Lion Productions is an independently owned label and wholesale distribution company started in 2001. Our own Lion Productions label concentrates on creating respectful re-releases of music first recorded during the "psychedelic era" (1965-1973); as a distributor, we offer similar reissues made by other labels from locations all across the globe.

If it is not a contradiction to say so, we carry a wide range of music within the boundaries of our chosen musical niche. As the definition of what is "psychedelic" alters and expands, we find that we can stock whatever happens to catch our ears and eyes—music that tends to fall between the cracks at other, larger companies. While Lion Productions does stock a wide range of music, we are proud of our selectivity. We are a small company, and excel in customer service and ease of use for both customers and vendors alike.

We sell to independent music stores throughout the United States, and to small, independently owned distributors all over the world. We export to many countries, including Canada, Mexico, England, Benelux, Spain, Greece, Brazil, Japan, and Korea.

RECENT RELEASES

Various "Cold Waves of Color"
Collection of rare UK cold wave tracks taken from Color Tapes label cassettes released in micro editions between 1981-1985. Color Tapes was the brainchild of future Sun Dial leader Gary Ramon: "Living in East London, it was a very grey and bleak time. Huge imposing tower blocks, gasworks and concrete just about everywhere. You couldn't walk through some areas without the risk of being shot at by an air rifle, or worse. Luckily, salvation was in the music. The musical landscape was changing. I saw a very early gig by an unknown all-synth band called Depeche Mode at a dingy pub under a flyover called The Bridge House in Canning Town, London. Following this I saw Grandmaster Flash & The Furious Five and started buying records by the likes of Afrika Bambaataa. At the other end of the musical spectrum, we were picking up records by Stockhausen, John Cage, Pierre Henry and Moondog, and combing junk shops for anything else that looked interesting!" The UK cassette scene and DIY ethos were thriving. Color Tapes was born. Home multi-track recorders were luxury items. They had to make do with sound on sound recorders, bouncing between reel-to-reel and cassette machines if they wanted stereo. What you're about to hear for the first time since those days is a snapshot of Color Tapes: released material and other unissued tracks too. This compilation is the first of a series of Color Tapes/Lion Productions releases of material from the Color Tapes archives.

•Cold wave, electronic synth pop, and minimal tracks from the Color Tapes archive, recorded between 1981-1985

•Features cold wave pioneers Lives of Angels, WeR7, and Modern Art

•Tracks drawn from DIY cassette editions of 100 copies (or less)

•Two bonus tracks not on import vinyl edition

Original sound recordings owned by Color Tapes. For licensing enquiries, please contact us at the e-mail above.

Catalogue number: COLOR CD 01/LION
UPC: 778578111120  



49th Parallel "Singles"
All of 49th Parallel's singles and b-sides + rare alternates, on vinyl for the first time since their initial pressings back in 1966-68! The band’s first single, ‘All Your Love’, was recorded in 1966 as the Shades of Blond; it was previously only available on a staggeringly rare EP featuring Calgary bands. Their debut as 49th Parallel came with ‘Laborer’/’You Do Things’ in mid 1967, followed by ‘She Says’ b/w ‘Citizen Freak in early 1968: four hard-edged garage punk tracks—tough, and thick with fuzz guitar and a defiant sneer. The next single, ‘Blue Bonnie Blue’ b/w ’Missouri’ appeared in late spring of 1968. In the spring of 1969, the beautiful ‘Twilight Woman’ b/w ‘Close the Barn Door’ zoomed up the charts across Canada and parts of the USA. Both ‘Twilight Woman’ and the hit follow-up, ‘Now That I'm A Man’ b/w (Come On Little Child &) Talk To Me are melodic pop/psych of the purest and finest kind. One more post-LP single and a couple of rare tracks round out the story. Fifteen tracks all told on this, the ultimate 49th Parallel vinyl collection.

•First vinyl release since their initial pressings back in 1966-68!

•LP limited to 500 copies

•One of the top Canadian rock bands of the psychedelic era

•Companion piece to our sold out reissue from earlier this year of the band's only album

Catalogue number: LION LP-144
UPC: 778578314415  
   

Ptarmigan PTARMIGAN "Ptarmigan"
Ptarmigan recorded the basic tracks for what would eventually become their only album in 1972. It then took the band’s producer and manager, renowned flautist Paul Horn, more than a year to find a label willing to release such unusual music. Finally, in 1974, Columbia Records released Ptarmigan’s album to critical acclaim, and minimal sales. The music of Ptarmigan is deep and authentic and intimate; it's reflective sounds are well suited to meditating on a landscape, an emotion, a bottle of wine, or maybe while staring at a flickering candle. Sometimes it is free-flowing and jazz-oriented; at other times it has the mystical feel of a shamanistic ceremony, fueled by Eastern-tinged harmonies. But in the end, this album is about the sea: Ptarmigan was, after all, from Vancouver Island, and the musicians were well-versed in the contradictory moods of the surrounding ocean. Hypnotic, mystical, largely instrumental tracks, all based on a complex interplay of recorder, hand drums and acoustic guitar—one of those hidden gems that make life better when you discover them all these years later. Rated by many as the best "folk/progressive" and/or "folk/psych" album ever made. As one contemporary review said, this is "music from musicians, for musicians, late-at-night, last joint music." Our Lion Productions reissue comes with a massive fold-out insert which includes lyrics, liner notes from the band, and a multitude of photos and historical mementos.

•First official vinyl reissue since it's debut in 1974

•Rated by many as the best "folk/progressive" and/or "folk/psych" album ever made

•From the master tapes

•Limited edition of 500 copies  

•Huge insert comes with lyrics, liner notes from the band, and more

Catalogue number: LION LP-137
UPC: 778578313715  


MCKAY "Into You"
One of the "holy grails" of Indianapolis private-pressdom (surpassed only by Zerfas and Anonymous) available again in its original format! Ray "McKay" Pierle and his musically-adept brothers and friends partied, jammed and partied some more on Indy's south side throughout the mid-70's, forming a band (Loos) which managed to garner zero media attention at the time. However, Ray's trusty Teac four-track was always close at hand and countless hours of home recordings were induced onto magnetic tape, as well as a few songs laid down at a local studio. After a brief hiatus, the core members reconvened as McKay, and created their sole document, the 300-press "Into You" album (1978); the LP was given to friends and family and consigned in nearby record shoppes. A mere 15 years had to pass before the collecting world discovered the highly-personal songwriting, tight playing, and not-so-well-hidden West-Coast stylistic touches. A vinyl reissue was locally produced back then but it's long gone, so here's a new all analogue, master tape edition for a new generation to savor.

•All-analogue pressing, cut directly from the original master tapes

•Licensed from Ray Pierle with his full cooperation and support

•Updated liner notes and exactly-transcribed lyrics

Catalogue number: LION LP-142
UPC: 778578314217  


FUSIÓN "Top Soul"
Impossible to find jazz/soul/funk monster by Fusión, issued in Chile in 1975 by ALBA (ALD-041)—a fulsome combination of funk, electric jazz, and soul, with Latin roots. Bassist Enrique Luna had lived and studied art in New York, and knew first-hand the last, avant-garde years of John Coltrane, and Miles Davis’ mutation from hard bop trendsetter into an electric jazz pioneer; Matias Pizarro had appeared on the scene in the mid-60s as a young pianist of outstanding technical ability and advanced ideas. Together they formed a band around a core of Peruvian musicians, with soloists including David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio of Mario Lecaros (electric piano, former Village Trio), and Orlando Avendaño (drums), with guest appearances by trumpeter Daniel Lencina, and young percussionist Santiago Salas (Santa y su gente). Censorship during the Chilean military regime meant heavy restrictions on artists. Thus the Fusión album was pressed in a very limited quantity, and never legally re-issued—until now! 180 gram limited edition of 500 copies. Bi-lingual insert explores Fusión in the context of the rich Chilean music scene

•First time vinyl reissue of 1975 funk/jazz collector Holy Grail

•Super grooving, funky electric jazz with Latin roots

•Bi-lingual insert explores Fusión in the context of the rich Chilean music scene

•Limited to 500 copies

Catalogue number: LION LP-130
UPC: 778578313012

GREEN

GREEN “Green”
Green arrived on the alternative rock scene in the mid-80s, amidst a Chicago scene that included bands like Naked Raygun, Big Black, and Ministry. While Green bypassed the major label-express that other bands rode to fame and fortune, they continued to make records their own way, records which were lauded in the pages of Trouser Press, Spin, and The Village Voice, among others. And with each passing year there are those many who are convinced that their debut LP is worthy of those Mojo/VH1/Spin/ lists of the top 50 or 100 rock albums of all time. Green may be the bee’s knees for power poppers, but they deserve much more notice than that. They were an all-embracing band, with a taste for punk, glam rock and soul—and with the twitchy sort of energy that burbled around in the late-80s, pre-grunge underground (a little Feelies anyone?). It remains a mystery why so many other bands are fixed in the collective memory as the era's best; at the very least, Green should make a list of top obscure pop groups of all time! Color insert has band history and lyrics, plus many a fine photo, all courtesy of band leader Jeff Lescher.

According to one astute reviewer: "Green darts through decades of pop history as impatiently as the 'Spiral Scratch'-era Buzzcocks, with band leader Jeff Lescher’s voice ranging from Princely falsetto to gravel-tinged field holler, but most often sounding as though someone stepped on Paul McCartney’s toes in 1965." Another reviewer quite rightly added, "This is such a flawless pop masterpiece that I’m not even ashamed to trot out terms like 'flawless pop masterpiece.'"

•The ultimate reissue of this vaunted power pop classic!

•Limited edition of 500 copies 

•Color insert comes with notes, lyrics, and photos from band leader Jeff Lescher

Catalogue number: LION LP-143
UPC: 778578314316


PROBE 10 "There is
                                            a Universe" PROBE 10 "There is a Universe"
"This masterpiece crawled up my spine like a kundalini snake and proceeded to take the top of my head off. Probe 10 are unquestionably linked to a very specifically American form of proto-prog-into-jazz-rock synthesis of the precise sort Elektra Records used to specialize in, from Tim Buckley's Starsailor to David Stoughton's Transformer. Toss in trumpet fanfare laden acid psych straight out of the C.A. Quintet songbook, the riotously melodic and dense brassy arrangements of McLuhan... and...well...hold on to your hookahs!" —Mutant Sounds

"Unique jazz-rock album with major space-rock vibes. You have to love the way the bass counters the effects-laden guitar solos and heavy fuzz. Considering how many loner folk and hard rock private press albums came from the same time period, discovering something this ambitious and unusual is a real kick. Most of the time, it sounds like the world's best exploito-jazz record, Herb Alpert filtered through Pink Floyd and Quiet Sun." —Acid Archives

•Rare private press jazz/space rock album, on reissue wish lists for years

•Limited edition of 500 copies  

•Color insert comes with notes from the band

Catalogue number: LION LP-129
UPC: 778578312916
   

                            

LION PRODUCTIONS LPs RELEASES


49th Parallel "Singles"
All of 49th Parallel's singles and b-sides + rare alternates, on vinyl for the first time since their initial pressings back in 1966-68! The band’s first single, ‘All Your Love’, was recorded in 1966 as the Shades of Blond; it was previously only available on a staggeringly rare EP featuring Calgary bands. Their debut as 49th Parallel came with ‘Laborer’/’You Do Things’ in mid 1967, followed by ‘She Says’ b/w ‘Citizen Freak in early 1968: four hard-edged garage punk tracks—tough, and thick with fuzz guitar and a defiant sneer. The next single, ‘Blue Bonnie Blue’ b/w ’Missouri’ appeared in late spring of 1968. In the spring of 1969, the beautiful ‘Twilight Woman’ b/w ‘Close the Barn Door’ zoomed up the charts across Canada and parts of the USA. Both ‘Twilight Woman’ and the hit follow-up, ‘Now That I'm A Man’ b/w (Come On Little Child &) Talk To Me are melodic pop/psych of the purest and finest kind. One more post-LP single and a couple of rare tracks round out the story. Fifteen tracks all told on this, the ultimate 49th Parallel vinyl collection.

•First vinyl release since their initial pressings back in 1966-68!

•LP limited to 500 copies

•One of the top Canadian rock bands of the psychedelic era

•Companion piece to our sold out reissue from earlier this year of the band's only album

Catalogue number: LION LP-144
UPC: 778578314415 

MCKAY "Into You"
One of the "holy grails" of Indianapolis private-pressdom (surpassed only by Zerfas and Anonymous) available again in its original format! Ray "McKay" Pierle and his musically-adept brothers and friends partied, jammed and partied some more on Indy's south side throughout the mid-70's, forming a band (Loos) which managed to garner zero media attention at the time. However, Ray's trusty Teac four-track was always close at hand and countless hours of home recordings were induced onto magnetic tape, as well as a few songs laid down at a local studio. After a brief hiatus, the core members reconvened as McKay, and created their sole document, the 300-press "Into You" album (1978); the LP was given to friends and family and consigned in nearby record shoppes. A mere 15 years had to pass before the collecting world discovered the highly-personal songwriting, tight playing, and not-so-well-hidden West-Coast stylistic touches. A vinyl reissue was locally produced back then but it's long gone, so here's a new all analogue, master tape edition for a new generation to savor.

•All-analogue pressing, cut directly from the original master tapes

•Licensed from Ray Pierle with his full cooperation and support

•Updated liner notes and exactly-transcribed lyrics

Catalogue number: LION LP-142
UPC: 778578314217  

GREEN

GREEN “Green”
Green arrived on the alternative rock scene in the mid-80s, amidst a Chicago scene that included bands like Naked Raygun, Big Black, and Ministry. While Green bypassed the major label-express that other bands rode to fame and fortune, they continued to make records their own way, records which were lauded in the pages of Trouser Press, Spin, and The Village Voice, among others. And with each passing year there are those many who are convinced that their debut LP is worthy of those Mojo/VH1/Spin/ lists of the top 50 or 100 rock albums of all time. Green may be the bee’s knees for power poppers, but they deserve much more notice than that. They were an all-embracing band, with a taste for punk, glam rock and soul—and with the twitchy sort of energy that burbled around in the late-80s, pre-grunge underground (a little Feelies anyone?). It remains a mystery why so many other bands are fixed in the collective memory as the era's best; at the very least, Green should make a list of top obscure pop groups of all time! Color insert has band history and lyrics, plus many a fine photo, all courtesy of band leader Jeff Lescher.

According to one astute reviewer: "Green darts through decades of pop history as impatiently as the 'Spiral Scratch'-era Buzzcocks, with band leader Jeff Lescher’s voice ranging from Princely falsetto to gravel-tinged field holler, but most often sounding as though someone stepped on Paul McCartney’s toes in 1965." Another reviewer quite rightly added, "This is such a flawless pop masterpiece that I’m not even ashamed to trot out terms like 'flawless pop masterpiece.'"

•The ultimate reissue of this vaunted power pop classic!

•Limited edition of 500 copies 

•Color insert comes with notes, lyrics, and photos from band leader Jeff Lescher

Catalogue number: LION LP-134
UPC: 778578314316


49th PARALLEL 49th PARALLEL "49th Parallel"  Limited LP edition
In the spring of 1969, 49th Parallel had a hit in with ‘Twilight Woman’, a lovely song that sounds like a poppier version of what bands like Tomorrow were doing in England. That success led to the release of 49th Parallel’s only album. All hyperbole aside, it is easily one of the top Canadian rock albums of the psychedelic era. The album is strong throughout—from the pulsating psychedelia of ‘Lazerander Filchy’ and the ultra-strange ‘(The) Magician’, the shimmering beauty of 'Twilight Woman', to the quintessential slashing guitars punk edginess of ‘Now That I'm a Man’ and ‘(Come On Little Child &) Talk To Me’. Dan Lowe's blazing fuzz guitar work stands out on ‘Missouri’ and also when matched by organist Jack Velker's brilliant work on ‘Eye To Eye’, ‘Talk To Me’ and ‘(The) People’.

•First official vinyl reissue since its original release in 1969

•LP limited to 500 copies

•One of the top Canadian rock albums of the psychedelic era

•Comes with color insert with band history and photos

Catalogue number: LION LP-138
UPC: 778578313814  
Format: LP +
color insert


49th PARALLEL 49th PARALLEL "49th Parallel"  Limited LP edition
SOLD OUT

1st Edition
Catalogue number: LION LP-138
UPC: 778578313814  
Format: LP +
color insert


Ptarmigan PTARMIGAN "Ptarmigan"
Ptarmigan recorded the basic tracks for what would eventually become their only album in 1972. It then took the band’s producer and manager, renowned flautist Paul Horn, more than a year to find a label willing to release such unusual music. Finally, in 1974, Columbia Records released Ptarmigan’s album to critical acclaim, and minimal sales. The music of Ptarmigan is deep and authentic and intimate; it's reflective sounds are well suited to meditating on a landscape, an emotion, a bottle of wine, or maybe while staring at a flickering candle. Sometimes it is free-flowing and jazz-oriented; at other times it has the mystical feel of a shamanistic ceremony, fueled by Eastern-tinged harmonies. But in the end, this album is about the sea: Ptarmigan was, after all, from Vancouver Island, and the musicians were well-versed in the contradictory moods of the surrounding ocean. Hypnotic, mystical, largely instrumental tracks, all based on a complex interplay of recorder, hand drums and acoustic guitar—one of those hidden gems that make life better when you discover them all these years later. Rated by many as the best "folk/progressive" and/or "folk/psych" album ever made. As one contemporary review said, this is "music from musicians, for musicians, late-at-night, last joint music." Our Lion Productions reissue comes with a massive fold-out insert which includes lyrics, liner notes from the band, and a multitude of photos and historical mementos.

•First official vinyl reissue since it's debut in 1974

•Rated by many as the best "folk/progressive" and/or "folk/psych" album ever made

•From the master tapes

•Limited edition of 500 copies  

•Huge insert comes with lyrics, liner notes from the band, and more

Catalogue number: LION LP-137
UPC: 778578313715  


NIHILIST SPASM BANDNIHILIST SPASM BAND "No Record"
One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie!

"In 1965, eight guys from London, Ontario, decided to start a free-improv group — 'free' to the point of building their own instruments, which they decided couldn't be set up to produce specific pitches... Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn't treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the '90s, noise artists finally recognized NSB as their ancestors — and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over." —Spin

"The record you’re holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It’ still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening.  —Lasse Marhaug

•One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music

•Comes with huge color insert with the band’s story and rare photo and more

•From the master tapes.

•Limited edition of 500 copies.

Catalogue number: LION LP-136
UPC: 778578313616

Balletto di Bronzo IL BALLETTO DI BRONZO "Sirio 2222" Limited LP edition
Raw-edged heavy rock, fronted by Lino Ajello's powerful electric guitars, channeling the dark, jagged energy of Jimmy Page, Adrian Gurvitz, and Jeff Beck. Il Balletto di Bronzo absorbed their influences (Led Zeppelin, Jimi Hendrix, The Yardbirds), but moved from there into an inspired, hard-edged musical space; the band's overwhelming power and great melodies make them irresistible. ‘Un posto’ and ‘Neve Calda’ are centered around simple but effective guitar riffs. ‘Eh eh ah ah’ starts like a nice mellow ballad, but gets into a hard blues rock groove. On side two, there's the seven-minute mammoth heavy grind of ‘Incantesimo’ and the colossal ‘Missione Sirio 2222,’ almost ten minutes of droning acid rock with whirling guitars and heavy pounding drums, sandwiched between an acoustic intro and outro. No surprise then that Nurse With Wound cited Il Balletto di Bronzo as an influence.

•LP limited to 1,000 copies in replica metallic jackets

•Incredibly rare album: original copies sell for more than $5,000, if and when they appear (they don't)

•Comes with four-panel poster-sized color insert which delves into Il Balletto Di Bronzo's strange legacy

•Licensed from Sony Music Entertainment Italy S.p.A.

Catalogue number: LION LP-135
UPC: 888837591614     
Format: LP + four-page
insert

GUY SKORNIK GUY SKORNIK "Pour Pauwels"
Skornik was a mystic explorer, psychonaut, and gifted musician, who was immersed in the metaphysical revolutions of his time. He presented television reports, laced with elements of Eastern mysticism, on LSD experiences. Between 1970 and 1973, EMI/Pathé released several ambitious and progressive pop albums: “La Mort D’Orion” (Gérard Manset), “Puzzle” (Michel Berger), “Hathor” (Igor Wakévitch). And then there was Skornik's incredible album, "Pour Pauwells", inspired by the revolutionary writings of Louis Pauwells (famously namechecked by Gainsbourg in his classic 'Initials B.B.'), a one-time counterculture hero and disciple of esoteric spiritualist G. I. Gurdjieff, The result is a timeless blend of lush orchestration, searing psych-rock, baroque melodies, and deep funk fluidity.

"If you have not heard of Guy Skornik you do not know what you've lost... but don't worry, it's never too late. Guy was brought to the public's attention for the first time in the beginning of 1970. Then it was the release in the middle of the year of a magnificent LP (on Pathé, of course!) I strongly recommend it to you as it is a masterpiece. He starts with a taste for surrealism and for all the strange things that have occurred over thousands of years on the earth’s surface; Skornik tried, and succeeded perfectly, to create with his music what Louis Pauwels did with his huge best-seller The Morning of the Magicians—a book that can be quickly defined as a popularization of many disturbing problems poorly understood by the general public, such as flying saucers, Atlantis, and Easter Island." —Jacques Allemand (Extra magazine)

•One of a handful of classic French progressive pop albums of the early 1970's, together with Serge Gainsbourg’s “Melody Nelson," Igor Wakévitch's "Hathor", and Gérard Manset's “La Mort D’Orion"

•Key member of François Wertheimer's Popera Cosmic collective

•LP pressed in a one-time 180 gram edition of 500 copies

•Licensed from Parlophone, A Warner Music Group Company.

Catalogue number: LION LP-134
UPC: 778578313418


SNAKEGRINDERSNAKEGRINDER
"Snakegrinder...and the Shredded Feldmice"
West Coast From the East Coast! Every burgh in the 70's that had a steady supply of weed and electricity provided a birthing ground for bands influenced by the likes of Jerry Garcia and Lowell George, and the Delaware area was no different. What was different was that in 1977 Snakegrinder made a record of their finest "homegrown" attempts, for the local admirers, and then quietly slithered away,  Worldwide recognition would take another generation or so. Since then, the album has garnered accolades from the Acid Archives crowd and so we felt the time was right to give the group's efforts a proper (and properly licensed from the band) presentation, with an "old-style" heavy gatefold sleeve containing pics, gig posters, song lyrics and liner notes by producer and long-time fan Gregor Alligator.

