST!!!
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VENTURES - WALK DON'T RUN [first album] (LIBERTY/DOLTON 1961) Remastered reissue

Although The Ventures (who first called themselves The Versatones) consisted of just Bob Bogle and Don Wilson, right up to the time they recorded "Walk Don't Run", they needed a bass and drums to have a full combo. The lack of bass and drums during their first two years, caused them to develop a unique rhythm-heavy style, in which Don Wilson basically tried to be "an orchestra on six strings". It was this strong "in the pocket" interplay between lead and rhythm guitar which gave The Ventures their trademark sound, one which captivated huge audiences. When they added Nokie Edwards on bass, and Howie Johnson on drums, right after being signed by Dolton Records, they maintained this strong lead/rhythm interplay, so that even with Johnson's very much jazz/swing-influenced drum style, their sound carried an aggressive "drive" that was very influential on the sound of guitar-based combos that followed...
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RIP CHORDS - THREE WINDOW COUPE (COLUMBIA 1964) Japan cardboard sleeve DSD mastering

One of the first rock acts signed to Columbia Records in the USA, the Rip Chords were best known for a "hot rod" hit in early 1964, "Hey Little Cobra", which reached the Top 5 just as the Beatles broke through in the USA. The band's records were actually the work of singer producer Terry Melcher (b. Terrence Jorden, 8 February 1942, New York City, New York, USA, d. 19 November 2004, Beverly Hills, California, USA), and singer Bruce Johnston (b. 27 June 1942, Los Angeles, California, USA), later of the Beach Boys. However, that duo did not represent the Rip Chords in concerts; a completely different set of musicians was sent out on the road. The Rip Chords were an already-existing group of musicians including Phil Stewart, Ernie Bringas, Arnie Marcus and Rich Rotkin. Stewart and Bringas approached Melcher, a staff producer at Columbia, and were signed to the label. Their first single, "Here I Stand", was a minor chart hit in 1963, as was "Gone", written by Melcher and Johnston and featuring the latter on background vocals. Melcher and Johnston heard "Hey Little Cobra', written by former Teddy Bears member Annette Kleinbard under the name Carol Connors, and recorded it themselves. Although the pair had planned to record under the name Bruce And Terry, they decided to release the record under the Rip Chords" name, since that band had already appeared in the charts. The single shot to number 4. Hey Little Cobra And Other Hot Rod Hits, was recorded in 1964, featuring Melcher and Johnston singing on nearly half the tracks. Another car-orientated single, "Three Window Coupe", by Jan Berry of Jan And Dean and Roger Christian, was a Top 30 hit in the summer of 1964 and was followed with an album of the same name, which also featured Melcher and Johnston on most of the tracks. After one final chart single, "One Piece Topless Bathing Suit", Melcher turned down the Brian Wilson composition "Help Me Rhonda" for the Rip Chords and took on more production for Columbia, most notably for Paul Revere And The Raiders and the Byrds. From that point on the Rip Chords ceased to exist.
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GROWING CONCERN (MAINSTREAM 1968) Japan cardboard sleeve remastered

This self-titled album by The Growing Concern curiously first saw the light of day in 1968 on Bob Shad's Mainstream label, an imprint more familiar to jazz and blues fans than devotees of psych/pop. Perhaps Shad thought he was going to repeat his commercial triumph (Big Brother & The Holding Co), with The Growing Concern. However, the band was a different proposition altogether with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work rather than the Joplin-dominated R&B of Big Brother, and consequently Shad only allowed the group into the studio on a single occasion, dropping them from the label after this, their eponymous debut. The album, which is brilliantly recorded, is of a consistently high musical quality and the band surely deserved a better fate than the obscurity that Shad's indifference consigned them to.
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ELLIE POP (MAINSTREAM 1968) Japan cardboard sleeve remastered

Catchy psychedelic era pop songcraft from Ellie Pop -- one of the fruits from the vine of "Mainstream Records" psyche years! Ellie Pop starts with some upbeat, mod R&B-tinged rhythms -- then brings in sunny harmonies, fuzzy guitars, and swirling organs -- all produced with a simple, elegant sound that really makes the whole thing sparkle! The album's a groovy, tuneful obscurity that's worth a late discovery and titles include "Seven North Frederick", "Winner Loser", "Can't Be Love", "Remembering (Sunnybrook)", "Seems I've Changed", "Caught In The Rain",Oh! My Friend, "Some Time Ago", "No Thanks Mr Mann", and "Whatcha Gonna Do".Nice!!!
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THE PURPLE GANG (TRANSATLANTIC 1968) Remastered + 4 bonus

