MONUMENT - THE FIRST MONUMENT (BEACON 1971) Jap mastering cardboard sleeve

More than an independent band, MONUMENT are an offshoot of British hard rock band ZIOR, who released two albums in the early Seventies. Their only album, "The First Monument", is the result of an all-night, drunken jam session involving the four members of ZIOR. The album features a heavy, distorted, Hammond-drenched sound, and ZIOR's trademark occult lyrical themes.[progarchives]
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By 1971, when this album was first released, it had become somewhat trendy amongst the underground fraternity to actively participate in practises such as ritual magic, occult arts and various other esoteric customs. With music very much to the fore of this scene, a twilight culture unfurled linking mysticism to it in the form of groups inspired by their own self interest and beliefs.
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While special imagery and gimmicks were an all important part of such groups presentation there were those, like Monument, whose fascination for the occult drove them away from seeking to glamourise their image. Vocalist and keyboards man Steven Lowe was a founder member of a witches coven in Essex and this keen interest in the ancient craft served to shape much of the lyrical content of their sole album, which is steeped in sorcery and mysticism. Monument were short-lived, unlike some of the more commercial outfits with similar leanings striving for recognition...
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THE GEORGE-EDWARDS GROUP - 38 : 38 (DETROIT/MICHIGAN 1977) Jap/Korean mastering cardboard sleeve + 4 bonus

Originally recorded between 1977 and 1978 this private press LP by Raymond M. George and Edward S. Balian (hence the George-Edwards Group moniker) is renowned as an uber-rare example of homemade Midwestern psychedelia. Having pressed up 100 copies as a promotional exercise the duo found themselves giving up, with no labels or publishers willing to get in on the act. All these decades later and collectors are exchanging copies for $400 a time. This is bizarre and labyrinthine tome, taking in highlights such as the proggy synth-rock experiment 'Planets And Stars', ambient piano and chime piece 'Easternia' and 'Wintertime', an acoustic number that weighs in with esoteric Moog and Arp contributions. Far more ambitious and dynamic than most long-lost private press, 38:38 is a compelling excavation.
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'38:38' by The George-Edwards Group's is one of the rarest private press albums of all time. '38:38' departs from the norm of the genre: instead of a low-fi demo quality outing elevated mainly by dealer hype, this album is a haunting piece of music that offers an unusually highbrow take on the archetypal Midwestern rock 'n' roll existentialism usually addressed with a solid beat and sneering vocal. Crafting their sound out of the many influences of the day, Edward Balian and Ray George created pop music with acoustic guitars and harmonies, heavily reverberant piano riffs, cold sheets of synthesizer, bells and chimes. - First-time ever on CD format - Paper sleeve/Gatefold - 24-bit re-mastering(2009) + 4 bonus tracks - Limited edition.
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CLEAR BLUE SKY - CLEAR BLUE SKY (VERTIGO 1970) Jap mastering cardboard sleeve

Clear Blue Sky were just one of these bands that have a most definite blues influence. However, their ability to introduce a number of variations within their musical structure such as subtle classical influences as well as a degree of complexity that went beyond the average band enabled their music to be appreciated by a wider range of audiences.
The album starts with the suite, "Journey To the Inside Of The Sun" which occupied the whole of first side of the original vinyl album, and is in itself subdivided into three tracks. The opening Sweet Leaf is a real stomper, with a classical blues riff. As can be expected, a line-up comprising guitar, bass and drums could be rather limited in the amount of musical diversity that can be created, yet on the other hand the band manage to carry this off well. The opening nine and a half minutes (all of Sweet Leaf) are instrumental with John Simms belting out one guitar solo after the other, ably backed by Sheather and White. On the other hand one can note the classical influence on these musicians when occasional the stomp is abruptly stopped with a short classical interlude (played on guitar) taken from Dvorak's New World Symphony.
The Rocket Ride starts with a Hendrix-like riff, however the track takes an unexpected twist with some rapid changes in time signature and key just before the entry of Simms on vocals. It proceeds on a blues-based foundation though the occasional twist and turn does occur, as happens also with I'm Comin' Home. At times there are traces of Cream, whilst at others one feels that the riffs that shift from an almost acoustic feel to a more abrasive distortion are on a par with Jimmy Page's riffs with Led Zeppelin.
You Mystify has the band letting all hell let loose with Simms' searing guitar work. The shifts in time signature are continuous, once again proving the group's ability to go beyond the routine twelve bar format. Tool Of My Frade also has a backing Hammond, which stays firmly in the background, just adding to the fullness of the sound thus allowing for Simms to do away with the distortion, and even introduce an acoustic guitar. As always the guitar work is fantastic, but a word must be put in for the rhythm section, most notably Ken White's drumming which is constantly changing creating the perfect backbone for Simms and his guitars.
My Heaven and Birdcatcher bring the album to a close. My Heaven could be considered to be the mellower of the two blending both hard and acoustic rock, making it one of the more easy listening tracks on the album. On the other hand Birdcatcher is a straight forward track with Budgie-sque riff featuring plenty of blues influences. Of particular interest on this closing track is use of a flute which adds that Jethro Tull touch to the track. This touch as well as the interlude halfway through the track which has just flute and guitar with footsteps used to keep the beat create and incredibly fantastic atmosphere...[net]
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"Patrick Campbell-Lyons was responsible for producing some of Vertigo's most fascinating releases. Among them was the debut album from Clear Blue Sky, which in my own estimation rates as the label's finest work. The band was a three piece from Acton, who were only 18 years old when the album was issued in 1971. Their album is now very collectable, and they are easily the match of any of their contemporaries."
Barry Winton/Record Collector/'The Vertigo Label'
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RAMASES - SPACE HYMNS (VERTIGO 1971) cardboard sleeve + 4 bonus