• 100% licensed mastertape reissue - guilt-free listening!

• The Story Of Snakegrinder by Gregor Alligator

• 180-gram vinyl

• Tip-on gatefold jacket, featuring gig posters and full lyrics

Catalogue number: LION LP-133
UPC: 778578313319

OOSTEN MICHAEL OOSTEN “S/T” 
Keeping a band together was difficult in the late 1960’s. Tough too, because Michael Oosten was writing songs that veered away from pop-song structures. There was also the relative ease and lack of responsibility required for hauling around a guitar. So, Oosten took off, with a Martin guitar in tow, playing coffeehouses and clubs across the country. By the end of 1973, he was ready to record an LP—five psychedelic folk/rock tracks, ranging from the brightly smiling ‘Sunny Day’ to the epic ‘Hungry Horse Montana,’ where Oost switched seamlessly from Celtic picking to Middle Eastern chord progressions. Oosten filled out his folk/rock/psych sound with the help of a few friends: piano from Tom Hennick on ‘Hey Babe,’ vocals from Jan Reek on ‘Garden,’ and bass from Al Byla on ‘Sunny Day.’ Oosten's wayward vocals puts us in mind of other meandering faves from various eras (Incredible String Band, Perry Leopold, or the Meatpuppets, to name but three), and Oost proves himself a stellar guitarist in an eccentric and percussive mode. Considering the individualistic nature of the album's genesis, no surprise that marketing and publicity for the album was limited. Columbia Records expressed interest in Oosten's music; but after a single meeting with the label, it was clear that the album would be too difficult for the mainstream honchos to market. Oost and friend Lester D'ore (editor of Chicago countercultural paper Seed and designer of the Yippie flag) holed up at D'ore's Wisconsin commune farm to silkscreen each LP jacket by hand. For our deluxe Lion Productions replica edition, they’ve done that again—we've used the original screens for this hand-screened, hand-assembled replica edition. The work of a renegade, ripe for rediscovery. 

•Hand silk-screened jackets, using the original screens
•180 gram vinyl w/replica labels + color insert
•Sleeve notes by Michael Oosten
•Limited to 500 copies, which come in multiple color variations
 

Catalogue Number: LION LP-132
UPC: 7785787313218 (hand-screened, hand-assembled LP edition of 500 copies)


FUSIÓN "Top Soul"
Impossible to find jazz/soul/funk monster by Fusión, issued in Chile in 1975 by ALBA (ALD-041)—a fulsome combination of funk, electric jazz, and soul, with Latin roots. Bassist Enrique Luna had lived and studied art in New York, and knew first-hand the last, avant-garde years of John Coltrane, and Miles Davis’ mutation from hard bop trendsetter into an electric jazz pioneer; Matias Pizarro had appeared on the scene in the mid-60s as a young pianist of outstanding technical ability and advanced ideas. Together they formed a band around a core of Peruvian musicians, with soloists including David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio of Mario Lecaros (electric piano, former Village Trio), and Orlando Avendaño (drums), with guest appearances by trumpeter Daniel Lencina, and young percussionist Santiago Salas (Santa y su gente). Censorship during the Chilean military regime meant heavy restrictions on artists. Thus the Fusión album was pressed in a very limited quantity, and never legally re-issued—until now! 180 gram limited edition of 500 copies. Bi-lingual insert explores Fusión in the context of the rich Chilean music scene

•First time vinyl reissue of 1975 funk/jazz collector Holy Grail

•Super grooving, funky electric jazz with Latin roots

•Bi-lingual insert explores Fusión in the context of the rich Chilean music scene

•Limited to 500 copies

Catalogue number: LION LP-130
UPC: 778578313012

PROBE 10 "There is a
                                          Universe" PROBE 10 "There is a Universe"
"This masterpiece crawled up my spine like a kundalini snake and proceeded to take the top of my head off. Probe 10 are unquestionably linked to a very specifically American form of proto-prog-into-jazz-rock synthesis of the precise sort Elektra Records used to specialize in, from Tim Buckley's Starsailor to David Stoughton's Transformer. Toss in trumpet fanfare laden acid psych straight out of the C.A. Quintet songbook, the riotously melodic and dense brassy arrangements of McLuhan... and...well...hold on to your hookahs!" —Mutant Sounds

"Unique jazz-rock album with major space-rock vibes. You have to love the way the bass counters the effects-laden guitar solos and heavy fuzz. Considering how many loner folk and hard rock private press albums came from the same time period, discovering something this ambitious and unusual is a real kick. Most of the time, it sounds like the world's best exploito-jazz record, Herb Alpert filtered through Pink Floyd and Quiet Sun." —Acid Archives

•Rare private press jazz/space rock album, on reissue wish lists for years

•Limited edition of 500 copies  

•Color insert comes with notes from the band

Catalogue number: LION LP-129
UPC: 778578312916


LAURENCE
                                VANAY "Evening Colours" LAURENCE VANAY "Evening Colours" Limited LP edition

SOLD OUT

Catalogue number: LION LP-127
UPC:  778578312619

LAURENCE VANAY “Galaxies” LAURENCE VANAY “Galaxies” Limited LP edition

SOLD OUT

Catalogue number: LION LP-126
UPC:  778578312619


EDUARDO MATEO “Mateo Solo Bien Se Lame”


SOLD OUT
 
Catalogue number: LION LP-124
UPC: 778578312411


Shin
                                  Joong Hyun & Yup Juns SHIN JOONG HYUN & YUP JUNS "S/T" (original version)
Spring of 1974, in Seoul: this was the time and place that witnessed the birth of psychedelic power trio Shin Joong Hyun & Yup Juns. "In Korean, yupjun literally means a brass coin," Shin explains. "However, during that time it was used as slang to describe a sense of unpleasantness and dislike. Since I was so unpleasant and dissatisfied [in my career], I told myself, ‘Ok, fine, I am just a yupjun,’ and named my band with a rebellious attitude." Shin began by renting a spacious room at Seoul’s Tower Hotel to serve as a creative home base for the group. After six months of earnest preparation, the group cut ten powerful songs filled with monster grooves, fuzz guitar, emotive singing, and top-notch songwriting. Shin had achieved his goal. The album was pressed up as an ultra-limited, broadcast-only promotional vinyl to test radio response; the response wasn’t what anyone expected, and the record label refused to release the album. Shin Joong Hyun & Yup Juns re-recorded the album (with a new drummer), but it is this, the original ten track version, that has become legendary—with good reason. An astounding record, and one that we are privileged to bring to the rest of the world for the first time. Tough and funky tracks, driven by Mr. Shin's ferocious guitar; capped off in blissful head-spinning psychedelic style by 'The Rising Sun', an instrumental in the vein of the Jimi Hendrix Experience's 'Third Stone From the Sun.' Our Lion Productions version of this quintessence of funky psychedelia features Korean/English lyric translations, rare photos, re-mastered audio, and comprehensive liner notes by Kevin "Sipreano" Howes. The deluxe mini-LP sleeve CD version has a 20-page booklet with rare photos, and great stories about Shin Joong Hyun and his continuing place of prominence in the Korean music scene; the 180 gram vinyl version comes in a deluxe old-style jacket, with full color OBI and a full color insert with liner notes, rare photos and translated lyrics.

 
Catalogue number: LION LP-123
UPC: 778578312312 (LP)

KIM JUNG MI KIM JUNG MI "Now" "Now"
At the dawn of the 1970’s, South Korea’s rock music scene was at its zenith. Much of the reason for this was the god-like musical touch of guitar wizard, songwriter, producer, and arranger Shin Joong Hyun. For this album, he took a young girl named Kim Jung Mi, and transformed her from a wallflower student into a folk-psych chanteuse in record time (if Francoise Hardy is the Marianne Faithful of France, then Kim Jung Mi is, I suppose, the Francoise Hardy of Korea). The ten songs on Now were written and recorded during 1973 with a firm mandate to create a truly psychedelic sound experience. On each number, Shin Joong Hyun and his backing group laid down pure emotion on tape. Mr. Shin’s fuzz guitar weaves in and out of the tracks, interlaced with his own poetic musings on nature (spring, sun, flowers, rain, and wind), all else in the world apart from Kim Jung Mi’s soothing voice and insistent bass that crouches and creeps, depending on its mood, displaced. This raw feeling, combined with Kim Jung Mi’s seductive, expressive vocals and empathetic string orchestration, resulted in an album that is nothing short of awe-inspiring. Mr. Shin’s ethereal cover photo—the blue graininess of the sky dripping into fading clouds, with Kim Jung Mi surrounded on her sky-high isolated mountaintop by flowers—is the perfect image to represent what is, without a doubt, one of the best psychedelic albums ever created. Our version of this quintessence of psychedelia features Korean/English lyric translations, rare photos, re-mastered audio, and comprehensive liner notes by Kevin "Sipreano" Howes and Shin Joong Hyun expert Jae-Myeong Ro (director of the Korean Classical Music Record Museum, and author of the book Shin Joong Hyun and Beautiful Country. The 180 gram vinyl version of "Now" comes in a deluxe old-style jacket, with OBI, and has a full color insert with liner notes and rare photos; the deluxe mini-LP sleeve CD version has a 20-page booklet with rare photos, and great stories about Shin Joong Hyun and Kim Jung Mi’s continuing place of prominence in the Korean music scene.

Catalogue number: LION LP-122
UPC: 778578312213

ROTOMAGUS ROTOMAGUS "The Sky Turns Red: Complete Anthology"
There’s no way to know why CBS Records unceremoniously dumped Rotomagus and the Chico Magnetic Band after one single apiece; suffice to say that decision was a poor one, as both bands have (quite rightly) developed a cult-like following over the years. All in all, the artistic trajectory of Rotomagus was peculiar: they started out as a harmony pop-psych band, shifted through a brief Jimi Hendrix-ian interlude (‘The Sky Turns Red’), straight into a Vanilla Fudge groove; they then went down in flames as a hair-raising monolithic heavy rock power trio. On Julian Cope’s excellent Head Heritage web-site, the Seth Man raves about Rotomagus thus: "The first time I heard this track (‘Fighting Cock’), I did not freak out. I merely walked into a nearby closet and screamed my head off for a minute solid, beat the floor and ripped my t-shirt... then I cowered when it hit me: this thing came out in 1971? Before "Raw Power"?! I just lost my mind... The only thing that predates this monster in terms of being a full-on amassing of all things heavy are all the many key points on Sir Lord Baltimore’s "Kingdom Come" LP and THAT’S it, brother." French magazine Rock & Folk was succinct: "Rotomagus create an emotional music, violent, even aggressive." Violent. Aggressive. Intense. On this disc we bring you the entire output of Rotomagus, including an album-length demo from 1971, the band’s tumultuous, thunderous swansong, recorded as a super jam (live with no overdubs). Our Lion Productions and Martyrs of Pop edition of Rotomagus comes replete with a bi-lingual 32-page booklet, with the entirety of the Seth Man’s article on the band, plus the band’s history in both English and French, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper, manufactured using biogas energy. Hard to believe this is all pre-1971, as much of the demo is not just proto punk but proto hardcore—with enough fiery attitude to make you want to scream along. The vocals are wild, while the guitar riffs and grinds and approaches a Stooges via Motorhead apocalyptic grandeur. Amazing!

2xLP edition catalogue number: LION LP-121
UPC: 778578312114 (2xLP)

the CASE the CASE "Blackwood" LP edition
 Blackwood. The title alone is portentous, at the very least semi-evil sounding. Fear not, there are no devils, demons, or witches lurking in these woods. Instead we have a heretofore almost completely unknown and rarely spoken of album of nine original tracks, self-released on the legendary RPC Records label by a group of self-motivated teens from Pennsylvania. Luckily for lovers of musical mayhem, the Case got access to their school music room and a four-track recorder over a Christmas break in 1971. A rock-solid, hard-driving rhythm section lays down the necessary underpinning for moody organ and beautifully-toned guitar. There is sheer joy at play here, a kind of rock 'n' roll exuberance—with ample raw talent and wicked riffing—which shines through on every cut. Raw, primitive, like the Velvet Underground at their best.

• Terrific primitive album recorded in 1971 by some very advanced high-schoolers during their Christmas vacation, self-released on the legendary RPC Records label 

• Color booklet includes notes by the band + rare photos

• 180 gram vinyl, limited to 500 copies.

Catalogue number: LION LP-119
UPC: 778578311919

AURA AURA "S/T" (a.k.a. "Sativa")
Official replica vinyl edition of this oft-sampled slab of Bay Area history, a psych funk masterpiece that cannot be denied. Aura formed in 1974 and played extensively throughout Northern California. By 1976, the band recorded their first and only album at Pacific Recording Studio in San Mateo. The original title of the album was meant to be "Sativa", but out of fear that promoting the joys of marijuana would be too controversial, the band omitted the title and just left it as "Aura". Over the ensuing decades, the Aura album has grown in stature to become a major soul/funk collector's item. It features a number of major funk tracks plus funky ballads with female vocals. Standouts include 'Sativa' (replete with water-pipe sound effects and blistering guitar), and the manic fuzz-guitar jam 'Skyrocket.' Old style tip-on jacket and quality limited edition vinyl pressing, mastered from the original tapes.

Catalogue number: LION-LP-118
UPC: 778578311810

Miguel y El Comité MIGUEL Y EL COMITÉ "Para Hacer Música, Para Hacer..."
El Syndikato made Miguel Livichich a rock star in South America; but it was his sole effort as "Miguel y el Comité" that made him a groove-loving crate-digger’s dream! Livichich left El Syndikato, and in an instant, formed another band. This new group was called Miguel y el Comité (Miguel and the Committee)—a clear allusion to Livichich’s previous group El Syndikato (the Syndicate), and also a demonstration of his leadership role; even though Miguel y el Comité worked as a proper band in their structure, Miguel Livichich made all decisions concerning the group. As Livichich recalled, "I told them, I want a band to join me, but we all work together... more rock and candombe and a few things more commercial. Accept, and we make a titanic effort. An aggressive launch. I do not lie, in fifteen days we were recording the LP. It was pin, pin and we were playing at all dances. It was amazing working with Miguel y el Comité." That band's 1971 album, with Livichich firmly at the helm, fused the local candombe rhythm with beat music in an unusual and aggressive (oft-times funky, break-beat) way—the nearest band in Uruguay to the unconventional excellence that was the brief career of El Kinto. Miguel y el Comité played mostly original songs, but they also mixed in covers of tracks by other Uruguayan bands. Percussion plays a key role in the band’s sound, although the guitar playing is most distinctive: sometimes melodic, at other times carving a path through the mix, with a hard and acid distorted fuzz guitar sound, as on the title track and the fabulous cover of El Kinto's ‘Qué me importa.’ Dynamite! Old style tip-on jacket and quality vinyl pressing, newly mastered from the original tapes. Comes with a four page insert, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy, with band history, photos, and bi-lingual lyrics. Limited edition of only 500 copies.

Catalogue number: LION LP-117
UPC: 778578311711

Scott
                                        Key SCOTT KEY “This Forest and the Sea”
Excellent 1976 private press acoustic album, self-recorded at various places in Colorado, and filled with beautiful fingerstyle acoustic guitar, plus some atonal bottleneck slide, string scrapes and drones (at times, very Ry Cooder/“Paris, Texas” about six years before that soundtrack existed). Although almost completely instrumental, what lyrics there are tend towards the dark and the satiric. The obvious points of comparison are John Fahey and Leo Kottke, although Scott Key certainly has his own presence and style, differences in tone and color and attack, which he attributes to his background in rock bands. Overall, there is a brooding, loner folk/psych feel, most evident on the phenomenal, effects-heavy, almost 11-minute long title track, ‘This Forest and the Sea.’ "I was coming to terms with what it mean to exist… and saw the world in pure black and white—there was no room for grey,” Key said. “I saw an American Culture devoid of any understanding of its place in the universe, how we learn nothing save what we see on television, how our existence is tainted by intellectual laziness, and how our gift of life is defiled by the taking of it." This deluxe 180-gram vinyl LP edition of “This Forest and the Sea” comes with an insert which sports engaging, funny, and insightful notes by Key, photos, plus the text to poem that inspired the title track; as a nod to the forest, the insert is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy. A very rare album that seems to have flown under almost everyone’s radar—although thankfully not Doug McGowan’s (Yoga Records), who sent this our way. One record collector said to us, and we now say to you: “Have a listen because this rates up there with classics by Bob Desper, Perry Leopold, Robbie Basho, and Phil Yost, with dark moods similar to John Fahey and Nick Drake.” This LP edition is limited to 500 copies.

Catalogue number: LION LP-116
UPC: 77857811612

 HOLLINS
                                  & STARRHOLLINS & STARR "Sidewalks Talking"
I love this record. For me, it has a trace or two of Arthur Lee and Love at their best (‘Krishna Dov’ would not sound out of place on "Forever Changes," for example), with dashes of maybe Terry Callier in some of the jazzier tunes. I also like that Hollins & Starr wrote a gentle tribute to one of my favorite old-time bluesmen, Mississippi John Hurt. At times this album is a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too (where did those crazy orchestrations, wild guitar, and breakbeats on the fierce anti-war rave-up ‘Hard Headed Woman’ come from?), all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. Chicago-based duo Chuck Hollins and David Starr only made this one album, which originally appeared in 1970 on the Ovation label. All we know about them is what the original ads for the album said: "David Starr learned piano when he was three, began composing when he was four. At twenty-one he was playing flute with the Chicago Symphony Orchestra. Chuck Hollins picked up a guitar one day and just started playing.... by the time he left Northwestern with his Creative Writing degree he was turning his poetry into music." Others have said: "Unique blend… with a lovely dreaming, drifting vibe" – the Acid Archives; "Many diverse influences from pop-psych, mystical mellow passages, quasi-classical touches, delightful ethereal flute, trance-like vocals and fuzz guitar… there is much to appreciate on this largely undiscovered gem" – Fuzz, Acid & Flowers. Our deluxe mini-LP sleeve CD edition has four bonus tracks, including a "hidden track" with some rare sound effects plucked from the vaults. Our replica LP version will come in an old style tip-on jacket, and include an insert with an essay on the album and a little background history on the Ovation label. It is a 180 gram vinyl pressing, mastered from the original tapes; the sad news: this LP version is limited to 750 copies. So, we state that the sole album by Chuck Hollins and Dave Starr, their only known recordings, is a treasure trove of strong melodies and dreamy vocal stylings—an album sure to appeal to fans of acid folk, popsike, and even those who like jazzy funk. Listening to it is a rich, rewarding experience. This is a perfectly produced and arranged record, an ode to the free mind, structured by intelligent considerations. And as another person has said, "No wonder it has been sampled by DJ Shadow." Ovation said at the time of its release, "Classical artistry rock and sidewalk poetry." All true. Very cool. Hip, mellow, and stoned.

Catalogue number: LION LP-115  
UPC: 778578311513

HEAVEN &
                                EARTH HEAVEN & EARTH "Refuge"
This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint). At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like 'Feel The Spirit' and 'Jenny' have been making the rounds on the DJ circuit. No matter what your musical taste is—psych-folk, funk, soft rock—this LP seems to have something special to offer. This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews. Our Lion Productions replica LP version comes in an old style tip-on gatefold jacket with lyrics printed inside, and includes an insert packed with band history and rare photos. It is a quality vinyl pressing, newly mastered from the original tapes; the sad news: this LP version is limited to 750 copies.

Catalogue number: LION/ROCK LP-114
UPC: 77857831141

Cambodian 1 VARIOUS "Groove Club Vol. 3: Cambodia Rock Intensified!"
There were no deluxe studios for the musicians who recorded the devastating tracks contained on this double-LP collection. Nothing so grand. Most of these tracks were recorded live, with traditional instruments finding a place alongside any keyboards or guitars that could be found. And yet, it was these experiments of Khmer rock musicians which transformed the nightlife of the Cambodian capital, Phnom Penh—and which many years later have seduced countless listeners around the world with their groovy sound. Alas, in 1975 came an entirely different type of transformation: the rise to power in Cambodia of the fanatical, anti-Western Khmer Rouge, led by Pol Pot. Within roughly four years, implementing their "concept of Year Zero," Pot and his regime were responsible for the deaths of an estimated two million Cambodians, many in the notorious "killing fields." Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth ("the Emperor of Khmer Music"), Ros Sereysothea ("The Golden Voice of the Royal Capital"), and Pan Ron—all featured on this collection—met their deaths at the hands of the Khmer Rouge. Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an "Ethiopiques" way, we’d say), or sweet and lyrical, but always moving, and with that deep soulfulness (regardless of actual musical genre or style) that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far—without the later overdubs that confuse the mind, without the artificial speeding up of tracks that often has marred compilations over the years; what you’ll find here are crucial Khmer rock tracks, made available in the best possible sound, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. And so, without further ado, welcome to "Cambodia Rock Intensified!"

Catalogue number: LION LP-113
UPC: 778578311315

Cambodian 2 VARIOUS "Groove Club Vol. 2: Cambodia Rock Spectactular!"
There were no deluxe studios for the musicians who recorded the devastating tracks contained on this double-LP collection. Nothing so grand. Most of these tracks were recorded live, with traditional instruments finding a place alongside any keyboards or guitars that could be found. And yet, it was these experiments of Khmer rock musicians which transformed the nightlife of the Cambodian capital, Phnom Penh—and which many years later have seduced countless listeners around the world with their groovy sound. Alas, in 1975 came an entirely different type of transformation: the rise to power in Cambodia of the fanatical, anti-Western Khmer Rouge, led by Pol Pot. Within roughly four years, implementing their "concept of Year Zero," Pot and his regime were responsible for the deaths of an estimated two million Cambodians, many in the notorious "killing fields." Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth ("the Emperor of Khmer Music"), Ros Sereysothea ("The Golden Voice of the Royal Capital"), and Pan Ron—all featured on this collection—met their deaths at the hands of the Khmer Rouge. Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an "Ethiopiques" way, we’d say), or sweet and lyrical, but always moving, and with that deep soulfulness (regardless of actual musical genre or style) that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far—without the later overdubs that confuse the mind, without the artificial speeding up of tracks that often has marred compilations over the years; what you’ll find here are crucial Khmer rock tracks, made available in the best possible sound, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. And so, without further ado, welcome to "Cambodia Rock Spectacular!"