They adopted the name, The Purple Gang when they changed their image to the well-dressed, clean-cut "gangster" style in the sixties.
Although they were associated with the London psychedelic scene at the time of their near-brush with fame, they originated in Stockport in Cheshire, in north-west England, as a Jugband. In London, they engaged Joe Boyd as their producer, and shared a studio with Pink Floyd as they cut their first single, Granny takes a trip (named after the eponymous shop in the Kings Road). Floyd were making their own first single, Arnold Layne, at the time.
Unfortunately, the BBC spotted the word trip in the title and assumed it to be a reference to LSD. They banned the record from their airwaves. Also noticing that the band's lead singer at the time (Pete Walker) was nicknamed "Lucifer", they said that the group "would not be tolerated by any decent society". An LP, "The Purple Gang strikes" was released in 1968, but failed to sell.
A bit of the hippie acid-folk vibe seeps into one of the better and more mysterious cuts, "The Wizard," which actually does have a trilling electric guitar. A wee bit of British pop-psych bonhomie also colors "The Sheik," "Kiss Me Goodnight Sally Green," and their most famous track by far, "Granny Takes a Trip".
Pirate radio station DJ's such as John Peel praised the group, but without backing from the big record companies, fortune would elude them.Here

THE STRANGELOVES - I WANT CANDY++++ (BANG 1965-67) 20 tracks most in STEREO

It began as a lark,a gimmick,a goof,but when the dust settled,The Strangeloves had carved themselves a unique place in rock history having recorded three of the 60's lasting pop anthems in "I want Candy","Night Time" and "Cara-Lin".
Whimsically looking to take advantage of America's newfound fascination with music from abroad-The British invasion was hitting its stride-Brill Scene pop songsters/producers Bob Feldman,Jerry Goldstein and Richard Gottehrer playfully conceived of an Australian trio,wild,wholly and otherwise outrageous,The Strangeloves.
When the trio had their early singles explode up the pop charts,the gag turned serious...The Strangeloves were for real!!!
This collection of the group Bang's recordings also includes hard-to find collectibles from their Swan & Sire label efforts...
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ASTRONAUTS - GO GO GO!!!...... (RCA VICTOR 1965) Japan cardboard sleeve K2 remastered

Well..I guess there's nothing left to say about the "Astronauts"..this is their 1965 album "Go Go Go!!!" and the last one worth hearing, may be along with the next one "From Us To You"...(my opinion)...Here

PLAIN JANE (HOBBIT 1969) Limited Reissue

This enigmatic US quartet made only one album,which originally appeared in 1969 and has barely been heard since.
Recently described in the Miami Sun Post as "a vanished masterpiece of charming rural innocence", it's classy combination of laid-back acoustic rock, power pop and gorgeous vocal harmonies, dappled with some tasty fuzz guitar.
With an ever growing reputation amongst psych aficionados... it's highly recommended!
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PUSSY (MORGAN BLUE TOWN 1969) Japan cardboard sleeve remastered

Well, how many albums do you hear that sport a meowing cat for an introduction? With pixie-like vocals, which puts them in the early Pink Floyd territory, Pussy's modus operandi throughout the album is a heavy, funereal keyboard style laced with freaky guitar solos. But this is by no means a dark and gloomy album. Off-kilter would be a better description. The opener, "Come Back June" sports a surf-like Ventures style rhythm with a punchy guitar break halfway through. "All My Life" and "We Built The Sun" are more spacey, cerebral organ sponged songs. The former borders on drug-induced self pity, while the latter, through the lyrical personification of nature, tries to be somewhere else entirely-in the land of the sun people. Make sure you're sitting down for the interstellar overdrive of "Comets", which is the hands-down centerpiece of the album. You won't believe what's at the epicenter of this freak out either-yes, a raging theramin solo (or at least a keyboard that sounds very convincing)! Returning from that trip leads you to the gentler, earthier "Tragedy In F. Minor", that recalls some of the Pretty Things work on the S.F. Sorrow album; the acoustic guitar is wonderful on this piece. The last song, the instrumental "G.E.A.B." is another heavy standout, this time featuring guitar workout that builds to a fuzzy rave-up climax-and then the cat again...Highly recommended.
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SEBASTIAN HARDIE - FOUR MOMENTS [Aus] (POLYDOR 1975) Japan cardboard sleeve remastered

One of Australia's truly acclaimed bands of the 70's fronted by the very talented Mario Millo. SEBASTIAN HARDIE were a progressive rock band that sounded a little like Yes, and described their music as "symphonic rock". A four piece band with Millo on guitar, mandolin and vocals, Peter Plavsic on bass, Alex Plavsic on drums / percussion, and Toivo Pilt on Moog synthesizer, mellotron, piano and organ.
Sebastian Hardie the band, lasted four years, (1973-76) releasing two albums: "Four Moments" (1975 Polydor) which was co-produced with John English, and "Windchase" (1976 Polydor). Four moments is definitely the better album with a mystical feel to it, beautifully showcasing Mario's unique guitar style sounding marginally like slide guitar by using the volume control on his guitar giving his instrument a hauntingly beautiful wind-like sound.
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