Born in the late thirties, in Sheffield, England, Martin Raphael worked as a PT instructor in the army after serving a conscription period and after that started a lucrative business as a central heating salesman in Scotland. One day, whilst in his car he claimed to have had a vision from the Egyptian Pharaoh god Ramases, who informed him that he was actually the re incarnation of this deity and that his duty on earth was to inform the world the truth about the universe. (!!!!!)
The next step for Martin Raphael was to change his name to that of his "original" self, Ramases and try to get himself a recording contract so that he could preach his views via the musical world. Incredibly so, he managed to obtain a recording contract with CBS and released a single (CBS 3717) in 1968 together with his wife under the moniker Ramses And Selket. The tracks featured were Crazy One with Mind's Eye on the B-side.
In 1970, Ramases signed a deal with Vertigo, which was the progressive branch of Phillips. Recordings for an album took place at Strawberry Studios in Stockport. Owned by the future members of 10CC, this is what probably gave this album the cult status it currently has. Four members of this group (which would be formed in 1972) played and most definitely had a hand in the musical input to the album, They were Eric Stewart, Lol Creme, Kevin Godley and Graham Gouldman. The album had a lavish cover, which folded out into a large cardboard poster, designed by Roger Dean.
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Space Hymns was released on the Vertigo label in 1971, and is a rather strange sounding album for this label as it possesses none of the normal musical traits usually characteristic to Vertigo. Musically speaking it sounds somewhat folksy having a strong hippy commune feel, very different to the the jazz tinged bands or the heavy/hard rock bands that characterized this label. The album created a certain amount of hype within certain rock circles especially with those who were fans of the more psychedelic leaning style of progressive rock. The main areas of popularity were England and Germany were there was always a certain amount of affinity for rock bands who tried to fuse their music with certain cults especially Middle Eastern religions....
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PHANTOM'S DIVINE COMEDY - PART 1 (CAPITOL 1974)

"Two distinct schools of thought existed about `70s rock outfit, Phantom. The first tended towards the view that Phantom was cynically signed by Capitol to exploit the recent death of Jim Morrison, whose vocal style Phantom singer Tom Carson copied convincingly. The second is that they were a pretty decent group whose vocalist just happened to sound more than a bit like Morrison.
Whichever of these two scenarios was closest to the truth we will never know, but such was Elektra's concern that the record buying public would be confused into thinking that Morrison was still alive that the record company attempted to obtain an injunction banning Capitol from releasing the band's first album, Divine Comedy. Predictably, Elektra's actions simply increased the publicity the band was attracting, and Capitol duly took full advantage.
In hindsight it's difficult to see what all the fuss was about, as Carson's vocals were only reminiscent of Morrison's at the end of his brief career. In the end, the one thing that is clear is that Divine Comedy is actually a pretty decent album. A consistently high musical and compositional standard is maintained throughout, with many critics acclaiming the mystical sound that was the album's hallmark. Two melodramatic tracks, Tales From A Wizard and Welcome To Hell, stand out particularly strongly, but the entire album is interesting, innovative, and extremely enjoyable."[net]
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Think The Doors with a much heavier sound and a more polished singer and you have Phantom's Divine Comedy Part 1. An album steeped in mystery due to the un-credited musicians and of course, Phantom himself. Yes, the similarities to Jim Morrison are uncanny. The lyrics are also Doors/Morrison territory.
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DEMON FUZZ - AFREAKA! (DAWN 1971) Japan cardboard sleeve remastered + bonus

This is the great classic long lost British psychedelic funk album by Demon Fuzz.
Demon Fuzz would have been very successful. Sadly, however, the only real success they enjoyed is the fact that many club DJs now use their samples frequently. Although the band played most of the British underground festivals in the early seventies, Demon Fuzz were simply too way-out to make a significant impact on the college crowd and as a result they broke up after 18 months on the scene. Released in 1971 the band’s only album, the extraordinary Afreaka!, demonstrates their excellence in playing psychedelic soul, dub-heavy funk, progressive rock, Afro-jazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. This re-release, which includes the stunning and rare EP that at the time was released along with the album, tells the band’s full story.
DONT MISS IT!!!!!!!!!
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