Catalogue number: LION LP-112
UPC: 778578311216

Deluxe LP Versions of both legendary AGUATURBIA albums

AGUATURBIA Volumen 2 AGUATURBIA "S/T"
AGUATURBIA "Volumen 2"

SOLD OUT

 
Catalogue number: LION LP-110
UPC: 778578311018
Catalogue number: LION LP-111
UPC: 778578311117



CONFISERIE VARIOUS "Groove Club Vol. 1: La Confiserie Magique"
A terrific compilation of succulent French psych/pop treats, collected and annotated by French author, journalist and flaneur Jean-Emmanuel Deluxe (Martyrs of Pop), and carefully sequenced for maximum enjoyment by the Lion! Together, we have imagined those magic years 1966-71 in France to be just as you find them here — overflowing with truly decadent pop-sike, as beautiful as the cathedral of Evry; this can be the arch-hippie Lolita, singing songs to make one dream of Anicée Alvina riding her bicycle in a red dress... or it can be something "other": sunny and stunning, or brooding and tinged with sadness. "Fabrice, 17 years old, is a minet, or to say it better, a mod from one of the posh neighbourhoods, the 16th district in Paris and such "golden ghettoes" as Auteuil, Neuilly and Passy. Fab’ likes to have his "ronron at the Dugstore", as Dutronc sang it (an untranslatable wordplay on ronron, "cat food", and a minet - "a kitten" - purring). Fabrice attends Henri IV prestigious high-school; his father, a businessman who made a fortune selling plastic flowers, and his mother, a former model from Jacques Fath, are never home – a cosy home indeed! With his Weston shoes, a slim-fitting suit by Renoma and his haircut modelled on those of Anglo-Saxons musicians appearing on French Eps, Fabrice dreams of Carnaby Street and the Sunset Strip. He is not alone: there’s his sister Stéphanie, 16, who wears a fringe, a mock Courrèges dress, a pink Shetland pullover and white boots. Stéphanie reads Salut Les Copains and Mademoiselle Age Tendre, which both fuel her passion for Françoise Hardy, Zouzou, Twiggy and the Beatles." The Groove Club is happy to present twenty-two records that we dug out as a tribute to Fabrice’s kinky faves. And we sense that, paradoxical as it may seem, although we have imagined a parallel cosmos to the Grande Heures of pop culture, we are not far from the truth. Your choice of a limited edition gatefold 2xLP, or a CD edition, chock full of information about all of the tracks on this premier volume in our celebrated Groove Club series. Popisme fantastique!

Catalogue number: LION LP-109
UPC: 778578310912 (2xLP)

LIMONADA “LimoNada
Although they sprung ready-made from of the ashes of legendary candombe/beat group El Kinto, one of the best-kept secrets from Uruguay’s musical mythology is nevertheless the group of musicians who recorded one album as Limonada. So what happened? The story starts with the end of El Kinto, when band leader and iconoclastic maniac Eduardo Mateo decided to embark on a solo career (see our Lion Productions collection of his early music for more details), and the other members of El Kinto said “let’s do something together.” And so it was that in the middle of 1970, Limonada recorded their one and only album, “LimoNada” (Sondor 33.111). It is a strange record, with backwards tape splices and abrupt song changes, that remains at the same time absolutely accessible and very groovy, in a Tropicalia sort of way, which might explain why it was an immediate success. In truth, it’s a profound mystery why the Limonada LP—one of the ten best sellers of its time within three weeks of its release—seems to have vanished from the consciousness of even the most devoted fans of obscure music. Until now, of course. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style jacket, which is housed in a loose-fitting plastic sleeve. Inside you will find an insert with historical background on the Uruguayan scene, details of the band’s past, plenty of photos, as well as a brief overview of the legendary Sondor label, printed on 100% recycled paper. The LP labels are replicas of the Sondor originals. A top of the line pressing all the way. Limited edition of 500 copies.

Catalogue number: LION LP-108

el
                              kinto EL KINTO “Circa 1968”

“I was lucky to see Uruguayan music born. Before El Kinto it didn't exist, and if it did I did not know it or like it.” Osvaldo Fattorusso

An exact replica of the original Clave label LP release of fourteen crucial tracks by these Uruguayan legends, whose line-up includes members of Totem and Limonada, and features the compositional abilities of poet/panhandler and acid casualty Eduardo Mateo and his alter-ego, candombe legend Ruben Rada. El Kinto began their brief but eventful life in music playing in the dark shadows at Orfeo Negro (Black Orpheus), a night club near the Portones de Carrasco in Montevideo, Uruguay. Inspired by the way Tropicalistas like Os Mutantes were transforming the pop music of Brazil, El Kinto embraced their own native music forms—but, as always, they went a step further: they integrated candombe and bossa nova into beat music, but they also added their own notion of “psicodelics.” They experimented with newness in all its variety—new sounds from their guitars, new types of vocal delivery, new ways of striking the drums (with little brooms, with gavels or their hands). As one journalist noted in 1969, “El Kinto, directed by the brilliant Mateo, and amplified to the maximum... creates a frenzy of rhythmic music in which—with force and conviction—pure wave ‘beat’ is synthesized with the warmth of the African drums.” The result of the group’s tireless experiments is music which sounds fresh and engaging today. In a world dominated by the commercialization of everything—including (although it is difficult to comprehend)—the arts, all we can say is, thank god for El Kinto! Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style jacket, which is housed in a loose-fitting plastic sleeve. Inside you will find a double-fold insert packed with photos, detailed band history, and lyrics for this most important of Uruguayan bands, printed on 100% recycled paper. The LP labels are replicas of the Sondor originals. A top of the line pressing all the way. Limited edition of 500 copies.

Catalogue number: LION LP-107

EMMANUELLE PARRENIN EMMANUELLE PARRENIN “Maison Rose”
We begin by saying that this is an album unlike any other. A bold statement, perhaps. Yet look in the “Scented Gardens of the Mind” book and you will see this description: “a revelation of a folk album, with songs of incredible beauty and innovative arrangements. It features traditional instruments you’ve hardly ever heard before and touches of the avant-garde. Play this album directly after that of another randomly chosen female folk album, and you will notice the difference! This is one of the best!” Parrenin had been part of a traditional “antique folk” movement in France in the late 1960’s (she was in many ways a French equivalent to Sandy Denny or Mandy Morton); indeed, she had recorded eight albums with musicians from this scene before “Maison Rose”—her best, and last album, recorded in 1976 and released the following year. The record seems to alternate between a cosmic take on an ancient Breton sound, and delicate, multi-tracked ballads—ranging from sounds that would not be out of place on an Ash Ra Tempel album to elements of traditional French folk music (including home-made instruments) that are just as exotic. Certainly, the avant-garde edge lurking beneath the simple folkiness of “Maison Rose” puts in mind the explorations of Brigitte Fontaine with her sometime musical voyager Areski; there are also suggestions of the pastoral caranavserai aesthetic of Vashti Bunyan, as well as the multi-track sensuality of Linda Perhacs (to name two much-touted singers who seem to have a similar ability to enchant). But Parrenin has her own style, her music has its own deeply ethereal quality, and the album itself has its own magic spell to cast that renders comparison with other albums unimportant in the end. Magnificent… we say. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style gatefold jacket, which is housed in a loose-fitting plastic sleeve. Inside the sleeve, you will find an insert with full details on Ms. Parrenin, printed on 100% recycled paper. The LP labels are replicas of the Ballon Noir originals. A top of the line pressing all the way. Limited edition of 500 copies.

Catalogue number: LION LP-106 



Sandhy
                                & Mandhy SANDHY & MANDHY “Para Castukis”
Here at last is a chance to discover why people have been willing to pay a very steep price to hear Sandhy & Mandhy, the duo who were not a duo, the band who were not a band, creators of perhaps the rarest and most expensive album from Argentina. To tell the story of Sandhy & Mandhy, we have to go back to 1967, when Alberto Infusino (Sandhy) and Alberto Vanasco (Mandhy) began their musical partnership in the beat band The New Free Men. Like many bands of that time, Los Shaker’s and Los Walkers, for example, the New Free Men played covers of songs by the Zombies, Animals, Kinks, Yardbirds, Doors, and so on, in clubs and at parties. Yet at the same time, Infusino and Vanasco started to play their own compositions, with a national touch to the music. Let’s let Vanasco (Mandhy) take up the story: “In 1969, we went to talk with Billy Bond, chief of ‘La Pesada del Rock Roll,’ to ask about the chance to make an album. Bond said that he was not looking for a band, but for a duo who sang songs in Spanish... So, we called some friends to play together, and we called the project Sandhy & Mandhy.” They recorded the album in three hours, with a full band (Farfisa organ, congas, drums, bass, and guitars)—one take of each song. Instead of a demo, they decided to press an LP: the company (Phonalex) pressed 110 LPs in total, which the band gave out at gigs. Sandhy & Mandhy were one of the first bands in South America bring a rebellious attitude to the music scene—all this in a period of military repression, when forced haircuts in the streets were a common occurrence. Although they broke new ground, success was not their fate. And so thirty-eight years after the burst of improvisation that was Sandhy & Mandhy, the rest of the world can finally take a taste of their dark, groovy, beat-influenced psychedelia (that fuzz guitar on the excellent ‘Lluvia’!). At times introspective and acoustic, at others manic and ramshackle in the best way, it’s quite a discovery. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same people who master and press every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style gatefold jacket, which is housed in a loose-fitting plastic sleeve. Inside the sleeve, you will find an insert with full details on Sandhy & Mandhy, including lyrics in Spanish and English, printed on 100% recycled paper. The LP labels are replicas of the originals. A top of the line pressing all the way. Limited edition of 800 copies.

Catalogue number: LION LP-105

FOLKLORDS “Release the Sunshine”:
When we first issued this terrific album—twelve perfect examples of dreamy sunshine pop/folk psych released by independent Canadian label Allied Records in 1968—on CD some time ago, our booklet featured the few scraps of information on the band we could find. We challenged “anyone out there” to find some information on this elusive and intriguing band, with the offer of a reward that would be “something very Folklordish.” Well, we’re pleased to say that someone took us up on that offer, and that someone was band leader Tom Waschkowski. He very graciously offered for this LP package (and the forthcoming mini-LP sleeve CD package) a band history, lyrics, some terrific photos, and best of all, a rare pre-album single that the band had self-released. This allows us to offer up as perfect a reissue of this album as humanly possible. The Folklords “Release the Sunshine” is a captivating album, a notion shared by the many collectors world-wide who fight for original copies, which are few and far between. Glorious sound, as the reissue taken directly from the master-tapes. Bonus single is an exact replica of the rare, privately issued non-LP single, which features haunting, drum-less versions of ‘Forty Second River’ and ‘Unspoken Love,’ both of which were re-recorded for the original Allied release. Now, on to the presentation—the highest quality mastering and pressing (done at Acoustech Mastering/RTI in California, the same plant that presses every title that audiophile label Classic Records makes); the resulting LP is housed in a poly-lined sleeve, inside an ultra-heavy 1960's style gatefold jacket, which is housed in a loose-fitting plastic sleeve. The LP labels are replicas of the original Allied silver and blue labels. A top of the line pressing all the way. Limited edition of exactly 700 copies.

Catalogue number: LION LP-104


PLASTIC CLOUDPLASTIC CLOUD "S/T"
"What remains so remarkable about the band's album is that... the performances retain an energy, but also a naivety, that somehow evokes both the Jefferson Airplane and the Velvet Underground — often within the same song." —Shindig! Magazine

Plastic Cloud recorded, quite simply, one of the greatest underground psychedelic albums ever made: a swirl of gossamer vocals and Tolkien references, swathed in the some of the most relentless fuzz guitar you will ever hear. There is no point singling out a specific track, they are all excellent—one is equally as good as the next. Take for example the album centerpiece, the ten-and-a-half-minute ‘You Don't Care,’ an insane piece of social commentary that features terrific back-of-the-mix fuzz guitar as an elusive focal point to its extended pounding-drum laden instrumental breaks; a ten-minute swath of lysergic fuzz guitar that closes out the first side, it doesn't overstay its welcome, winding its way to a final freak out. A record with few equals, full of foreboding melodies and lovely hippie harmonies, as well as some of the trippiest fuzz guitar ever recorded. Essential psychedelia!

•One of the top underground psychedelic albums ever released

•Allied Records first pressings (1968) sell for nearly $1,000

•LP pressed in a 180 gram edition of 500 copies

•Comes with lyric insert and replica vintage press release

Catalogue number: LION LP-103
UPC: 778578310318  

PLASTIC CLOUD "S/T":

1st Edition
SOLD OUT

Catalogue number:LION LP-103


ODYSSEY “Setting Forth: Deluxe Edition"
Once upon a time, when the music business was more music than business (but only just), there was a lean, mean, and super tight band who created a quintessential dose of New York sixties psychedelia: one perfect album, loaded with heavy swirling organ, ferocious fuzz guitar, and powerhouse vocals. That band was Odyssey. Their album, “Setting Forth,” did not take them from support slots in their native Long Island to the major label heights of other local bands like Vanilla Fudge. But it is that same Odyssey “Setting Forth” album that is one of the greatest guitar-heavy psych records in the world, and as a result one of the most sought after (and expensive) psychedelic rarities ever pressed on wax. Now it has been painstakingly remastered, repackaged for this 2xCD deluxe edition, ready for true psych fans to devour. 
This is truly one of the pinnacles of underground psychedelic music, recorded in 1969, released in an edition of fewer than 100 copies, and impossible to find as it only came in a plain white cardboard sleeve; an incredible, musically accomplished, hard rocking album of originals that jumps right out of the speakers and grabs you, from it’s opening In-A-Gadda-Da-Vida-esque riffs right to the grooving end. The 24-page booklet that accompanies this two-disc set has the complete band history by Odyssey leader Vinny Kusy, as well as rare photos from his own archive. Bonus tracks on disc one are three “basement recordings” from the “Setting Forth” era. The second disc contains Odyssey “Live at Levittown Memorial Auditorium: 1974,” a live recording that was never really meant to be, recorded by Odyssey’s sound engineer on a portable cassette recorder. It is the only document of Odyssey in their progressive rock phase, just before sometime Odyssey keyboardist Tom Doncourt and band-member Fred Callan recorded their legendary Cathedral “Stained Glass Stories” album.

•One of the ten rarest psych albums from the USA

•Sleeve notes by the group's leader and keyboardist Vinny Kusy

•Odyssey Live at Levittown remastered by Tom Doncourt of Cathedral

•2xCD packaged in a Stoughton tip-on gatefold mini-LP sleeve, with a 24-page booklet and an OBI, in a mylar outer sleeve

CD catalogue number: LION 601(2)
UPC: 778578060121     

ODYSSEY “Setting Forth”

SOLD OUT

Catalogue number: LION LP-102 


CHRISTOPHER “What'cha Gonna Do?”: 

SOLD OUT


Catalogue number: LION LP-101


Collaborations with other labels:

SMOG DUG DUG’S "Smog"

SOLD OUT

Catalogue number: LION 650-LP (LP)
UPC: 886977985416


DUG DUG’S DUG DUG’S "S/T" (also known as "Lost in My World")

SOLD OUT


Catalogue number: LION 649-LP (LP)
UPC: 886977985416



IRON CLAW "Iron Claw" 
"Sixteen pulverizingly heavy early masterpieces of dirty doom metal, this is a can't miss package for all fans of heavy psych, proto-metal and the early days of doom rock." —The Ripple Effect

"This Scottish band are just ridiculously heavy and I think it's a travesty that the sixteen songs they wrote around 1970/1971 never got an official release until 2009. This whole album is just breathtaking." —Terrorizer

Official heavy-duty gatefold double album of early 70s Scottish underground heavy rock from Iron Claw, a band who were stomping around the UK with the likes of Black Sabbath, Hackensack, Pink Fairies, Juicy Lucy and others, but who never released a proper album. Iron Claw started their career in 1970 as (more or less)  the world's first Black Sabbath tribute band: they incorporated the entire first Black Sabbath LP and single into their live set! And as it happens, it was Iron Claw bassist Alex Wilson who unearthed the oldest known concert recording of Black Sabbath, a 1969 gig recorded by Wilson in Dumfries, Scotland! As time progressed, Iron Claw's live sets started to include many originals, as well as covers such as 'War Pigs,' 'Fairies Wear Boots,' 'Wicked World,' 'Green Manalishi' and 'Lady Whisky.' This collection of sixteen original studio tracks documents Iron Claw's existence from 1970 thru 1974 and includes extensive liner notes, lyrics and photos inside the gatefold and on a 12" insert; also includes an 11x17 poster. For fans of Tear Gas, Leaf Hound, Jerusalem, Ancient Grease, Toad, Incredible Hog, Elias Hulk! Newly re-mastered for vinyl and sounding better than ever!!

Catalogue number: ROCK/LION049-V-1
UPC:  858581049013  


JERUSALEM JERUSALEM "Jerusalem"
“Sledgehammer-heavy masterpiece of underground British rock!” —Classic Rock Magazine

“Big fat chords, wailing guitar, punch-drunk bass and straight-ahead solid drums all strutting in your face like some massive guy you just don't want to f**k with.” —Head Heritage


"I made the record because they are bloody good and it seems a shame for their sound not to be recorded... right now there's a rawness and excitement..." Ian Gillan, in Disc & Music Echo, January 29th, 1972

Timeless, heavy UK hard rock album from 1972, produced by Deep Purple's legendary frontman, Ian Gillan, originally released on the Decca/Deram label. It was Gillan who said of them: “Not many bands really excite me. But this one’s so raw and completely unpretentious. They make the biggest, bloodiest noise you can imagine, tempered with moments of extreme emotion.” And, of course, he’s right—the music is a menacing combination of over-the-top vocals and screaming lead guitars that could easily pass for something from the early British heavy metal scene—or something from the emotional hard core scene of the mid-1990's ('Primitive Man'). A favorite among vinyl collectors, the album is presented here in its ultimate glory, with all tracks taken from the original master tapes and housed in a high quality old-style gatefold cover; insert has liner notes written by bassist Paul Dean +  rare photos. Rough, raw, and doomy!

•A new pressing of this massive hard rock monster from 1972

•Old style tip-on gatefold jacket and quality vinyl pressing

•Includes insert with history of the group, lyrics and photos


Catalogue number: ROCK/LION-031-V-1
UPC: 858581031018  
Format: LP + insert


MARY
                                  BUTTERWORTH MARY BUTTERWORTH "S/T"

SOLD OUT

Catalogue number: Rock/Lion-036-V-1
UPC: 858581036013


SAINTE
                                    ANTHONY SAINTE ANTHONY’S FYRE "S/T"

SOLD OUT 

Catalogue number: ROCK/LION 041
UPC: 858581041017
 


STEPSON STEPSON "The Lost Tapes: 1972-1974" (ROCK/LION048-V-1); UPC: 858581048016
About forty years in the making, and finally the world has the second Stepson album! Utilizing tapes preserved by drummer Len Fagan then transferred to digital and mastered by bassist Bruce Hauser, this fine collection of twelve songs is as close as the world will ever get to a real second Stepson album. Some is raw, some is embryonic, but it’s all prime stuff for fans to savor, reflecting the band’s "devil may care" attitude and rock ’n’ roll lifestyle. And just in case you don’t believe that the band liked to party, consider that the exact recording dates (and even some locations) have long been forgotten. To borrow an old adage: If you can remember Stepson, you weren’t there. Kicking off with a crunching riff by guitarist Joey Newman, ‘Danger Zone’ is the heaviest track Stepson ever cut, replete with an ominous atmosphere reflecting the seedy side of their native Los Angeles; ‘Streets of Alameda’ (1974) is an ode to vocalist Jeff Hawks’ hometown, featuring a liquor store holdup and a stolen Lincoln used as the getaway car. ‘Flesh & Blood’ is the only track on here that got an official release, albeit by ex-Smith belter Gayle McCormick as the title track to her second solo album, released by Decca in 1972. This version showcases the riff in full glory. And if you don’t believe that this riff is strong, consider that The Tonight Show band played it for approximately two weeks in 1976, prompting Fagan to confront "author" Don Menza, who coincidentally did the Flesh & Blood album’s horn charts and was now claiming credit for the song under the title ‘Instant Heart.’ The song disappeared from late night TV show shortly thereafter. ‘Bad Situation,’ the only other 1974 track, describes the band’s predicament that year: a track that should have propelled them to the big time, but instead bounced off a brick wall like a tennis ball. The maracas and funkified quasi-Bo Diddley groove hint at Stepson’s growth and what might have been.

Points of Interest:
•Bluesy hard rock band that rose from the ashes of Touch. Their sole album was released on ABC/Dunhill Records in 1974. Despite the fact that the band never toured in support of their amazing album, over the years the word has gotten out about this incredible album and the band enjoys cult success among collectors. Easily one of the best examples of "cock rock" ever put onto wax.

• Long sought after unreleased recordings from this hard-nosed raunchy Detroit-style 70s hard rock band whose 1974 debut album on ABC is highly regarded. A smashing collection of memorable tracks featuring vicious growling guitar from Joey Newman, soulful vocals of Jeffs Hawks, along with the non-stop rocking backbone of Bruce Hauser (bass) and Len Fagan (drums). These guys really knew how to ride the pocket and lay down some badass rock ‘n’ roll.

•Another sure to sell-out limited edition vinyl release from Lion Productions & Vintage, including full size insert with detailed liner notes by Doug Sheppard, plus photos, and lyrics

Catalogue number: ROCK/LION048-V-1                           
UPC: 858581048016

TRUTH AND JANEY "No Rest for The Wicked"

SOLD OUT

Catalogue number: ROCK/LION030-V-1
UPC: 858581030011


TRUTH &
                                    JANEY"Erupts!"TRUTH & JANEY "Erupts!"
Raw bone-crushing live recordings from 1976 by one of the finest and heaviest Midwest power trios of all time! Guitarist Billy Lee Janes takes his Gibson Firebird to stratospheric levels of heavy 70's guitar nirvana. Double slabs of vinyl featuring more than 70 explosive minutes of the raw live hard rock concert experience, including many tunes not on the band’s essential “No Rest for the Wicked” album. Originally formed in 1969 as Truth, hard rock legends Truth & Janey played thousands of gigs (many with Leslie West), as well as playing with Blue Öyster Cult at a festival in Davenport, Iowa in front of 20,000 fans. All the while, Billy Lee Janey and the band were writing original material, gearing up to record their first full length album. In 1976, they laid down the tracks that would see release on their stunning "No Rest for the Wicked" album later that same year—the same year that these stunning live tracks were recorded. Insert includes an interview and photos. A classic album for fans of Hendrix, Blue Cheer, Cactus, Grand Funk, Mountain, etc. Essential!
 
"An inferno of great jamming, excellent musicianship and tons of attitude" -peacedogman.com 

•Definitive reissue of bone-crunching classic live recordings

•Completely remastered for vinyl

•Includes two bonus tracks not available on the compact disc release

•Old style tip-on jacket, and comes with poster insert

Catalogue number: ROCK/LION051-V-1
UPC: 858581050019  

RAVI RECORDS debut release
Available Exclusively from Lion Productions—quantities extremely limited

PRINTS OF
                                  DARKNESS PRINTS OF DARKNESS “Zindabad” 
“Raw, exciting and really quite excellent... fans of fuzz will find a feast of it on this set. The Prints turn in enjoyable readings of ‘Summertime,’ ‘Morning Dew,’ and Country Joe & the Fish’s ‘Rock and Soul Music,’ but it’s their original numbers that really stand out… The band’s bottled-up creative energy comes bursting to a head on the culminating number, ‘Oh Color the Shadowy Distance,’ which starts out as an über-dramatic Doors-in-the-garage exercise atop a ‘Tobacco Road’-type stomp riff, before levitating into a psychedelic instrumental section that sounds a bit like Jorma Kaukonen jamming with the Velvet Underground. Thrilling stuff.” —Mike Stax (Ugly Things)

This is the story of a sixties garage band… only this one was based in Lahore, West Pakistan, where there was a small American community and a funky school in an old British Raj-era bungalow. September 1967: Skip Boyce had a drum kit assembled from various shops in Penang during a family vacation and Danny Carr had a Framus bass and a huge amp. Let’s start a band! New kid Steve Davy provided the missing link. Add his psychedelic Hofner guitar and small amp and the Great Flower Famine was born. “Let’s just play songs with three chords (‘Gloria,’ ‘Louie Louie’ and ‘For Your Love’ were the first three); more followed: Stones, Animals, Kinks, Doors. Old friend Travis “Smokey” Henderson was in the States, but returned to Lahore and joined as lead guitarist. John Sligh was added as lead singer because he liked the same tunes the others did and looked cool. By the end of the school year, the Famine was a tight unit—the best rock band in West Pakistan. September 1968: a year’s worth of new music, and new influences—Hendrix, Led Zeppelin, the San Francisco groups. Meanwhile, Steve bought a Hofner violin bass like Paul McCartney, Skip returned from the States with a full set of Ludwig drums like Ringo, and a new redheaded kid arrived by the name of Richard Woodbury. His addition and a new name for the band (Prints of Darkness) gave the group a new style. Their repertoire expanded. September 1969: One addition to the personnel—Roberta “Bourbon” Kilgore as vocalist. The Prints started writing their own tunes in earnest. On May 22, 1970, they played their last show and for the first time in three years, the instruments went in different directions afterwards. And so did the Prints. In the band’s final year, several of their shows were recorded using a single open mic and a standard quarter-inch reel-to-reel tape recorder. The best tracks have been cleaned up and compiled for this release on Ravi Records, a label set up by music mail order company Metro Music. The release is a true labor of love, with no corners cut, and no expense spared on the sound restoration, mastering and packaging. The heavy-vinyl LP (180 gram) is housed in a super-deluxe gatefold sleeve modeled on the Stones’ “High Tide and Green Grass,” complete with a lavishly illustrated and annotated booklet.

Catalogue number: RAVI001LP                          
UPC: 778578300111



YAYS & NAYS
                                              "Yays &
                                              Nays"YAYS & NAYS "Yays & Nays"
Monster rare USA private pressing from 1968, rated with 6 stars in the Hans Pokora 3001 Record Collector's Dreams book. The Yays & Nays were a groovy, hip group (says so on the original LP jacket!) comprised of three guys and three girls. Theirs is a truly unique sounding album, full of creative songwriting and vocal arrangements and a style that defies categorization. There’s garage folk-rock—the opening track 'Gotta Keep Traveling' is really astounding!, tracks with vocals in a kind of 'Kicking Against the Pricks"-era Nick Cave-channelling-Tony-Joe-White-meets-Johnny Cash vein, a little country flair, and some cuts of an ''Incredible Strange Music'' type. Weird and wonderful, in it's own peculiar way. Reissued for the first time, in collaboration with band members, and with original artwork.

"...mighty obscure LP, in which the three-man, three-woman combo fuse rather catchy early-'60s style troubadour "gotta travel on" folk-pop (with a hint of country) with more contemporary folk-pop-rock arrangements, some of which even verge on garage rock rawness. The songs have their catchy elements, never more so on the most garage-folk-rockish cut, 'Gotta Keep Traveling.' Other cuts show some surprising stylistic versatility, with hints of early-'60s pop/rock surfacing in 'Contrary Mary' and 'Easy Woman' (which could almost pass for a Lee Hazlewood-Nancy Sinatra duet)... and certainly makes it stand out in a sea of far more predictable obscure LP releases from the same era."
—Richie Unterberger, AllMusic

•One of the rarest USA private press albums of the psychedelic era

•Official vinyl reissue in conjunction with Groovie Records

•LP limited to 500 copies

Catalogue number: Groovie GR00 0020
UPC: 778578302016   


SEA-DERS SEA-DERS “Sea-ders” (Complete):
This specially-priced Lion Productions LP edition contains all known grooving and infectious Middle Eastern inflected rock/beat tracks from the Sea-ders (or Cedars, depending on which 45 label you look at), Lebanon's top musical export to the world. Eight dynamic tracks, with driving rhythms, blazing electric bouzouki (or oud?), recorded between 1966-1968. Fantastic! Many groups have used elements of Eastern music to add mystery and exotica to their sound; the Sea-ders didn't flirt with foreign culture—they tapped right into the source. Decca Records contacted the group and offered them a record deal in the UK. Well, that didn't pan out, making the band's EP a very rare item indeed, despite being one of the most exciting releases of the era. Faced with studio bills from Decca, they sold their instruments and equipment and moved back to Beirut, leaving this perfect microcosm of exotic '60s pop in their wake. Liner notes by Mike Stax (Ugly Things Magazine). Limited pressing of only 500 copies. This time around, vinyl is mastered at 45 RPM for maximum fidelity. The Sea-ders would only record eight tracks, but what amazing tracks they are!

“As Record Collector magazine once noted, the Sea-Ders took a decidedly different tack when approaching this thing that is rock & roll. Instead of spiraling into over the top eastern-flavored otherness (like so many of their peers at the time) the Sea-Ders, having landed in London and signed to Decca in 1967, embraced a more primal, early Kinks-esque, approach to their songwriting. Coming from Beirut their take on the genre was already unique with succinct flourishes of psych and freakbeat coupled with their inherent cultural influences. Like so many non-western takes on the genre, the end result is a curious and unexpected gem.” —Aquarium Drinkard

“They effortlessly combine hookah-smoked Middle-Eastern guitar lines & hand drum beats with flawless London pop-psych production, and the effect is decidedly heady.” —Weirdo Records

Catalogue number: GROO 0014LP
UPC: 778578301415

WARPIGWARPIG "S/T"
Lion Productions, in association with Kreation Records, proudly unearths another buried-treasure of pure ‘70s hard rock in Canada's WARPIG. This is an early masterwork of psychedelic proto-metal. A high quality, remastered piece of vinyl that combines sounds from the era of rock that is timeless and just so good. Elements of Black Sabbath (of course), Flower Travelin' Band, Uriah Heep and even Grand Funk Railroad make this album easy to love. You will be suprised that this band was not a success in the past once you hear it—it's that good. Warpig's long-sought-after self-titled debut will surely satisfy the cravings of both longtime collectors and the new breed of retro-rockers alike!"; "Ultra rare heavy progressive psych hard rock album, only released in Canada in 1970. Some serious stuff, heavy and psychedelic, groovy and dark, Warpig were a heavy rock outfit very much in the spirit of Black Sabbath, Deep Purple, Iron Butterfly, Blue Oyster Cult. Heavy heavy riffs, thick fuzzy organ, kick ass drumming, and wild wailing vocals, lengthy extended riffing, organs atop guitars, slithery snake-like leads, throbbing sludgy bass lines, and catchy songs. Every track is a killer: the wild proggy Jethro Tull-ish groove of the opener 'Flaggit,' the 'In A Gadda Da Vida' meets Black Sabbath jam 'Tough Nuts.' One of the best (and strangest) tracks is the lengthy instrumental epic 'Advance In A Minor,' a dense moody, almost classical sounding metallic prog workout, with loping minor key stretches of muted low end guitar strum and simple piano chords, strung between killer bursts of mathy prog, staccato and dynamic, the whole track eventually twisting itself into some slow burning hard rocking blow out, propulsive and relentless. Later on comes another lengthy jam, the strangely titled 'U.X.I.B.,' rife with wild wailing leads, a groovy main riff, fuzzed out organ, and long stretches of blissed out space rock drift, with the vocals not joining in until nearly halfway through. Unlike a lot of supposedly heavy "proto-metal" records, where one or two of the tracks rock super hard and the all the rest are just bad twelve bar blues bar rock, every track here is heavy and proggy and groovy and spacey and pretty dang metal for 1970." This new edition of 500 copies comes with a full-color insert.

Catalogue number: RR 28
UPC: none

       

LION PRODUCTIONS & LIGHT IN THE ATTIC

COOL AID VARIOUS "The Cool Aid Benefit Album: Deluxe Edition"
At the end of the 1960’s, there was a house in Vancouver that was a home solely for Hippies and homeless youth; it was known to locals as "the Cool Aid House." When the Canadian government withdrew funding in 1970, the house was in danger of closing. All of the top bands in the Vancouver area offered to record songs for a benefit album—and since the local music scene produced some of the best bands in Canada, the album that resulted was stunning; it has long been a much sought-after collector's item. What no one knew until recently was that the original "Cool Aid Benefit Album" was intended as a two-record set: contractual problems with Capitol Records forced Cool Aid House founder John Walsch to drop tracks by Mother Tucker's Yellow Duck—tracks that are now restored to this package. Other cuts include the strange proto-electronic burbles of Mock Duck (quite unlike almost everything else they ever recorded) on ‘As the Bullet Enters Anton’ and ‘Pointillistic Scherzo’; the vicious snarl of Black Snake’s ‘Carousel,’ and the strange Spalding Grey-ish acoustic song/poem ‘The Planet Man.’ Hydro Electric Street Car have left little behind them, but their lovely ‘High Memory’ sounds like a lost Grateful Dead track from their early, dreamy period. A terrific discovery. The end result of the joint efforts of Light in the Attic and Lion Productions is this deluxe 2xLP package, jam-packed with stand-out music by Vancouver’s top bands of the day: Mother Tucker's Yellow Duck, Papa Bear's Medicine Show, Mock Duck, Hydro Electric Streetcar, Route Nine, Blacksnake Blues Band, Nancy, Spring, and Greydon Moore and Leo Jung. Obscure cuts available nowhere else, in a wide variety of styles: weird electronic sounds, heavy garage fuzz guitar freakouts, stoner rock, and acoustic folk. This deluxe hand-numbered LP edition comes in a heavy 1960’s style "tip-on" gatefold jacket with notes on the Cool Aid House, the original LP project, and the bands involved. All tracks are taken from the original multi-track studio tapes, and sound incredible as a result. Limited edition hand-numbered 2xLP package (housed in old-style tip on gatefold jacket), lovingly remastered from the original multi-track studio tapes. Includes liner notes and original artwork from the Cool Aid House.

Catalogue number: REGEN1103LP
UPC: 609728110314

Holy FuzzVARIOUS “Holy Fuzz”
Great compilation of late '60's and early '70's Christian rock/psych/garage ranging from album tracks by well known groups like Agape, Search Party and All Saved Freak Band to singles by more obscure groups such as Concrete Rubber Band and Stonewood Cross. There is an extremely high level of musical quality throughout, with varying degrees of fuzzed up guitar solos on all tracks. Ken Scott review from his excellent spiral-bound Archivist (Vintage Vinyl Jesus Music, 1965-1980): “All the songs on this album were specifically chosen for their guitar content… some of it mellow and subtle, and some of it mind frying heavy fuzz. For the budget-minded here’s you chance to sample tracks from rare pricey albums by Concrete Rubber Band and The Search Party, plus Agape, Exkursions, The Bridge, All Saved Freak Band, and Way International outfits Selah and Pressed Down Shaken Together & Rolling Over. And if you’ve already got all those there’s a 1967 pre-Agape song (‘In The Light’) and the six-minute stunner ‘Magic Man’ from the elusive Stonewood Cross single (man, if those guys had only cut an album – wow!). Nice cover art with Fillmore-styled psych lettering.” Special limited pressing, made in conjunction with Hidden Vision Records.

Catalogue number: AC-27
UPC: 778578302719

PREVIOUS LION PRODUCTIONS CD RELEASES


49th PARALLEL“S/T” plus eleven bonus tracks
First proper version of this legendary Canadian psych album, supplemented by eleven bonus tracks, two of which have never seen reissue before now. The group's first two singles, ‘Laborer’/’You Do Things’ (1967), and ‘She Says’ b/w ‘Citizen Freak’ (1968), are prime pieces of pouting Prairie punk. In the spring of 1969, the 49th Parallel had a hit in Canada and the USA with ‘Twilight Woman’, a lovely song that sounded like a poppier, slightly folkier version of what bands like Tomorrow were doing in England. The success of the singles resulted in the release of the 49th Parallel’s only album, on MGM affiliate Maverick Records. All hyperbole aside, this is easily one of the top Canadian rock albums ever released. The album contains excellent material, including the pulsating psychedelia of ‘Lazerander Filchy’ and the ultra-strange ‘(The) Magician’, as well as the quintessential punk edginess of ‘Now That I'm a Man’ and ‘(Come On Little Child &) Talk To Me’. Dan Lowe's blazing fuzz guitar work stands out, particularly on ‘Missouri’, and when challenged by organist Jack Velker's brilliant stuttering work on ‘Eye To Eye’, ‘Talk To Me’ and ‘(The) People’. Strong melodies, great playing and sympathetic production, make for a must own collection of songs. The twelve page booklet includes two slightly different views of the band’s history, as well as the notes from the original LP release.

Catalogue number: PACE 048LN
UPC number: 778578004828

  

ABOLHA A BOLHA"Um Passo a Frente"
Brazilian band the Bubbles became the toast of the underground Rio de Janeiro scene, backing Tropicalist singer Gal Costa’s residence at the Sucata night club in 1970. They won the "Best Band of the Festival" award at the VII FIC of 1971 (International Festival of Songs), the same year they appeared on Leno’s "Vida y obra de Johnny McCartney" album. After venturing to England to attend the Isle of Wight Festival, they decided to experiment with a heavier sound, more akin to UK bands of that era (Deep Purple, Cream, King Crimson, Humble Pie, with a little Beatles’ "White Album" in for good measure) than that of their Brazilian cohorts. A name change to A Bolha later, still loaded with verve and swagger, fueled by drugs, they recorded their first album, which has secured a permanent place as one of the best hard psych rock albums to ever emerge from South America. The LP, "Um Passo a frente" (A step forward), was released in 1973 by the Continental label, in a gatefold cover which was quite luxurious for the era. This masterpiece, now impossibly hard to find as an original, certainly made a name for A Bolha in the pantheon of 1970’s Brazilian rock. But success in the early 1970’s was not like it had once been in the old Jovem Guarda or Tropicalist days, when bands had weekly TV shows to help them become well-known nationwide—and eventually, worldwide. In other words, the meager abilities of Continental to promote the album made it a collector’s item, not the fate a band would actively seek for their recordings. Luckily, we at Lion Productions are able to present these recordings to the world all over again, with the additional benefit of a 20-page booklet with band history, photos, and comments on the songs by band leader Renato Ledeira. Includes both sides of the band’s infamous hard-rocking 1971 single as bonus tracks.

Catalogue number: LION 629
UPC: 778578062927


A Passing
                                Fancy A PASSING FANCY “S/T”: revised and expanded version of the much beloved Canadian pop-psych album by A Passing Fancy!
This edition has been a long time in the works, with most of the delay resulting from our efforts to make something out of the fragments of mangled stereo master tape that still exist (the previous edition was in mono). All the production delays left us with plenty of time to consider the excellence of the album, which has surprising variety: tough garage rock (lead track ‘I’m Losing Tonight’); beat music influence (singles tracks ‘A Passing Fancy,’ ‘You're Going Out Of Your Mind,’ and ‘She Phoned’); sunshine pop (‘I Believe in Sunshine’); songs with a social conscience (the discursive ‘Spread Out’); and a great acid rock meltdown (‘Your Trip’). These same delays also left us ample opportunity to uncover what had become of the various band members. A bit of searching led us to A Passing Fancy lead singer, rhythm guitarist, and primary song-writer Jay Telfer. He supplied a band history and lyrics for all the songs to round out this revamped edition of an album considered by many to be the best to come out of Canada during the late 1960’s. Includes the fuzzed-out single version of ‘I’m Losing Tonight’ as a bonus track.

Catalogue number: PACE-034-LN (Lion)
UPC: 778578003425

AGINCOURT “Fly Away”
First official issue of this much-loved album of Moody Blues-influenced home recordings from around 1970, from the fertile minds of psychedelic-folk masters Peter Howell and John Ferdinando, but credited to their semi-fictitious group Agincourt; an intricate, dreamy psychedelic album, made all the better by the fragile female vocals on offer from Lee Menelaus; considered a bit more progressive (read: less acoustic, less fluid) than the duo’s other albums, with reasonable comparisons often made to the music of Syd Barret or Fairfield Parlour. We at Lion Productions are pleased to have had a hand at making this music available for the first time from the original master tapes! The sixteen-page booklet comes with lyrics and band history, and includes previously unseen photos of the band. The addition of two previously unheard bonus tracks makes this an essential reissue of a private pressing mega-rarity (originals are £1500 or more)!

Catalogue number: ACLN 1002 CD
UPC number: 778578100223

ATTACK “Complete Recordings 1967-1969”

SOLD OUT


Catalogue number: ACLN 1005 CD
UPC number: 778578100520



BEAT BOYS BEAT BOYS “S/T”:
“Caetano called the Beat Boys, an Argentinean group settled in São Paulo who had been inspired by the Beatles, to accompany him in ‘Alegria, Alegria.’ That, in fact marked the beginning of the Tropicalista thing.” —Gilberto Gil
Along with Os Mutantes, the Beat Boys represented the most radical element in Brazilian rock: their name, clothes, hair—and intense fuzz guitar raves—were all fierce indicators of a rebel spirit, and this in a dangerous time for such self-expression. Here is the simple truth: The Beat Boys were at the very epicenter of the cultural revolution that convulsed Brazil during the late 1960’s, that movement of rupture, that bringing together of electricity and avant-garde erudition that has come to be known as “Tropicália.” They backed Caetano Veloso and Gilberto Gil for their defining moments as artists—both live, and in the studio on tracks which became the opening Tropicalist salvo (a rare EP). So, what were this group of Argentine rock musicians doing in the forefront of all things outrageous in Brazil? More to the point, why is it that very few people, even among the Brazilian music cognoscenti, have ever heard of them? One explanation must be the fact that the band were essentially outsiders to the Brazilian music scene. As unlikely as it was for them to penetrate the inner circles of Brazilian elite musicians (it was unlikely), it was even more unlikely that they would remain there once their closest friends, Caetano Veloso and Gilberto Gil, were exiled from Brazil. This disc includes the Beat Boys entire output under their own name: their sole album—an exercise in what one might call “controlled Tropicália”, laden with torrid psychedelic moments (released by RCA Victor in 1968), as well as a rare singles track from the same year. A 20-page booklet includes lyrics, and an exploration of the Beat Boys’ fascinating story.

Catalogue number: LION 625
UPC: 778578062521


BEAUTIFUL LOSERS the BEAUTIFUL LOSERS "Nobody Knows the Heaven"

To set the scene: it’s 1974, it’s Paris, two young guys in their bed-sit (one of whom is French music maven/famous producer Jay Alanski) are dreaming of counter-culture, and their internal versions of California and New York. The result is this album, a child begotten of Marc Bolan, Baudelaire, and Lautréamont; a fascinating record, subtle and engaging as it is scarce; the re-creation of a parallel pop universe which one Michael Moorcock wouldn’t have renounced. Somehow, the duo get their record out into the world on Monde Melody’s one-off "Silk" imprint (a tribute to Marc Bolan). And what twisted songs (in English) they managed to squeeze into a fifty-minute slab of vinyl. The music drips with deep nostalgia for the decadent "beautiful people" who lived and breathed and then found a home in the songs of Lou Reed and Leonard Cohen, pervaded throughout with a kind of psychedelic sadness. All of this is expressed by means of long jagged acid guitar runs (or in acoustic strums) supported by Moroccan percussion (bongos?) and heavy bass lines from Christophe J. A post-quaalude album, as band leader Jay Alanski has said. If the LP had been released in 1971, everyone would point to T-Rex as an influence, and call it "glam folk"; fast forward to today and it’s hard not to think "loner," and draw comparisons with the music of Devendra Banhart, albeit recorded 35 years ago! We’re now several decades further on in the world’s slow self-destruction, but this sole recording by the Beautiful Losers has lost nothing of its freshness and superb arrogance. Blessed be the listener who is going to discover such a hidden treasure!

Catalogue number: LION 622 (MOP002)                                              
UPC: 778578062224

the BOSSMEN "Personally Yours: The Complete Anthology of the Bossmen"
Dick Wagner and his guitar. The Frost. Ursa Major. Lou Reed's "Rock 'n' Roll Animal". Alice Cooper's "Welcome to My Nightmare". Kiss. Aerosmith. Peter Gabriel. Wagner's contribution to rock 'n' roll is immense. And it all started a little bit north of Detroit with the Bossmen. In just three years (1964-67), The Bossmen amassed an impressive run of no less than eight regional number one singles. When you listen to these eighteen original compositions you can sense the long hours and the countless amount of blood, sweat and tears that went into creating them. Whether it's a stinging guitar solo (the sonic blast of an intro on 'Sunshine' comes to mind), a regal four part vocal harmony or a soaring arrangement, each tune bears the distinct early characteristics of the ‘Wagner’ sound that would later bring him success on a global scale and write him into the annals of rock ‘n' roll history.

"I look back on the days of The Bossmen with a sort of reverence. These were my first days of recording my own original songs, entering the concert scene and learning the basic trials of making it in the music business. I get chills even today just thinking back on the two or three block line that formed every time we played our home town venue, Daniel’s Den. The Bossmen were the heroes and purveyors of the primal Rock energy for that angelic group of screaming youth. MAN… those were the days!" —Your Boss man, Dick Wagner
"Dick Wagner’s discography is a Who’s Who of 70’s rock music." —Classic Rock Revisited

• Liner notes by Dick Wagner + reflections on the Bossmen by Bo White and Ryan Sparks

• Massive 32-page color booklet packed with rare photos and ephemera

• Limited to 500 copies.

Catalogue number: LION 675
UPC: 778578067526

BRAINSTORM BRAINSTORM "Smile A While"
With this record from 1972, Brainstorm, led by future Guru Guru stalwart Roland Schaeffer, established themselves as one of Germany’s premier bands. Their complex Krautrock, based on strange harmonics (thanks to Schaeffer’s enthusiasm for Jimi Hendrix and the free jazz sounds of John Coltrane and Pharoah Sanders), and impelled by wild and distorted sax, flute, and Vox organ, would later put them smack in the middle of that bible for the intrepid musical adventurer, the revolutionary music reference guide known as the Nurse With Wound list. As NWW themselves said, "Categories strain, crack and sometimes break, under their burden—step out of the space provided." What better endorsement of Brainstorm could there be? Brainstorm took only fifteen days including mixing (during the tragic 1972 Munich Olympics, as it happens), to record their favorite numbers, all under the direction of a producer little interested in their music. That’s a great shame, for these recordings show Brainstorm to be one of the best of the inventive off-beat bands of the era, along with the likes of Moving Gelatine Plates (France), Pazop (Belgium), and of course, Soft Machine and Caravan. Booklet reproduces all original LP gatefold art; liner-notes tell the band’s history up to the completion of this album. Includes all the tracks from "Smile A While," plus three heavily grooving bonus tracks originally recorded for SWF radio in 1971 as Fashion Pink.

BULLDOG BREED “Made in England”
First official issue, taken from the original DECCA master tapes, of this amazing mod/psych/freakbeat rarity from 1969, featuring members of T2 and The FLIES. An album from the very end of the psychedelic era, one of the last landmark albums when bands seemed play exactly what they wanted, instead of opting for either the mainstream or the gutter; the psych-pop sensibilities of 1967 still live in 'Paper Man', 'Eileen's Haberdashery Store' and 'Dougal', 'Silver' and 'Top O' The Pops Cock?!?' give us a nasty Deviants proto-punk edge, while the mournful 'Friday Hill' sounds like Caravan on Prozac. Quintessential English eccentricity! This Acme/Lion issue comes complete with new sleeve-notes, photos and the legendary and mega-rare single "Halo in my Hair" b/w "Portcullis Gate" as bonus tracks. A classic album finally gets proper recognition!!!

Catalogue number: ACLN 1004 CD
UPC number: 778578100421


the CASE the CASE "Blackwood" CD edition
 Blackwood. The title alone is portentous, at the very least semi-evil sounding. Fear not, there are no devils, demons, or witches lurking in these woods. Instead we have a heretofore almost completely unknown and rarely spoken of album of nine original tracks, self-released on the legendary RPC Records label by a group of self-motivated teens from Pennsylvania. Luckily for lovers of musical mayhem, the Case got access to their school music room and a four-track recorder over a Christmas break in 1971. A rock-solid, hard-driving rhythm section lays down the necessary underpinning for moody organ and beautifully-toned guitar. There is sheer joy at play here, a kind of rock 'n' roll exuberance—with ample raw talent and wicked riffing—which shines through on every cut. Raw, primitive, like the Velvet Underground at their best.

• Terrific primitive album recorded in 1971 by some very advanced high-schoolers during their Christmas vacation, self-released on the legendary RPC Records label 

• Color booklet includes notes by the band + rare photos

• Limited to 500 copies.

Catalogue number: LION 659
UPC: 778578065928  

CHRISTMAS “S/T”

SOLD OUT

Catalogue number: PACE 043-LN
UPC number: 778578004323



CLASSICAL M “Bad Guys: The Complete Collection”
Classical M could have made a great album if given the chance. As it is, the songs contained on this disc make for a stunning collection, with the band’s psychedelic flourishes, outrageous melodies, and fantastic attention to production detail evident throughout. This profoundly original music was made in three short years (1967-1970): twenty-four delirious and provocative songs that establish Classical M as perhaps the best, and certainly the most intriguing French band of all time. Their offbeat sense of rhythm and harmony, the complex intertwining of voices, and perhaps more than anything, their unusual practice of trying to play all sorts of instruments—be they electronic or traditional—these elements make the music of this odd French trio unique and very special. We are proud to make this music available to the world.

Catalogue number: Lion 603
UPC number: 77857806032

Congregación CONGREGACIÓN “Viene...”
Congregación was the most legendary of the many excellent bands of the early 1970’s Chilean music scene—one could easily say that for many people, this album has had the impact of a religious experience. There is good reason for that: Congregación’s music has a highly evocative sense of space, using natural sounds, native Andean instruments, and acoustic textures to foreground ecologist and mystic Antonio Smith's soaring melodies and deeply felt, philosophical lyrics. The results make this one of those perfect albums that works just as well on a Sunday morning as it does late at night. If things had worked out differently for Smith and Congregación, this album might be as well-known (and well-loved) as comparable albums—comparable masterpieces—Milton Nascimento's “Clube de Esquina,” and Joyce and Nelson Angelo's eponymous album. Unfortunately, Smith’s lyrics earned him the enmity of the Chilean military dictatorship; he was forced to flee the country and “Viene…” (IRT, 1972) proved to be the band’s only release. Still, we’re lucky to have this album, with its perfect sequence of gentle, undulating, heavily-textured arrangements supporting Smith’s plaintive, intimate and searching vocals. The result is an atmosphere of peace and enlightenment, with deep and introspective moments of great quality; incredibly beautiful. Congregación band member Carlos Vittini gave some insight into Smith's charismatic mysticism: "I still get excited about how a musician has a great place in capturing the sensibility of the people. I knew the immense creative capacity of Antonio. From the sound of a bird, he speaks, capturing in passing the chirp of a chincol (sparrow) singing in a square, where these memories were made—from this he created a song." A highly recommended album, surely one of the pinnacles of dreamy psychedelia, despite its relative obscurity and undeniable rarity. Our deluxe, mini-LP gatefold jacket edition comes with a bi-lingual 32-page booklet, which explores the story of Congregación in the context of the rich Chilean rock music scene.

Catalogue number: LION 668
UPC: 778578066826

dino DINO & MONTEVIDEO BLUES
The one and only album by Dino & Montevideo Blues (Macondo GAM 551, 1972) deserves to be a serious contender as one of the most important, and as it happens, most grooving, records ever released in Uruguay. But there is another reason that the album has attained exalted status: the incisive power of the lyrics, which are all the more impressive considering the national turmoil out of which they were created. Montevideo Blues was founded by Uruguayan song-writing legend Gastón “Dino” Ciarlo as a way to fuse the rawness of rock music with obscure native Uruguayan rhythms like malambo, milonga and chamarrita—a logical direction to pursue after Dino had attempted pop/candombe fusions in his solo recordings. “At the time, we were revolutionary and looking for change,” said Dino. Montevideo Blues demonstrated an unyielding and combative attitude. During live shows in 1971, Dino often criticized the government—a level of political commitment reflected in the lyrics of the songs, some of the most radical ever set to music. Eduardo Mateo, the sacred monster of modern Uruguayan music, was succinct: “You have decided to prune the tree,” he said to Dino. The album opens with one of Dino’s most famous songs ‘Milonga de Pelo Largo’ (‘Milonga of the Long Hair’), a sinuous song transformed by the arrival of the dictatorship into a hymn of Uruguayan popular resistance. The rest of the album tracks have an edgy, atonal quality, with terrific unconventional angular guitar and a kind of ragged glory, all driven along by insistent grooving rhythms, whether from native drums or the clicking of drumsticks. Bonus tracks include beat-rockers ‘Sendero de Rosas’ and ‘Rubio es el color,’ from the rare “La Juventud” compilation album, as well as both sides of Dino’s two early singles for RCA Vik. A 32-page booklet is packed with photos, detailed band history, and lyrics for this important Uruguayan band.

Catalogue number: LION 614
UPC: 778578061425


dailydance Doug Snyder & Bob Thompson "Daily Dance"
After meeting at a Stooges/MC5 concert, drummer Bob Thompson and guitarist Doug Snyder met one fine day in October 1972 in Thompson’s kitchen and bashed out this set of fiery improvisations, seemingly influenced as much by Iggy’s proto-punk moves as John Coltrane’s whole "sheets of sound" ethos; the result is a mythical frenzy of distorted guitar and improvised drums, creating walls of psychedelic noise; its sound is unparalleled for its time, preceding its closest kin, New York's no-wave explosion, by a solid five years. And because of it's lack of pretensions (it was done almost innocently), the record comes off as something, dare we say, a little more "spiritual" than is the norm for such excursions. It is a singular recording, one that mainlines the classic high energy pantheon of the Velvet Underground, Stooges, Pharaoh Sanders, Sonny Sharrock, etc. while anticipating the free jazz/noise/no wave synthesis of groups that would follow in their footsteps. Thompson and Snyder get into some abstruse territory, with Snyder tearing industrial gamelan shapes from his six strings while Thompson uses the guts of his kit as the basis for new tonal alphabets. But it’s all rendered with a strong savage ethos that effortlessly equates monochord rock obliteration with the celestial freedom of Cecil Taylor/John Coltrane, et al., while establishing new territory as advanced as that attained by the most far-reaching visionaries of the rock ‘n’ roll blueprint... still hard to believe that this was recorded in 1972. A major historical unearthing, remastered from the original tapes, and beautifully packaged in a Stoughton paste-on mini-LP jacket, with an informative Obi/U-Card, and an extensive 20-page booklet of liner notes and photos. Produced in conjunction with Cantor Records, who recently made Daily Dance available on vinyl for the first time in 35 years. Includes one bonus track (not included on the LP reissue), which was intended for the original release, but left off at the last moment for time considerations.

"They generate waves of energy through cascading feedback squall and drumbo bash and shimmer. A few tracks will start with something vaguely resembling a 'groove,' before they quickly deteriorate into their lonely Buckeye din." —Dante Carfagna.

"In 1972-73, all of their respective busy-'60s musical experiences coalesced in the birth of this Daily Dance disc you're now sliding into. With Bob the more seasoned pro at this point, his drums carry the careening melodies, while Doug's electric-guitar forays furnish the skronked rhythms, a kind of role-reversal that gives this set its terrific texture. I reviewed the original Daily Dance LP in Creem magazine back in 1977, when I called it, "Abstract, but terribly immediate music... Highly Recommended. There's nothing I could add to that capsule now." —Richard Riegel

(Riegel's writings about music have appeared in Creem, the Village Voice, the Washington Post, and other publications, since the 1970's).

Catalogue number: Lion 640
UPC: 778578064020


 
SMOG
DUG DUG’S "Smog"
Classic second album (1972) from psychedelic guru Armando Nava and his band is in Spanish this time, as all other Mexican bands were by now singing in English. The recording sessions were tumultuous: after the band—now stripped down to a power trio—had recorded just three songs, Nava stormed out of the sessions and locked himself in his house for fifteen days. Everyone on the outside worried about his safety, but Armando was fine: he kept himself busy reconfiguring the entire album, including penning the punishing riffs that form the central motif of the mesmerizing twelve-minute medley that explodes over the album’s entire first side. So again, as with the genesis of the Dug Dug’s debut album (also available from Lion Productions), the end result of all the tumult surrounding the band was a great album. There’s no doubt that the Dug Dug’s toughened up their sound on "Smog": to some people they sound like a crazy Mexican version of Jethro Tull, and to others like a Spanish speaking incarnation of MC5. No matter how you look at it, this is tremendous progressive-influenced hard rock, with a new chunky sound. It is clearly among a small group of elite recordings from the psychedelic age; it is also possibly the best Mexican hard rock album of all time.

Catalogue number: LION 650 (CD)
UPC: 778578065027


DUG DUG’S DUG DUG’S "S/T" (also known as "Lost in My World")
The "must have" debut album (1971) from psychedelic guru Armando Nava and his band, recorded after their failed trip to NYC did not produce the stardom they had been promised—pain and disappointment sparking great song-writing on this, the first Mexican psych album in English. After an extended stint as the house band at Tijuana strip joint Fantasitas, Los Dug Dug's relocated to Mexico City in 1966. They quickly garnered a rabid fan following there, which resulted in the Dug Dug’s signing to RCA Records and cutting a series of singles (the band also headlined a pair of 1967 films, El Mundo Loco de los Jovenes and Cinco de Chocolate y Una de Fresa). Upon returning to Tijuana in 1968, Los Dug Dug's took up residence at the popular Sans Sous Ci club. An American tourist was so impressed that he offered to bankroll a trip for the band to New York City. The group played a handful of live dates and recorded a few demos, but having no money to pay the union fees necessary to earn them the opportunity to play NYC’s larger venues left them with little choice but to return to Mexico. Los Dug Dug’s immediately began work on their first LP for RCA Mexico, little knowing at the time that it would become a classic of psychedelia. Long-simmering creative differences between band leaders Nava and Jorge de la Torre forced the latter's resignation after the album was completed; by the time the resulting psychedelic opus appeared in 1971, the first incarnation of Los Dug Dug's was essentially no more. All that remained was this heavy, explosive album, a record which captures the fever/dream humidity of flower children running amok on a July afternoon. Essential. Licensed from Sony/BMG, and newly mastered from the original tapes. Mini-LP replica jacket, enclosed inside a re-sealable PVC outer sleeve.
 
Catalogue number: LION 649 (CD)
UPC: 778578064921


EDEN ROSE EDEN ROSE 
"On the Way to Eden"
It might be easy to think of Eden Rose as simply a first version of famed French progressive band Sandrose. Both bands had the same musicians; both existed at nearly the same moment in time (c. 1970). But Eden Rose is now seen, quite rightly, as something unique, a chimera from the misty past, a time during which the winds of change were blowing on the fixed universe of music. Rules were blown away, stagnant structures were swept aside, and musical conventions emancipated, this freshness and spontaneity the essence of a style that hadn’t yet been formalised. As for Eden Rose, they took off once they teamed up with guitarist extraordinaire Jean-Pierre Alarcen, who had worked with Jacques Dutronc and played in Le Systeme Crapoutchik. The result was this batch of psych-inspired, decidedly grooving, upbeat instrumental tracks, with wailing (at times) fuzzed-out guitar and distinguished Hammond organ aplenty, over driving beats. A unique sound, brilliant, bright, and singing from the first note to the last. And man, if my ears don’t deceive me, the main theme from ‘Walking In the Sea’ (before it spins off into Jimi Hendrix territory) sure sounds like a lovely jazzy riff on Serge Gainsbourg’s ‘Je t'aime... moi non plus,’ which had been released the year before this album hit the racks. Two bonus tracks are from the band’s only single that contained non-LP tracks. Booklet has the band’s story in English and French, and is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: LION 645M
UPC: 778578064525


el kinto EL KINTO "El Kinto" (Complete Collection)

"I was lucky to see Uruguayan music born. Before El Kinto it didn't exist, and if it did I did not know it or like it." Osvaldo Fattorusso

All twenty-two tracks by these Uruguayan legends, whose line-up includes members of Totem and Limonada, and features the compositional abilities of candombe legend Ruben Rada, and his alter-ego, poet/panhandler and acid casualty Eduardo Mateo. El Kinto began their brief but eventful life in music playing in the dark shadows at Orfeo Negro (Black Orpheus), a night club near the Portones de Carrasco in Montevideo, Uruguay. Inspired by the way the Tropicalistas like Os Mutantes were transforming the pop music of Brazil, El Kinto embraced their own native music forms—but, as always, they went a step further: yes, they integrated candombe and bossa nova into beat music, but they also added their own notion of “psicodelics.” They experimented with newness in all its variety—new sounds from their guitars, new types of vocal delivery, new ways of striking the drums (with little brooms, with gavels or with the hands), all very uncommon in rock music. As one journalist noted in 1969, “El Kinto, directed by the brilliant Mateo, and amplified to the maximum... creates a frenzy of rhythmic music in which—with force and conviction—pure wave ‘beat’ is synthesized with the warmth of the African drums.” The result of the group’s tireless experiments is music which sounds fresh and engaging today. In a world dominated by the commercialization of everything—including (although it is difficult to comprehend)—the arts, all we can say is, thank god for El Kinto!

Special slip-case edition comes with an oversize 36-page full-blown booklet packed with photos, detailed band history, and lyrics for this most important of Uruguayan bands.

Catalogue number: LION 612
UPC number: 778578061227

EL POLEN EL POLEN "Fuera del la Ciudad" (Outside of the City)

SOLD OUT

Catalogue number: LION 7659
UPC: 778578765927 



EL POLEN EL POLEN "Cholo" (Music from the Original Film)

SOLD OUT

Catalogue number: LION 7655
UPC: 778578765521



EMTIDI EMTIDI “Saat”:
Recording in a good studio in 1972 with an accomplished engineer/musician such as Dieter Dierks (Ash Ra Tempel, Cosmic Jokers, Tangerine Dream, and yes, the Scorpions), certainly enabled Emtidi to expand their musical style on “Saat.” The end result was a shimmering, lush cosmic folk trip, with multi-tracked and treated acoustic guitars plus electric piano, fragile angelic femme vocals, vibes, and mellotron, (punctuated by the occasional acid guitar solo). Yes, “Saat” is an elevated cosmic folk brew of a refined and most magical kind—a richly textured sound thick with treated guitars, phased keyboards and trippy electronics, rendering a cosmic atmosphere similar to vintage Klaus Schulze or Ash Ra Tempel, and creating an album which has been called “one of the most beautiful cosmic treks of all time.” Pastoral imagery runs like a green silken thread throughout this beautiful record, starting with the front cover, a psychedelic airbrush painting of a pink stardust ear of wheat (“saat” means “seed”), and the inner gatefold, which depicts a luxurious golden field of corn. Bountiful and blissful. Our Lion Productions edition comes with a 16-page booklet which contains band info, a history of Rolf Ulrich Kaiser and his OHR/Pilz/Kosmischen Kuriere Records empire, and a Pilz label discography.

Catalogue number: LION 627
UPC: 778578062729

ERGO SUM ERGO SUM “Mexico”
Along with the two records by Nurse With Wound favorites Moving Gelatine Plates, Ergo Sum’s weird and wonderful album “Mexico” is an unusual portal into the intense creativity of early 1970’s French music. True, the bands are not musically similar; yet these three albums are distinguished not only by their instrumental richness, but by their unceasing sense of adventure. We’d go so far to say that Ergo Sum presents one of the most distinctive experiences in a rock idiom (apart from Zeuhl music juggernaut Magma) to ever come from France. The band’s one and only album (1971) features the unique voice of Lionel Ledissez—his guttural sort-of-English language delivery described as being “somewhere between Family’s Roger Chapman and a drunken Champs-Elysees taxi driver,” although more sober comparisons to Tim and/or Jeff Buckley have also been made. The compositions develop at a relaxed pace; incredible jazz-inflected guitar, flute, piano and droning violin swirl around the vocals, and keep one submerged in, yet attentive to the intimate mood. Tracks full of instrumental richness—they simmer, rather than blaze, which makes the rewards ever so great for patient listeners. Bonus tracks include the superb ‘All’s So Comic,’ one of the highlights of the “Puissance 13+2” Thélème label anthology, as well as both sides of Ergo Sum’s musically relevant single from 1972. A fulsome 28-page booklet includes band history, photos, lyrics, and a contemporary 1971 review from Superhebdo magazine. A three o-clock in the morning, slow burn album if ever there was one.

Catalogue number: LION 618M
UPC: 778578061821

eyes THE EYES "The Arrival of the Eyes: the Complete Recordings"
The Eyes' 1965 single, 'When The Night Falls,' produced by the king of compression Shel Talmy, should have made them rich and famous (it didn’t). Alan Freeman described it as "truly unforgettable"—a prophetic statement. Later writers, like Cliff Jones in Mojo magazine, have described it as being "raw as an open wound, as sharp as a scalpel blade, and jammed full of sinewy whiplash lead guitar and pounding demonic ‘jungle telegraph’ drums." And it’s not as though the rest of the Eyes other recordings lack power and excellence. Sure, their early slices of Mod cool borrowed heavily from the classic 1960’s sound of the Who—Mod anthem ‘My Degeneration', the b-side to the Eyes’ second single, is either a tongue-in-cheek homage to (or an absolute subversive rip on) the Who, and is both funny and cool at the same time. Yet the band’s finest cuts, with their blend of innovative guitar feedback/distortion and anthemic songwriting, are equal in stature to rock classics of the era. The Eyes’ bursts of electronic mayhem were advanced for the time, and they had hooks and harmonies to counterpoint the madness. Thanks to the timeless quality of their great tracks, the band's legacy continues to grow as more and more people discover that long forgotten bands like the Eyes (or Les Fleur Des Lys, to name another) could match heavyweights like the Who, the Kinks and the Small Faces blow for blow, even if only for a fleeting three minutes of pure genius at a time. Contains all the band’s output—released and unreleased—including demo versions, alternates, and the entire Pupils Tribute To The Rolling Stones exploitation album from 1966 as a bonus. Fat 24-page booklet is packed with zippy notes on the band, photos, and pages from the band’s own fan-club pamphlet.

Catalogue number: LION ACLN 1008CD
UPC: 77857810082
7

flies THE FLIES "Complete Collection 1965-1968"

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Catalogue number: LION ACLN 1009CD
UPC: 778578100926



FOLKLORDS “Release the Sunshine”:
Fourteen perfect examples of dreamy, sunshine-infused pop psychedelia with a folk ben, originally released by independent Canadian label Allied Records in 1968. When we first issued this terrific album on CD many years ago, our booklet featured the few scraps of information on the band we could find. We challenged “anyone out there” to find some information on this elusive and intriguing band. Well, we’re pleased to say that someone took us up on that offer, and that someone was band leader Tom Waschkowski (credited on the album as Tom Martin). He graciously offered us a band history, lyrics, some terrific photos, and best of all, a rare pre-album single that the trio had self-released. This allows us to offer up as perfect a reissue of this album as humanly possible. The Folklords “Release the Sunshine” is a captivating album, a notion shared by the many collectors world-wide who fight for original copies, which are few and far between. Strange thing is, if someone were to say to us that the Folklords album was released by Creation Records in 1987, it would be difficult to argue. Why?, you well may ask. Our answer: the chiming guitars, the rattle of tambourine, the dreaminess, and the meandering harmony vocals of Martha Johnson place the Folklords closer to Biff Bang Pow, the Jesus and Mary Chain, the Revolving Paint Dream, or even My Bloody Valentine’s debut, “Ecstasy and Wine” (granted, at a much slower speed, and without the rampant fuzz guitar). Glorious remastered sound, as the twelve LP tracks were taken directly from the master-tapes; the two bonus tracks come from the rare, privately issued non-LP single, which features haunting, drum-less versions of ‘Forty Second River’ and ‘Unspoken Love,’ both of which were re-recorded for the original Allied album. A 16-page booklet includes a band history lyrics, and comments on the songs by Tom Martin.

Catalogue number: PACE-047-LN
UPC: 778578004729

FOUR LEVELS OF EXISTENCE “S/T”
Slightly revamped second edition of an album that many people consider to be the best Greek psychedelic album ever recorded, a belief that would mean that the Four Levels of Existence LP would supercede albums by artists like Axis, Aphrodite’s Child, Socrates, and George Romanos. We’ll let you decide the argument, for there is no doubt of one thing—that this is tremendous hard edged psychedelic rock, originally released on LP in a very small quantity by the private Venus label in 1976. As band leader Athanasios Alatas said: “Through Nick’s musical quest, Mario’s sensitivity, Christos’ madness, and my thoughts, we create many songs, all characterized by a psychedelic music sound, Greek lyrics, and monumental guitar solos.” Since the appearance of our first edition of this album on CD, the excellence of the band has not gone unnoticed.* (see below) This carefully documented reissue contains the entire Four Levels of Existence LP, the only recordings they ever made. A twenty-four page booklet includes historical background on the Greek music scene of the early 1970’s, details of the band’s past written by Alatas, rare photos of the group, as well as lyrics in both Greek and English. This second CD edition is strictly limited to 1,000 copies. Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: Lion 604
UPC: 778578060428

FREAK SCENE FREAK SCENE "Psychedelic Psoul"


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Catalogue number: LION 642
UPC: 778578064228
  

FRIENDS FRIENDS "Fragile"
The rarest, and I would dare to say best, folk/psych album from Peter Howell and John Ferdinando, musical brainchildren behind Ithaca, Agincourt, Alice Through the Looking Glass, and Tomorrow Come Someday. This fifth Howell/Ferdinando album had just been completed in or around 1974 when the partnership came to an end. Howell had been working at the BBC as a studio manager since 1970 (he'd provided a stiff upper lip voiceover for John Peels Top Gear shows), but he was now offered a position with the BBC Radiophonic Workshop, which he accepted, and still holds. An album so incredibly rare (only a single acetate exists), that many have doubted the album’s existence… until now! “Friends” still has the recognizable Ithaca and/or Agincourt sound, with lead vocals mainly by Peter Howell mostly, but with all the same elements and participants, and four tracks featuring the lovely vocals of Ruth Cubbin. A pastoral psychedelic folk stroll in the sunshine, with a few tracks reminiscent of 60's soft psych. Very good!!”

Catalogue number: ACLN 1007 CD
UPC number: 778578100728


FUSIÓN "Top Soul"
Impossible to find jazz/soul/funk monster by Fusión, issued in Chile in 1975 by ALBA (ALD-041)—a fulsome combination of funk, electric jazz, and soul, with Latin roots. Bassist Enrique Luna had lived and studied art in New York, and knew first-hand the last, avant-garde years of John Coltrane, and Miles Davis’ mutation from hard bop trendsetter into an electric jazz pioneer; Matias Pizarro had appeared on the scene in the mid-60s as a young pianist of outstanding technical ability and advanced ideas. Together they formed a band around a core of Peruvian musicians, with soloists including David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio of Mario Lecaros (electric piano, former Village Trio), and Orlando Avendaño (drums), with guest appearances by trumpeter Daniel Lencina, and young percussionist Santiago Salas (Santa y su gente). Censorship during the Chilean military regime meant heavy restrictions on artists. Thus the Fusión album was pressed in a very limited quantity, and never legally re-issued—until now! Comes with a bi-lingual booklet which explores the story of Fusión in the context of the rich Chilean rock music scene. LP edition in 2014!

CD catalogue number: LION 673
UPC: 778578067328 
      

Remastered from the original tapes!

GERARDO MANUEL & EL HUMO GERARDO MANUEL & EL HUMO "Apocallypsis"
By the start of 1970, young Peruvian musician Gerardo Manuel Rojas already had an impressive body of work with various rock bands: The Doltons (in Ica), Los Doltons (in Lima), Los Shain's and The (St. Thomas) Pepper Smelter; he had recorded to that point five LP's and many 45 rpm records. He was 24 years old. And Gerardo's work would continue with the implementation of a recording studio at the El Virrey label office. The label had hired German engineer Gerhard Nieckau for the installation of a new Neumann 4-channel recording console; they also asked Gerardo to act as Nieckau's partner, and asked him to get musicians to perform the first test runs of the recording set up. The musicians came to the studio to record and rehearse during the hours that the studio was not in use, from ten at night until sunrise. What resulted was a kind of "ghost" band that recorded throughout the night. For this project, Gerardo joined with guitarist "Pico" Ego Aguirre, bassist Jorge "Coco" Pomar (both from Los Shain's) and drummer Freddy "Pure" Sources of the group La Nueva Cosecha (The New Crop). After a month of testing the new studio, (they had already recorded more than 200 hours there), El Virrey suggested that they release an album with some tracks from those sessions. That album, "Apocallypsis," was the first hard rock album recorded in Peru; it was released on vinyl in August 1970. The album includes five original songs, plus versions of tracks by Grand Funk, Liquid Smoke, Jimi Hendrix, and Question Mark and the Mysterians. Before the LP came out, El Virrey released two 45rpm singles that are included on the CD as bonus tracks. This special edition of a South American classic also includes a booklet with some terrific photos and memorabilia + liner notes and lyrics.
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Catalogue number: LION 7657
UPC: 778578765729

Golem GOLEM "Orion Awakes"

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Catalogue number: Acme/Lion ACLN 1014CD
UPC: 778578101428



GREEN GREEN "Green" + bonus
Green arrived in the mid-1980s, amidst a Chicago scene that included bands like Naked Raygun, Big Black, and Ministry (and eventually, Material Issue and Smashing Pumpkins). Green bypassed the major label-express that many of those other bands rode to fame and fortune, and continued to make records their own DIY way, records which were lauded in the pages of Trouser Press, Spin, and The Village Voice, among others. And with each passing year there are an increasing number of folks who are convinced that their debut LP is worthy of those Mojo/VH1/Spin/ lists of the top 50 or 100 rock albums of all time. From the first pulsating, exuberant notes of the intro, the band knows what they want to say: kids get ready, gotta rock steady, because they ‘Gotta Getta Record Out,’ they are trying to ‘Curry Your Favor,’ they play the records, and maybe most of all, they want to be ‘Big in Japan’! One astute reviewer said: "The band darts through decades of pop history as impatiently as the 'Spiral Scratch'-era Buzzcocks, with band leader Jeff Lescher’s voice ranging from Princely falsetto to gravel-tinged field holler, but most often sounding as though someone stepped on Paul McCartney’s toes in 1965." And as another reviewer quite rightly said, "This is such a flawless pop masterpiece that I’m not even ashamed to trot out terms like 'flawless pop masterpiece.'" Green may be the bee’s knees for anglophile power poppers, but they deserve more notice than that; they were the kind of all-embracing band, with a taste for punk, glam rock and soul—and with a twitchy sort of energy—of the sort that burbled around in the late-80s, pre-grunge underground (a little Feelies anyone?). It remains a mystery why other bands are fixed in the collective memory as the era's best—at the very least, Green should make a list of top obscure pop groups of all time! Booklet has band history and lyrics, plus many a fine photo, all courtesy of Lescher. Seven bonus tracks, including the CD debut of the band’s 1984 EP "The Name of This Band is Green." Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

"Their (first) 45 had two absolute masterpieces: ‘Gotta Getta Record Out,’ which yelps and shouts along like the best of the old Bongos or Jam or Feelies or somebody, and ‘I Don’t Want To Say No,’ which is the sort of white Motown that assholes like the Replacments could never get right. This is not a punk record, except perhaps in spirit, but it isn’t any worse for that."—Steve Albini

Catalogue number: LION 637
UPC: 778578063726


Guru Guru GURU GURU “UFO”:

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Catalogue number: LION 626
UPC: 778578062620




GUY SKORNIK "Pour Pauwels"
Guy Skornik was a mystic explorer, psychonaut, and gifted musician, who was a  key member of François Wertheimer's Popera Cosmic collective; he was also deeply immersed in the metaphysical revolutions of his time. He presented television reports, laced with elements of Eastern mysticism, on LSD experiences. And then there was Skornik's album, "Pour Pauwells", inspired by the revolutionary writings of Louis Pauwells, one-time counterculture hero and disciple of esoteric spiritualist G. I. Gurdjieff. It is one of a handful of classic French progressive pop concept albums of the early 1970's, together with Serge Gainsbourg’s “Melody Nelson," Igor Wakévitch's "Hathor", Gérard Manset's “La Mort D’Orion," and Michel Berger's “Puzzle.” Licensed from Parlophone, A Warner Music Group Company. Limited to 500 copies. Digipack + 28-page booklet.

"If you have not heard of Guy Skornik you do not know what you've lost... but don't worry, it's never too late. Guy was brought to the public's attention for the first time in the beginning of 1970. Then it was the release in the middle of the year of a magnificent LP (on Pathé, of course!) I strongly recommend it to you as it is a masterpiece. He starts with a taste for surrealism and for all the strange things that have occurred over thousands of years on the earth’s surface; Skornik tried, and succeeded perfectly, to create with his music what Louis Pauwels did with his huge best-seller The Morning of the Magicians—a book that can be quickly defined as a popularization of many disturbing problems poorly understood by the general public, such as flying saucers, Atlantis, and Easter Island." —Jacques Allemand (Extra magazine)

•one of a handful of classic French progressive pop concept albums of the early 1970's, together with Serge Gainsbourg’s “Melody Nelson," Igor Wakévitch's "Hathor", Gérard Manset's “La Mort D’Orion," and Michel Berger's “Puzzle” 
•key member of François Wertheimer's Popera Cosmic collective
•arrangements by Ivan Jullien (Françoise Hardy, Johnny Hallyday, Quincy Jones, & Elton John)

Catalogue number: LION 676                                                                
UPC: 778578067625

HEAVEN
                                    & EARTH HEAVEN & EARTH "Refuge"
This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint). At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like 'Feel The Spirit' and 'Jenny' have been making the rounds on the DJ circuit. No matter what your musical taste is—psych-folk, funk, soft rock—this LP seems to have something special to offer. This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews. Our CD edition, our Lion Productions deluxe gatefold mini-LP sleeve CD version has two booklets—one packed with rare photos from the Ovation Records archives; the other with musings by both members of the group on their time spent as Heaven & Earth. Better yet, the CD version has fifteen bonus tracks, including both sides of the duo’s two singles, as well as alternate takes and some never before released songs plucked from the vaults. Now here’s more sad news: the CD version is limited to 1,000 copies.

Catalogue number: LION 652
UPC: 778578065224

HOLLINS
                                    & STARR HOLLINS & STARR "Sidewalks Talking"
I love this record. For me, it has a trace or two of Arthur Lee and Love at their best (‘Krishna Dov’ would not sound out of place on "Forever Changes," for example), with dashes of maybe Terry Callier in some of the jazzier tunes. I also like that Hollins & Starr wrote a gentle tribute to one of my favorite old-time bluesmen, Mississippi John Hurt. At times this album is a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too (where did those crazy orchestrations, wild guitar, and breakbeats on the fierce anti-war rave-up ‘Hard Headed Woman’ come from?), all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. Chicago-based duo Chuck Hollins and David Starr only made this one album, which originally appeared in 1970 on the Ovation label. All we know about them is what the original ads for the album said: "David Starr learned piano when he was three, began composing when he was four. At twenty-one he was playing flute with the Chicago Symphony Orchestra. Chuck Hollins picked up a guitar one day and just started playing.... by the time he left Northwestern with his Creative Writing degree he was turning his poetry into music." Others have said: "Unique blend… with a lovely dreaming, drifting vibe" – the Acid Archives; "Many diverse influences from pop-psych, mystical mellow passages, quasi-classical touches, delightful ethereal flute, trance-like vocals and fuzz guitar… there is much to appreciate on this largely undiscovered gem" – Fuzz, Acid & Flowers. Our deluxe mini-LP sleeve CD edition has four bonus tracks, including a "hidden track" with some rare sound effects plucked from the vaults. The CD version is limited to 1,000 copies. Our replica LP version (in production as we speak) will come in an old style tip-on jacket, and include an insert with an essay on the album and a little background history on the Ovation label. It is a 180 gram vinyl pressing, mastered from the original tapes; the sad news: this LP version is limited to 750 copies. So, we state that the sole album by Chuck Hollins and Dave Starr, their only known recordings, is a treasure trove of strong melodies and dreamy vocal stylings—an album sure to appeal to fans of acid folk, popsike, and even those who like jazzy funk. Listening to it is a rich, rewarding experience. This is a perfectly produced and arranged record, an ode to the free mind, structured by intelligent considerations. And as another person has said, "No wonder it has been sampled by DJ Shadow." Ovation said at the time of its release, "Classical artistry rock and sidewalk poetry." All true. Very cool. Hip, mellow, and stoned.

Catalogue number:  LION 653
UPC: 778578065324


HOJAS “Mis sueños piden” plus seven bonus tracks
If you were in Uruguay in 1971, you would have known along with everyone else that Hojas (the Leaves) was the best band for melodic rock—what we now might call power pop—and slow-burn rock ballads. This was the year of their hit singles, ‘El mundo es una flor’ (The World is a Flower) and ‘Caminar en la lluvia’. With their supple guitars, dreamy pop/psych melodies and driving rhythm section, Hojas rose to prominence quickly; and of course, it helped that most people agreed that the band’s vocalist César “Cacho” Badin had one of the best voices they had ever heard singing rock music. But Hojas were not just a singles band. They recorded an LP, “Mis sueños piden” (Sondor LP 44009), released by the Sondor label in August of 1973. The problem was that the album’s release very nearly coincided with the arrival of a military dictatorship in Uruguay, which effectively ended the career of the nations’ top bands, including Hojas. This carefully researched reissue contains the entire Hojas LP (its reissue debut), supplemented by seven bonus tracks, which include rare singles and an unreleased Badfinger cover. The sixteen page booklet includes historical background on the Uruguayan scene, details of the band’s past, plenty of photos, as well as a brief overview of the legendary Sondor label.

Catalogue number: Lion 606
UPC number: 778578060626

Hunt
                                & Turner HUNT & TURNER "Magic Landscape"
Fabulous grooving folk rock sounds with plenty of atmosphere, first released by the much beloved Village Thing label in 1972. Ian Hunt and John Turner first teamed-up in the late summer of 1970, the inevitable collaboration of two of the West Country's most sought-after session musicians. String bassist and guitarist Turner had just left the infamous Pigsty Hill Light Orchestra and Hunt, a wizard guitarist and song writer who was already a 'big-name' on the Bristol scene, was looking for a new vehicle for his talents. Both had been spawned by the legendary Bristol Troubadour Club, which Turner had run for several years, and within months the new duo was picking up fans and followers around the UK and in Europe. This album went straight to number six in the Melody Maker folk charts upon its original release. Years later, Ian Hunt is still making stunning music and is rated amongst the finest guitarists in the land, while John Turner, ever the entertainer and entrepreneur, as well as being in his own words a "part-time rake and bon viveur," was until recently one of Britain's most respected BBC radio and television presenters. Crystalline acoustic and electric guitars and delicious vocals, backed with electric and string bass and bongos; imagine if you will British band Magna Carta with a guitarist as skilled as Wizz Jones or John Martyn: acoustic instrumentation and strong songs. Our Lion Productions edition comes with a 16-page booklet printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy, which contains a small dose of band info, album lyrics, histories of the Village Thing and Saydisc labels by co-founder Gef Lucena, as well as a Village Thing label discography.

Catalogue number: LION 630
UPC: 778578063023

IL BALLETTO DI BRONZO "Sirio 2222" 
Raw-edged heavy rock, fronted by Lino Ajello's powerful electric guitars, channeling the dark, jagged energy of Jimmy Page, Adrian Gurvitz, and Jeff Beck. Il Balletto di Bronzo absorbed their influences (Led Zeppelin, Jimi Hendrix, The Yardbirds), but moved from there into an inspired, hard-edged musical space; the band's overwhelming power and great melodies make them irresistible. ‘Un posto’ and ‘Neve Calda’ are centered around simple but effective guitar riffs. ‘Eh eh ah ah’ starts like a nice mellow ballad, but gets into a hard blues rock groove. On side two, there's the seven-minute mammoth heavy grind of ‘Incantesimo’ and the colossal ‘Missione Sirio 2222,’ almost ten minutes of droning acid rock with whirling guitars and heavy pounding drums, sandwiched between an acoustic intro and outro. No surprise then that Nurse With Wound cited Il Balletto di Bronzo as an influence.

•Incredibly rare album: original copies sell for more than $5,000, if and when they appear (they don't)

•Digipack comes with 12-page color booklet discussing Il Balletto Di Bronzo's strange legacy

•Licensed from Sony Music Entertainment Italy S.p.A.

Catalogue number: LION 677
UPC: 888837581622 
Format: digipack CD + 12-page color booklet

ilous & decuyper ILOUS & DECUYPER "S/T"

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Catalogue number: LION 610M
UPC number: 778578061029


INDEX "Black Album + Red Album + Yesterday & Today" 2xCD

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Catalogue number: LION 644 (2xCD)
UPC: 778578064426
 


INFINITY INFINITY "Collected Works 1969-70"
Legendary UK psych outfit Infinity formed in 1969 from the ashes of "Chocolate Soup" psych faves the Flies and Cymbaline. The mission: to develop a heavy psychedelic/pop sound, and express it through complex original songs. Thanks to some funky Hammond organ, punchy guitars, and the band’s unique harmonies, Infinity were no run of the mill outfit. Upon their return to mainland England from a residency in Jersey, they joined the high-profile NEMS agency, alongside heavy hitters like Pink Floyd, Tyrannosaurus Rex, Soft Machine, and Pretty Things. In late 1969 and early 1970, following support slots with The Searchers and Marmalade, Infinity recorded original material for a proposed album, which was meant to explore "time, space, matter, energy and chicken phal, said in some circles to be so hot in a culinary sense that it's temperature approached infinity," or so they have said, with tongue-in-cheek, we have to believe. Sadly, they broke up soon after the sessions. The good news is that the band left behind the recordings presented on this disc, which can now be enjoyed in the digital format after the passage of more than four decades! Comes with a 24-page booklet which includes band history, photos, and more, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: ACLN 1013CD
UPC: 778578101329

ITHACA “Game For All Who Know”
Incredibly good and extremely rare home recordings from the same basically the same line-up, headed by psychedelic-folk masters Peter Howell and John Ferdinando, that had made the AGINCOURT album two years earlier. The album opens with the sound of pages turning, and more or less follows a journey through a cycle of questions, times, feelings, and dreams; a slightly different emphasis this time, as the band sounds more like a folk version of Pink Floyd. Beautiful interwoven songs with nice tape experiments of added sounds made all the better by the fragile female vocals on offer from Lee Menelaus. We at Lion Productions are pleased to have had a hand at making this music available for the first time from the original master tapes! The addition of three previously unreleased bonus tracks is cause for much rejoicing! The sixteen-page booklet has lengthy band history, lyrics, and rare photos. A beautiful, trippy album with lovely female vocals sounding glorious in a dreamy setting.

Catalogue number: ACLN 1003 CD
UPC number: 778578100322

jardine JARDINE “Look in the Window”
Jardine’s album was recorded in three glorious weeks in June 1969, at Sounds Aquarian Studios, a stone’s throw from that justifiably famous fashion hub, Carnaby Street. The sessions were fun. Polydor was supposed to release the album. Musicians dropped in to say "hello" and ended up on the record (uncredited)—among them Peter Frampton, Andrew "Andy" Bown (Herd and Status Quo), and Brian Appleyard (drummer from East of Eden). Singer Mickey Cox had been in Robert Plant’s pre-Led Zeppelin group The Band of Joy—it was Cox, in fact, who became their singer when Plant left the band. But suddenly, thanks to band management problems, the LP was shelved. Keith Law, who had written all of the songs, joined Velvett Fogg for their only album, and Jardine was forgotten. Now, forty years later, you can be among the first to discover the brooding excellence of these tracks, music both strange and sinister, with moments of fragile beauty. There are some very pretty songs here (haunting melodies abound), but there is no escaping the dark side of life (‘Masochists of Strangulation,’ ‘Execution of the Child,’ and monumental dirge ‘Blackbirds of Jardine’, which tells of self-same birds, and the fact that they will “destroy you, and leave you pain, pain, pain”), songs perhaps more akin to the band Comus than to anything else we have encountered from the psychedelic era. There are also heavy guitar solos, churning organ, flute, and flowing sitar, for good measure. A 16-page booklet includes a band history lyrics, and comments on the songs by Keith Law. A lost jewel of late-1960's UK psychedelia, from a short-lived but charismatic band!

Catalogue number: LION 624
UPC: 778578062422

GOUDE JEAN-PHILIPPE GOUDE "Drônes"
In the beginning there was the piano. As soon as he had mastered the basics, Jean-Philippe Goude discovered the spell of melancholy while working on a little musical piece: an etude ringing out in the style of a somber hymn. Not the dead meat smell of somberness that, according to Picabia, serious people emit, but the earthen gravity of an abyss dug by life itself. Everything is the result of this bedazzlement.

At 11 years old, Jean-Philippe Goude closed his eyes. When his eyelids finally re-opened, he could only see turquoise bubbles. The times had changed. The color was set by Sgt Peppers and the Beatles. Goude then discovered the minimalist movement through the work of Philip Glass and Terry Riley; this gave him insight into unexpected perspectives. Goude enrolled at the Pantin Academy of Music, where he studied with Irene Jarsky. Parallel to these studies, Goude worked with with percussionist Olivier Cole, assisted by electronics wizard Francois Gingle, who modified their synthesizers in order to obtain the weirdest possible sound. Goude released his first album (with Cole) in 1975, "Jeunes Annees" (Saravah). A few months later, with Bernard Paganotti's band Weidorje, Goude initiated a rock adventure which ultimately resulted in a second album, "Drônes" (Polydor, 1979)—an album which features an impressive gathering of some of the biggest names in late 70's underground French rock, including: Richard Pinhas (rhythmic synthesizer), François Auger (drums); Michel Ettori: (guitar), Patrick Gauthier (flute, synthesizer, piano, mini-moog), Manu Katché (drums), and Jean-Louis Rizet (mixing & special effects). Goude’s proto-electronica cosmic loops and moog melodies now find themselves coupled with tough prog drum beats and other elements of rock music; "Drônes" mixes solo keyboard pieces like ‘Coma’ and ‘Duo’ with group oriented pieces: ‘Dies Irae’ is a Zeuhl rock scorcher; ‘Machine’ uses a string quartet as the foundation for synthesizer musings by Goude and Richard Pinhas; ‘Trepidanse’ is a playful piece for dueling synthesizers. Although the Weidorje influence is evident on some numbers, Jean-Philippe Goude takes his music well beyond the Zeuhl trend. He offers a very personal approach to music, which contributed to the album's initial success, and has ensured that its cult status has lasted until the present day.

A twenty-page booklet (printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy), includes a brief introduction by Jean-Philippe Goude, abundant historical data, photos, as well as translations of contemporary French magazine articles. Our Lion Productions reissue includes all the tracks from the original "Drônes" album, as well as the track ‘Trio de Mini-Moogs,’ recorded during the same sessions and originally earmarked for inclusion on the album. "Jean-Philippe Goude is a singular character in French music, originality in motion, constantly sniffing the scent of potential..." —Hervé PICART (BEST no. 142, May 1980).

Catalogue number: LION 638M
UPC: 778578063825


JULY "Second of
                                      July"JULY "Second of July"
By this time, anyone with an interest in psychedelia that stretches beyond the Beatles or maybe Strawberry Alarm Clock (at a pinch), knows who July is. Well, at least they know that a band called July put out a super rare album that is considered by many to be one of the pinnacles of the psychedelic era. There's no way to overstate the excellence of the album, with its eerie sound, Indian-influenced chord sequences, studio trickery (tape loops/phasing), and heavily reverb-laden vocals. But that’s not the story we’re here to tell. Even before that quintessential psychedelic album was made, band leader Tom Newman was experimenting with home recording equipment. In 1967, he installed basic recording facilities in the bedroom of his flat in an old Victorian house in Ealing. There, he and guitarist Peter Cook tried out ideas, coming up with many of the standout songs from the July album. The demos they recorded display the kind of confidence that Newman feels was lacking in the album proper (yes, the ultra- famous psychedelic classic album!) that they recorded in 1968. Let’s go back to the near-beginning of it all, to a flat in a Victorian house in Ealing, and listen in on demos recorded with DIY alacrity by a studio whiz, tracks which will change the face of psychedelia, eventually, after decades of obscurity.

•Stunning demos by one of the most important psychedelic bands to ever exist

•Digipack with 12-page booklet detailing the history of July and their recordings

•Available again on CD after more than a decade

Catalogue number: ACLN 1019CD
UPC: 778578101923  


KANSAS CITY
                                  JAMMERS KANSAS CITY JAMMERS "Got Good (if you get it)" + "Tracks"
The members of Kansas City Jammers (described elsewhere as "struggling between getting good grades and scoring good drugs") first began performing together in 1969, while students at Ohio Wesleyan University. Colorful though that description may be, it hardly tells the tale, as the band members were all accomplished musicians and songwriters. The end result: excellent music! The band’s self-released "Got Good (if you get it)" LP, recorded between 1969 and 1971, and given the deluxe master-tape reissue treatment here, is a mixture of up-tempo heavy guitar rockers and well-written dreamy acid-folk tracks: in other words, some folk, some folk-rock, a hard-edged bluesy cut with heavy guitar (‘Messiah’) that sounds like Fat (on RCA), and two live songs (‘Midnight Watch’ and ‘Driver’) with filthy, snarling guitar that sound like they slipped off side two of the Oliver Klaus album. The band members were nominally influenced by the big British Invasion bands (the Beatles, the Hollies), as well as Buffalo Springfield, Crosby, Stills, Nash & Young, and the Grateful Dead. As live performers, the Jammers were known for giving incandescent shows with a rougher edge (think Rolling Stones and the Who) than is captured on most of their released material; the live tracks in this set are certainly some of the toughest sounding cuts on this collection. A second Kansas City Jammers LP was recorded during the summer of 1972, but was never released, until now; disc two includes all of the tracks that were meant for that release—all told, 45 minutes of additional Kansas City Jammers music! The "Got Good (if you get it)" album has long been a favorite of psychedelic collectors and those in the know—the Acid Archives entry, for example, is full of compliments for the band’s "strong vocals and songwriting throughout." The story of the Kansas City Jammers is probably akin to that of many excellent bands who had short careers. As much as they loved music, despite the fact that they had some local success, it was never in the cards for music to become full-time careers for most of the band members. The 24-page booklet has the entire band history, courtesy of an Aaron Milenski interview first written for the legendary Lama Workshop.

Catalogue number: L
ION 654H
UPC: 778578065423

KATH KATH "1" (original album) + Unreleased Material
Not many albums can get you in the mood to blow out your speakers quite like Kath, a band that evolved from local Maryland 1960’s band Badge. This is an authentic low-fi DIY effort, recorded in the home of the band’s leader (and, yes, actually dedicated to his pet monkey—and his girlfriend!), originally released in 1974 in a micro edition of 60 hand-made copies, and later reconfigured for a legendary Rockadelic label LP version. Truth to tell, the Kath album is full of well written melodic songs with loose, semi-ramshackle, low-fi/no-fi production values. Nothing gets down and dirty quite like 'Say What You Feel,' with its blown out bass, killer guitar and drums, echoed vocals and sound effects; well, actually, ‘Love Me Down' is equally potent. The band also had a fondness for tape experimentation ('Seagulls') and simply screwing around ('Toilet Theme'). As Patrick the Lama said in Acid Archives, "Obscure and impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on.... At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. A totally outside garage/psych/private LP that feels as personally projected as those Michael Yonkers sides. Nuts lo-fi recording quality and impossible-to-figure production values gives this a nicely zonked almost real-people vibe. Keyboards, fuzz, heap of amateur avant spirit and a cover of 'Norwegian Wood' that ranks up there as one of the few listenable Beatles covers ever cut by teens with brains." We've also included Badge's excellent 1978 five-track EP as bonus tracks. And since too far is never far enough for Lion Productions, we've also added an entire second disc of outtakes from the Kath recording sessions, plus other related home recordings. This 140-minute double disc set comes with twenty pages of extensive liner notes by Kath and Badge leader Val Rogolino, and a plethora of photos from his personal stash.

Catalogue number: LION 651 (2xCD)
UPC: 778578065126


Scott Key SCOTT KEY “This Forest and the Sea”
Excellent 1976 private press acoustic album, self-recorded at various places in Colorado, and filled with beautiful fingerstyle acoustic guitar, plus some atonal bottleneck slide, string scrapes and drones (at times, very Ry Cooder/“Paris, Texas” about six years before that soundtrack existed). Although almost completely instrumental, what lyrics there are tend towards the dark and the satiric. The obvious points of comparison are John Fahey and Leo Kottke, although Scott Key certainly has his own presence and style, differences in tone and color and attack, which he attributes to his background in rock bands. Overall, there is a brooding, loner folk/psych feel, most evident on the phenomenal, effects-heavy, almost 11-minute long title track, ‘This Forest and the Sea.’ "I was coming to terms with what it means to exist… and saw the world in pure black and white—there was no room for grey,” Key said. “I saw an American Culture devoid of any understanding of its place in the universe, how we learn nothing save what we see on television, how our existence is tainted by intellectual laziness, and how our gift of life is defiled by the taking of it." This deluxe tip-on mini-LP jacket edition of “This Forest and the Sea” includes five bonus tracks from Key’s second private press album (“Unlock Your Feelin’s); the twenty-page booklet sports engaging, funny, and insightful notes by Key, photos, plus the text to the poem that inspired the title track; as a nod to the forest, the booklet is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy. A very rare album that seems to have flown under almost everyone’s radar—although thankfully not Doug McGowan’s (Yoga Records), who sent this our way. One record collector said to us, and we now say to you: “Have a listen because this rates up there with classics by Bob Desper, Perry Leopold, Robbie Basho, and Phil Yost, with dark moods similar to John Fahey and Nick Drake.”


Catalogue number: LION 657                                        
UPC: 778578065720


KIM JUNG
                                  MI
KIM JUNG MI
"Now"
"Now"
At the dawn of the 1970’s, South Korea’s rock music scene was at its zenith. Much of the reason for this was the god-like musical touch of guitar wizard, songwriter, producer, and arranger Shin Joong Hyun. For this album, he took a young girl named Kim Jung Mi, and transformed her from a wallflower student into a folk-psych chanteuse in record time (if Francoise Hardy is the Marianne Faithful of France, then Kim Jung Mi is, I suppose, the Francoise Hardy of Korea). The ten songs on Now were written and recorded during 1973 with a firm mandate to create a truly psychedelic sound experience. On each number, Shin Joong Hyun and his backing group laid down pure emotion on tape. Mr. Shin’s fuzz guitar weaves in and out of the tracks, interlaced with his own poetic musings on nature (spring, sun, flowers, rain, and wind), all else in the world apart from Kim Jung Mi’s soothing voice and insistent bass that crouches and creeps, depending on its mood, displaced. This raw feeling, combined with Kim Jung Mi’s seductive, expressive vocals and empathetic string orchestration, resulted in an album that is nothing short of awe-inspiring. Mr. Shin’s ethereal cover photo—the blue graininess of the sky dripping into fading clouds, with Kim Jung Mi surrounded on her sky-high isolated mountaintop by flowers—is the perfect image to represent what is, without a doubt, one of the best psychedelic albums ever created. Our version of this quintessence of psychedelia features Korean/English lyric translations, rare photos, re-mastered audio, and comprehensive liner notes by Kevin "Sipreano" Howes and Shin Joong Hyun expert Jae-Myeong Ro (director of the Korean Classical Music Record Museum, and author of the book Shin Joong Hyun and Beautiful Country. The 180 gram vinyl version of "Now" comes in a deluxe old-style jacket, with OBI, and has a full color insert with liner notes and rare photos; the deluxe mini-LP sleeve CD version has a 20-page booklet with rare photos, and great stories about Shin Joong Hyun and Kim Jung Mi’s continuing place of prominence in the Korean music scene.

Catalogue number: LION 663
UPC: 778578066321



LAURENCE
                                VANAY "Evening Colours" LAURENCE VANAY "Evening Colours" deluxe CD edition
Laurence Vanay is the pseudonym for Jacqueline Thibault, wife of music producer and musician Laurent Thibault (Magma). The first ever reissue of her second album, originally released twice in 1975: a version on Galloway credited to fictitious English band Gateway, and once as a CAM label library LP—and incredibly rare in both incarnations. Pure genius: almost all instrumental, with gorgeous keyboards of many types (Hammond, Fender Rhodes, etc.), acoustic/electric guitar, even a little Zeuhl bass. Shimmering, dewy, mysterious, deeply emotional examples of melancholic musical beguilement; anyone with an affinity for golden age 4AD bands like the Cocteau Twins or Dead Can Dance will find much to love here, not to mention devotees of trip-hop pioneers like Portishead. A devastating high-fashion follow-up to the legendary "Galaxies". 

•First ever reissue, remastered from the original master tapes.
•Remastered from the original master tapes.
•CD edition comes with 24-page booklet and ten bonus tracks.
•Limited to 500 copies.
•Rare photos and Jacqueline's remarkable story. 

"Since childhood, I improvised and composed songs and instrumental music... it seemed to me that music was the true language of emotions. It was with great difficulty that I managed to record the albums “Galaxies” and “Evening Colours” in very limited time with the means at hand, and with the help of faithful musician friends." —Jacqueline Thibault.

Catalogue number: LION 671
UPC: 778578067120


LAURENCE
                                VANAY “Galaxies” LAURENCE VANAY “Galaxies” deluxe CD edition
Laurence Vanay is the pseudonym for Jacqueline Thibault, wife of producer and musician Laurent Thibault (Magma). Her debut album "Galaxies" (1974) is pure genius: almost all instrumental, with gorgeous keyboards of many types, acoustic/electric guitar, even a little Zeuhl bass. There are wordless vocals on many of the tracks, although she occasionally sings in a soft, seductive manner. Incredible, spacey “avant-garde progressive chanson,” a Holy Grail for most collectors of 70's underground French music. Rivaled only by the early work of Brigitte Fontaine for pure inventiveness. An album of inconspicuous, sincere beauty and a masterwork of the French progressive music scene. Sublime compositions: unique, melancholic and very powerful. 

•First ever reissue
•Remastered from the original master tapes. 
•CD edition comes with 28-page booklet and nine bonus tracks.
•Limited to 500 copies.
•Rare photos and Jacqueline's remarkable story. 

"Since childhood, I improvised and composed songs and instrumental music... it seemed to me that music was the true language of emotions. It was with great difficulty that I managed to record the albums “Galaxies” and “Evening Colours” in very limited time with the means at hand, and with the help of faithful musician friends." —Jacqueline Thibault.

Catalogue number: LION 670
UPC: 778578067021


LENO LENO “Vida e Obra de Johnny McCartney”
Leno’s “Vida e Obra de Johnny McCartney” was intended as the next musical step after Tropicália, it’s full-blooded rock and roll approach intended to link the music that had already been made to the music that would be played a few years later. This record just might have been that bold step had CBS released it in 1971. But censors banned most of the tracks, and Leno was fortunate (thanks perhaps to his string of innocent sounding Jovem Guarda number one chart hits in Brazil as half of duo Leno e Lillian) not to experience the exile or imprisonment of other artists of the time. He was also fortunate that the master tapes survived in the CBS vaults, making them available for this reissue. The album has a sound that has more to do with bands such as Sly & The Family Stone, the Beatles (post 1967), Cream, and Steppenwolf, and features contributions from music legends Marcos Valle, Raul Seixas (anarchic surrealistic icon of Brazilian counterculture), hard psych rockers A Bolha, and members of Los Shakers and Renato e Seus Blue Caps. One of the most singular records of the 1970’s rock era in Brazil, speaking in terms both historic and musical, with a significance in Brazil that makes people who know it well wonder how it has taken so long to be known worldwide, in a time when the efforts of the Brazilian rock and psychedelic underground scene are so well-documented. A 24-page booklet (packed with photos and lyrics) details Leno’s career, as well as the story behind this exceptional record.

Catalogue number: LION 623
UPC: 778578062323

LIMONADA “LimoNada” plus one bonus track
Although they sprung ready-made from of the ashes of legendary candombe/beat group El Kinto, one of the best-kept secrets from Uruguay’s musical mythology is nevertheless the group of musicians who recorded one album as Limonada. So what happened? The story starts with the end of El Kinto, when band leader and iconoclastic maniac Eduardo Mateo decided to embark on a solo career (see our forthcoming Lion Productions collection of his early music for more details), and the other members of El Kinto said “let’s do something together”. And so it was that in the middle of 1970, Limonada recorded their one and only album, “LimoNada” (Sondor 33.111). It is a strange record, with backwards tape splices, abrupt song changes, yet at the same time it is absolutely accessible and very groovy, in a Tropicalia sort of way, which might explain why it was an immediate success. In truth, it’s a profound mystery why the Limonada LP—one of the ten best sellers of its time within three weeks of its release—seems to have vanished from the consciousness of even the most devoted fans of obscure music. Until now, of course. This carefully researched reissue contains the entire Limonada LP (its reissue debut), supplemented by an extended live bonus track. The sixteen page booklet includes historical background on the Uruguayan scene, details of the band’s past, plenty of photos, as well as a brief overview of the legendary Sondor label.

Catalogue number: Lion 607
UPC number: 778578060725


First time on CD for this crucial early Salsa album, carefully remastered from the original tapes!

LINARES ALFREDITO LINARES "Salsa a Todo Sabor…"
Peruvian pianist Alfredo "Sabor" Linares is a legend—a cult figure—long recognized throughout Latin America as one of the creators of salsa music. He started out recording Afro Latin jazz in the late 60s, with two solo LPs and guest piano and arrangement work for both Coco Lagos and El Combo de Pepe. In the early 70s, he moved to Cali in Colombia, and became heavily involved in what developed into the Salsa scene. Fast forward to 2007: Linares' profile was given a boost outside of Latin America following guest piano appearances on The Quantic Soul Orchestra recordings and his show-stopping performances in their accompanying live shows. Linares' records have been published in several countries, and on many, many labels... although not always under his name. Case in point, Linares' "Salsa a Todo Sabor..." album: it was recorded in late 1972 for the IEMPSA label in Peru, and released by them in 1973; it was also released in Colombia that same year; but in the U.S. it was released by the Audio Latino label) under the name of Madison Orchestra, and re-titled: "A Lot of Salsa—Rhythm in the Alley," with a new cover, and with two tracks removed. Not at all confusing. And the music? a scorching combination of danceable Latin Jazz and Afro-Cuban music. The rhythms of boogaloo and Latin soul are there in profusion, with the piano and bass carrying the groove. Then the rhythm changes: from boogaloo to salsa, as well as to guaracha and guaguancó. It's no exaggeration to say that the Latin percussion style of a handful of albums like this one certainly had an impact on the creation of the New York salsa scene, and the trio of trumpets adds a Puerto Rican flavor. Three singers deliver the knockout punch: Panchito Nalmy, Rolo Bernal, and Koky Palacios, singing in the style of Fania. Around the same time he recorded the "Salsa a Todo Sabor…" album, Linares recorded the 45rpm single: 'Yo no soy guapo' (I am not handsome) / 'Sujetate la lengua' (Hold on language); both sides of this rare single are included as bonus tracks. Our Lion Productions (USA) + Repsychled label (Peru) jewel case CD edition uses the original Peruvian album cover, and includes a booklet with text in Spanish and English.

Catalogue number: LION 7656
UPC: 77857876562

Los
                                  Vidrios Quebrados Los Vidrios Quebrados "Fictions"
Some came to make records. Others did not leave any recorded evidence—they have been reduced (at best) to the testimony of a blurred photograph in an old magazine. But it was a generation of bands from Chile which gave shape to a stream of permeating rock, beat, folk and psychedelia music influences radiating from the "first world." And on that list of pioneers of Chilean rock, Los Vidrios Quebrados (the Broken Glass) are unanimously considered as the greatest. They had a certain intellectual arrogance. They considered that rock 'n' roll could only be sung in English and refused to sing in their native language, arguing that a cueca (the Chilean national dance) could not be sung in English. They also made their own instruments—creating their own guitars and amplifiers from furniture and loudspeakers. On one guitar, they replaced a pick-up with a record player needle. It gave an extraordinary sound. That sort of creativity flows freely throughout the music on their only album, the now-legendary "Fictions" (RCA Victor/UES, 1967). The LP is an excellent collection of songs, recorded in just nine hours), with intimations of psychedelic rock amidst the influence of bands like The Byrds, The Beatles and The Kinks (with nods to Bach and the classics), all while maintaining a fresh beat sound; "Fictions" is an album that can compare with the best works of psychedelic pop bands from England and America. Los Vidrios Quebrados is one of a handful of Chilean groups to receive attention around the world; and their songs ‘Oscar Wilde’ and ‘Fictions’ are considered among the all-time best tracks in South American rock history. We’re pleased to kick off our forthcoming series of crucial Chilean reissues with this bi-lingual, 32-page booklet, which explores the story of Los Vidrios Quebrados in the context of the rich Chilean rock music scene. For the language squeamish—the song titles are in Spanish, but the songs are in English.

Catalogue number: LION 669
UPC: 778578066925


The MADS/MOLESTO "Molesto"
Los Mads started out in the mid-1960's, playing covers and a few of their own songs on Peruvian television. But a chance sea-side encounter with Mick Jagger and Keith Richards after a private party got the Mads the chance to go to England; interest from Stones' manager Marshall Chess got them backstage to see Hendrix at the Isle of Wight—and recording time in the Rolling Stones studio. Some demos recorded there and at Jagger's Stargroves castle (recorded live to studio truck, just like Led Zeppelin did for their third and fourth albums) plus a name change to Molesto got them gigs at the main venues in London. They jammed with Steve Winwood and Brian Davison (The Nice); they played with Jeff Beck and Carmine Appice; Molesto's guitar player, Alex Ventura, worked in a clothing boutique alongside Freddie Mercury and Roger Taylor. They were in the musical heart of England. And at that point, faced with growing friction within the group, Molesto disbanded. This disc collects recordings from all three stages of Los Mads/The Mads/Molesto's six year career, including two tracks from the Stargroves session. The early tracks are groovy post Summer of Love stuff: 'Birds in My Tree' is a musical creamsicle, just right for summer nights. The excellent eight plus minute instrumental 'Tumor Bossa' has a Santana-esque feel. But the flamethrower guitar on Molesto tracks like 'Feels Like Love' and 'Fly Away' (which luckily clocks in at more than seven minutes) needs to be heard to be believed. Hard driving and heavy; wild, fast, rhythmic, and furious: top of the table stuff. Most tracks are sung in English. Like all Repsychled titles, this is available exclusively from Lion Productions and our friends.

Deluxe edition includes:
•Glossy insert full of photos
•Bi-lingual booklet with band history + lyrics
•Reproduction gig poster

Catalogue number: LION 7664
UPC: 778578766429  
 


MARCUS MARCUS (RUSTY EVANS) "Marcus: Original LP and Outtakes"
fter the release of the Freak Scene album, psychedelic guru Rusty Evans made his way from NYC to San Francisco, a geographic shift that resulted in work for the legendary San Francisco Sound label, producing bands such as It’s A Beautiful Day, Tripsichord, and Indian Puddin’ and Pipe; it also led to a drastic shift in style from the psychedelic "happening" of the Deep album for Cameo Parkway and the raga rock of the Freak Scene album for Columbia. And so it came to pass that Evans reclaimed his birth name of Marcus, and recorded a very mellow LP in 1969 for Kinetic Records, a label formed by the Kinetic Playground Ballroom in Chicago. Like much of Marcus’ work, the album is a fascinating relic of a particular time and place, in this instance San Francisco’s Haight-Ashbury district in the post-Summer of Love era. The Marcus LP is richly orchestrated psychedelic-folk music, with a pronounced Donovan and/or Tim Harden flavor to it, something that did not escape its creator. The mood is dreamy, the songs reflective, the voice vibrato, the album a yin to the yang of the Freak Scene "Psychedelic Psoul" album which precedes it by two years. So we have the hot and aggressive Freak Scene album contrasted—some might say perfectly balanced—by the diffuse and tranquil Marcus album two years later. To our mind, further proof of the excellence of the artistic mind behind both albums. This is the first actual re-issue of the vastly under-rated Marcus album since 1969; the only previous CD edition used alternate takes and not the album versions. Our fulsome edition indulges any completionist fantasies we might harbor, as it also serves up thirty-two bonus tracks, nearly two hours of alternate takes and acoustic demos (plus a few non-album tracks). There are guitar/voice demos recorded several months before Kinetic came along and offered a deal; other home demos have Marcus with acoustic guitar, bass and cello. There are guitar/voice demos were recorded six to eight months before Kinetic came along and offered a deal; other home demos have Marcus with acoustic guitar, bass and cello. There are also abundant demo studio versions, some of tremendous quality. The end result is (apparently) our first "interactive" release, as you can create your own ideal version of the Marcus album. Budget-priced double disc package includes a 20-page booklet, with an introduction by Marcus, his incredible history in music, as well as lyrics. Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: LION 658 (2xCD)
UPC: 778578065829


eduardo mateo EDUARDO MATEO “Mateo Solo Bien Se Lame” plus bonus tracks

“If I can be a little romantic, Mateo is Uruguayan music's light. He is the sun.” Osvaldo Fattoruso

“Mateo solo bien se lame,” is a record that requires many superlatives in order to do it justice: from it’s first moments, the music is lilting, poetic, intimate, in turns life-affirming and melancholic, with pulsating percussion backed by unheard-of guitar chords and tunings (perhaps the reason for the frequent Caetano Veloso and Nick Drake comparisons); it is an album that sounds—simply put—honest. The record was released at the end of 1972 in both Argentina and Uruguay, and was received from that first moment as a classic in those countries, a position it still occupies today.

When El Kinto co-founder and iconoclastic maniac Eduardo Mateo traveled to Buenos Aires in October of 1971 to record what came to be “Mateo solo bien se lame,” his situation was unusual. With the explosion of candombe-beat music on the popular scene, Mateo had become a living legend of Uruguayan music. Yet apart from the “Musicasión 4 1/2” compilation, which had been released in July of that year, there were no published recordings of Mateo available, whether as a soloist or with his already dissolved group El Kinto. By this time, the public had a clear notion of the dreamy character of Mateo that by the end of his brief life had made him a part-time panhandler and apparent acid casualty. But they still wanted a record by him. It was singer Diane Denoir who gave the final push. She was in Argentina finishing a record for the De la Planta label that included eight songs written by Mateo. Denoir insisted that Mateo participate as arranger for three of these grooves. With Mateo in Buenos Aires, the owners of De la Planta decided to take the necessary steps to record him. This was not easy, as Mateo tried to erase everything he recorded as soon as it was put onto tape, and that only on the rare occasions when he showed up ready to play. In the end, engineers Carlos Píriz and Eduardo Rozas selected material for the album from hours of free improvisations, and formed the album as it appears today.

Our first Lion Productions volume of Mateo’s solo recordings includes the entire “Mateo Solo Bien Se Lame” album, plus a variety of tracks from Mateo’s early solo years. The eight bonus tracks include songs originally issued in Uruguay on the legendary “Musicasión 4 1/2” LP, two tracks live from a bowling alley (!), as well as four very special early recordings backing female singers: two sung by the lovely Diane Denoir, and two by the mysterious Verónica Indart.

Special slip-case edition comes with an oversize 48-page full-blown booklet packed with photos, text, and lyrics, which tries to unravel some of the myth surrounding this great surrealist poet and drug casualty, whose decline and ultimate madness and early death have done nothing to diminish his stature as one of the greatest artists in South American music.

Catalogue number: LION 613
UPC number: 778578061326

EDUARDO
                                  MATEO & JORGE TRASANTE EDUARDO MATEO & JORGE TRASANTE "Mateo y Trasante"
"If Eduardo Mateo was a genius, and that fact no one who has heard his music doubts, then ‘Mateo y Trasante’ is his masterpiece. Eduardo Mateo, Jorge Trasante and this wonderful album, marginalized during the course of a dictatorship, resisted the dictators, and those who came afterwards. There were some who said that Mateo and Trasante were both crazy, that Mateo could not sing. Mateo and Trasante resisted the vile and ruthless criticism of those skeptics: those who resisted the quality and depth of this record. Mateo and Trasante resisted, immovable, as are those who know that history will have its day of judgment. To paraphrase someone who knew music and much more, for the truth and Mateo, I sign my name here."

—Daniel Figares, 2006


As many of you who have followed along with us while we chart a course through the rich musical heritage of Uruguay know full well, a military dictatorship took control of the country in the early 1970’s, causing most well-known musicians to emigrate. The nation’s most influential musician, enfant terrible iconoclast Eduardo Mateo, had no chance to do so. And yet it was during this dark period that Mateo reached his zenith as a composer and arranger—in case of this album, with a lot of help from world famous Afro-folk percussionist Jorge Trasante. On "Mateo y Trasante" (1976), Mateo’s second post-El Kinto album, he goes further than ever before in his sonic explorations of different percussion variations and guitar techniques, evolving a more complex musical style. Even Mateo’s voice underwent a relevant mutation for the album, which many people thought the result of a deep mental illness. (Trasante explains that Mateo was deeply influenced by Arabic music, and used the new modulations he discovered to "get into different characters with his voice.") Many of Mateo’s old fans and fellow musicians could not really connect with his new musical personality and this work went unnoticed. According to Mateo biographer Guilherme de Alencar Pinto, only around 343 copies of the album were sold; yet this record is now considered a legitimate work of art, and indisputable evidence of Mateo’s genius. This Lion Productions edition comes with a 32-page booklet which contains abundant information on the making of the album, as told by Jorge Trasante, lyrics in English and in the original Spanish, historical background on the Uruguayan scene, a score of incredible photos, and a brief overview of the legendary Sondor label. Our sincere thanks to Enrique Abal Oliú for allowing us to use his amazing photos, and to Daniel Figares for allowing us to translate text from his book Mateo y Trasante: Treinta Años, 1976-2006, which is the source for all of Jorge Trasante’s musings on this epochal album included in this reissue. Printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: LION 634
UPC: 778578063429

Miguel
                                  y El Comité Miguel y El Comité "Para Hacer Música, Para Hacer..."
El Syndikato made Miguel Livichich a rock star in South America; but it was his sole effort as "Miguel y el Comité" that made him a groove-loving crate-digger’s dream! Livichich left El Syndikato, and in an instant, formed another band, joining forces with an existing group called Feeling Rock. This new group was called Miguel y el Comité (Miguel and the Committee)—a clear allusion to Livichich’s previous group (the Syndicate), and also a demonstration of his leadership role; even though Miguel y el Comité worked as a proper band in their structure, Miguel Livichich made all decisions concerning the group. As Livichich recalled, "I told them, I want a band to join me, but we all work together... more rock and candombe and a few things more commercial. Accept, and we make a titanic effort. An aggressive launch. I do not lie, in fifteen days we were recording the LP. It was pin, pin and we were playing at all dances. It was amazing working with Miguel y el Comité."That band's 1971 album, with Livichich firmly at the helm, fused the local candombe rhythm with beat music in an unusual and aggressive (oft-times funky, break-beat) way. Miguel y el Comité played mostly original songs, but they also mixed in covers of tracks by other Uruguayan bands. They were the first to sing hits by other groups (El Kinto, Los Shakers), which added a new dimension to the burgeoning Uruguayan scene. Percussion plays a key role in the band’s sound, although the guitar playing is most distinctive: sometimes melodic, at other times carving a path through the mix, with a hard and acid distorted fuzz guitar sound, as on the title track and the fabulous cover of El Kinto's ‘Qué me importa.’ Dynamite! Comes with a 28-page booklet, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy, with band history, photos, and bi-lingual lyrics.

Catalogue number: LION 647
UPC: 778578064723


NEON PEARL “1967”
First time on CD for these incredible sessions from the year of psychedelia’s apex—gliding rhythms and softly pulsing melodies floating on a bed of organ and harmonium ('Out Of Sight' and 'Going With The Flow' in particular are especially delicious). Peter Dunton (drums/vocals), Bernard Jinks (bass) and Rod Harrison (guitar) (sometime members of PLEASE and THE FLIES and later in legendary band T2) plied their trade as Neon Pearl in Germany in the summer of 1967. After a few months playing to appreciative German audiences, they returned to England where a music publisher financed them to lay as many tracks to tape as they could within the few hours booked. The result is what we have here. Almost certainly the most spartan of Dunton-related material reissued thus far, but it doesn't suffer because of it, rather it gives it a feel all of its own. This edition is taken from the master tapes, and comes complete with two bonus tracks not on the limited LP edition!

Catalogue number: ACLN 1001 CD
UPC number: 778578100124

NIHILIST SPASM BANDNIHILIST SPASM BAND "No Record"
One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie!

"In 1965, eight guys from London, Ontario, decided to start a free-improv group — 'free' to the point of building their own instruments, which they decided couldn't be set up to produce specific pitches... Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn't treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the '90s, noise artists finally recognized NSB as their ancestors — and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over." —Spin

"The record you’re holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It’ still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening.  —Lasse Marhaug

•One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music

•Comes with massive booklet with the band’s story and rare photo and more!

•From the master tapes.

•Limited edition of 500 copies. 

Catalogue number: LION 679
UPC: 778578067922  
Format: CD + 32-page booklet


ODYSSEY “Setting Forth”

SOLD OUT

Catalogue number: Lion 601
UPC 778578060121


ODYSSEY “Live at Levittown Memorial Auditorium: 1974”
A live recording that was never really meant to be, recorded by Odyssey’s sound engineer on a portable cassette recorder, and recently unearthed! “Live at Levittown” is the only document of Odyssey as they were in their progressive phase, just before Fred Callan and sometime Odyssey keyboardist Tom Doncourt recorded their legendary album as Cathedral. Bonus tracks include three “basement recordings” from the “Setting Forth” era—two untitled originals that never made the album, plus the band’s version of "Whiter Shade of Pale". These three tracks have been salvaged as well as possible from the cassette that is the only recorded evidence of these songs. Important note: this disc is not audiophile quality sound! despite our best efforts, it’s rough sounding, but we think that you’ll find it well worth listening to, despite the source limitations. Twelve-page booklet has a continuation of the Odyssey story by band leader Vinny Kusy, as well as rare photos from his own archive.

Catalogue number: Lion 602
UPC 778578060220


OPA OPA “Back Home: The Lost 1975 Sessions”

This disc is a departure from the other reissues in our Uruguayan music series. It’s not remotely in a psychedelic or rock idiom; it was not released on the mighty Sondor label. Yet when given the opportunity to reissue these “lost” sessions, we did not hesitate for a moment. This music is funky and jazzy, groovy and urban, even sounding like Fela (on ‘Goldenwings’ at least); it has the sunny feel of sweltering days on South American beaches, but it also has a heavy dose of the grittiness of mid 1970’s New York City. There are connections to the great bands of Uruguay, of course: both Fattoruso brothers, so successful with their beat band Los Shakers, greatly admired the work of the much less successful Eduardo Mateo, Ruben Rada and their band El Kinto. Opa had their own style, and the critical acclaim for their recorded legacy would soon eclipse on an international level that of anything else from their native land. After coming to NYC in 1969, a regular club gig led to Opa becoming backing band for Brazilian percussionist Airto Moreira (Weather Report/Return to Forever); they toured the USA, working on a sound that resulted in the “Fingers” album for the CTI label (1973), Airto’s most successful record. Things looked grim when Flora Purim, Airto’s wife and singer of the band, was sentenced to two years in prison for drug possession. But drummer and producer Larry Rosen invited Opa to record in his small home studio. They recorded nine demos with Rosen during 1975 (all but one of the tracks that give this reissue a reason to exist, the other being the band’s first demo recording from 1972). Included are versions of songs which would later be re-recorded the following year for Opa’s debut album for Milestone Records. Rhythm-laden tracks that range from the heavily funkified to chilled out, shimmering, and trance-inducing. A 16-page booklet includes band history and photos.

Catalogue number: LION 617
UPC: 778578061722

OPHIUCUS OPHIUCUS “S/T”
Ophiucus may be the name of an obscure constellation, but it's also the name of a French band that recorded an exceptional album in 1972 for the Barclay label. All the members of the band had already enjoyed ample success in music before musician/actor Emmanuel Booz brought them together in 1971: Jean-Pierre Pouret was a well-known session-man for Sylvie Vartan; brothers Alain and Bernard Labacci released albums as Tom & Jerry, and supported Jimi Hendrix for a TV appearance; Michel Bonnecarrere had founded the band Zoo (one of Andy Votel from the B-Music label’s favorites), and was one of the composers, arrangers and musicians for that group’s first two albums. Apropos of the period, the band members decided to live together as a small family in Flagy, a small town in France, where they lived a happy life, and wrote the tracks which adorn this reissue. This ambitious album somehow manages to blend grungy psychedelic rock, acoustic blues, and densely orchestrated French pop/psych (in an Ilous & Decuyper vein) into an impressive and cohesive whole. Sandy Spencer, cellist and member of Mormos contributed wonderful playing on ‘Ne cherche plus’ and ‘Inachevée.’ This reissue includes the original album plus eight bonus tracks in English meant to be the basis of an international album that was never issued. A fulsome 28-page booklet includes band history and commentaries on the songs written by Ophiucus, photos, lyrics (French and English), and a contemporary review. Not to be missed!

Catalogue number: LION 619M
UPC: 778578061920

EMMANUELLE PARRENIN EMMANUELLE PARRENIN "Maison Rose"
We begin by saying that this is an album unlike any other. A bold statement, perhaps. Yet look in the "Scented Gardens of the Mind" book and you will see this description: "a revelation of a folk album, with songs of incredible beauty and innovative arrangements. It features traditional instruments you’ve hardly ever heard before and touches of the avant-garde. Play this album directly after that of another randomly chosen female folk album, and you will notice the difference! This is one of the best!" Parrenin had been part of a traditional "antique folk" movement in France in the late 1960’s (she was in many ways a French equivalent to Sandy Denny or Mandy Morton); indeed, she had recorded eight albums with musicians from this scene before "Maison Rose"—her best, and last album, recorded in 1976 and released the following year. The record seems to alternate between a cosmic take on an ancient Breton sound, and delicate, multi-tracked ballads—ranging from sounds that would not be out of place on an Ash Ra Tempel album to elements of traditional French folk music (including home-made instruments) that are just as exotic. Certainly, the avant-garde edge lurking beneath the simple folkiness of "Maison Rose" puts in mind the explorations of Brigitte Fontaine with her sometime musical voyager Areski; there are also suggestions of the pastoral caranavserai aesthetic of Vashti Bunyan, as well as the multi-track sensuality of Linda Perhacs (to name two much-touted singers who seem to have a similar ability to enchant). But Parrenin has her own style, her music has its own deeply ethereal quality, and the album itself has its own magic spell to cast that renders comparison with other albums unimportant in the end. Magnificent… we say.

Catalogue number: LION 611M
UPC: 778578061128


Peter Howell
                                  & John Ferdinando "Tomorrow
                                  Come Someday Peter Howell & John Ferdinando "Tomorrow Come Someday"
The second release (1969) from the home studio of future BBC Radiophonic Workshop composer Peter Howell and his musical partner John Ferdinando, makers of legendary albums under the names Alice Through the Looking Glass, Ithaca, Agincourt, and Friends. This private press album was recorded as the soundtrack for an underground film production by (later to be) renowned television director Ian Hamilton: "Tomorrow Come Someday." The soundtrack album, now presented from the master tapes, was originally pressed up in a tiny quantity for friends and people involved in the production; certainly no more than 70-80 copies were made. So what do we find here? A concept piece revolving around a village threatened by motorway expansion, and the efforts of short-skirted guitar-slinging young painter Emma Stacey and a local boy to save the day, and perhaps preserve their growing love. The film is described on the album jacket as "a musical comedy, shot on location in the Sussex village of Lurgashall, during August 1969," which of course, doesn’t begin to tell the tale. Think perhaps of the Kinks’ "Village Green Preservation Society" characters come to life. See for yourself! For this is both the compact disc and DVD debut of "Tomorrow Come Someday," film and soundtrack, together at last in a double-disc set. Chunky booklet with plentiful photos gives the full story of what we like to call The Wonderful Musical World of Peter Howell & John Ferdinando. 

Catalogue number: Acme/Lion ACLN 1016CD + DVD
UPC: 778578101626


Alice Through the
                                  Looking Glass Peter Howell & John Ferdinando "Alice Through the Looking Glass"
The first release (1969) from the home studio of future BBC Radiophonic Workshop composer Peter Howell (he wrote the second version of the Doctor Who theme tune for BBC-TV) and his musical partner John Ferdinando, makers of legendary albums under the names Ithaca, Agincourt, Friends, and Tomorrow Come Someday. This private press record was recorded as a musical backdrop for a stage version of "Alice through the Looking Glass" by local amateur dramatics group the Ditchling Players. The musical templates are inspired, Lewis Carroll's surreal poetry is as attractive as ever, and the project is colored by other English psychedelic acts of the era such as the Pink Floyd: indeed, it has been compared elsewhere to a pastoral equivalent of "Piper At The Gates of Dawn". There are numerous highlights scattered throughout the album, but pride of place must go to ‘Jabberwocky,’ an impressive mélange of treated vocals and backward tapes that is worth the price of admission alone. With its drowsy atmosphere, myriad sound effects and languid organ-based sound, "Alice" certainly invokes the spirit of the psychedelic age, albeit from the perspective of photogenic Middle England rather than hallucinogenic Middle Earth. Rarely can an album or book have ended with a more apposite line: "Life—what is it but a dream?" We are pleased as punch to be able to present the compact disc debut of "Alice"—and with extra material, too!

Catalogue number: Acme/Lion ACLN 1015CD
UPC: 778578101527


PIPPO Pippo Spera "A Buen Puerto"
A summertime record, if ever there was one! Lilting melodies, including a shimmering cover of Eduardo Mateo’s ‘Mejor me voy,’ infused with an undercurrent of bossa nova and the drowsy, faded memory of sun-drenched islands. All of this melodic loveliness is made ever-so-groovy in an Afro-Cuban sort of way thanks to a mighty contribution from world famous percussionist Jorge Trasante, Totem drummer Roberto Galletti, and Limonada drummer José Luis Sosa. Pippo Spera had come into the orbit of Uruguayan master Eduardo Mateo back during the days of El Kinto (one of that band’s finest songs is about a visit by Mateo to Pippo’s house). From 1967 to 1970, Pippo concentrated on studying classical guitar at the Conservatorio Nacional of Uruguay, until the military dictatorship closed the school. So, Pippo started his songwriter career, which culminated in 1975/1976 with the recording of "A Buen Puerto." As Pippo says, "It was a beautiful experience to me. I had the help of the best musicians in town, they were like brothers. At that time in Uruguay, nobody used to get money to perform in a recording studio; for the musicians it was a pleasure, it was just love of art..." After the release of this LP, Pippo decided to leave a Uruguay oppressed by a brutal dictatorship. He sailed to Brazil in a ship much like the one hovering behind him on the "A Buen Puerto" album. Brazil was indeed "a good port" for Pippo—he became friends with many of the best Brazilian musicians of those years: Milton Nascimento, Geraldo Azevedo, Renato Rocha, and Alceu Valença, and ended up writing for and playing on Nascimento’s "Clube da Esquina 2" album.

Catalogue number: LION 635
UPC: 778578063528

PLASTIC CLOUD “S/T”
In 1968, the Plastic Cloud recorded, quite simply, one of the greatest psychedelic albums ever made. This is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent—one is equally as good as the next. We feel that it’s about time this fine record got it’s compact disc due, so we have gone all out for this reissue—it is remastered from the tapes; the accompanying twenty-page booklet has all the lyrics, thanks to Don Brewer, the man who wrote them, as well as rare photos and a replica of an original press release that must be seen to be believed. Essential psychedelia! Deluxe limited edition LP version in heavy cardboard gatefold jacket also available.
Catalogue number:

Catalogue number:PACE 046-LN
UPC number: 778578004620


DAVID PRITCHARD “Nocturnal Earthworm Stew”
An incredible pioneering electronic album recorded in the early 1970’s, from the first Canadian artist signed to Island Records. Serious headphone music made under the influence of Stockhausen, John Cage, Ornette Coleman, Stravinsky, Frank Zappa, Weather Report, Charles Ives and others—and with a sound that’s often compared to that of early Eno and/or (depending on your preferences) the first two Kraftwerk albums. Indefinable compositions integrate the earliest of portable synthsizers (ARP 2600 and EMS AKS) with acoustic instruments (violin, cello, dulcimer, electric violin, electric guitar), found sounds (short-wave radio transmissions and a summer thunderstorm) and random objects (instant coffee jar, scissors, chopsticks, among others)—and they also have special contributions from Nash the Slash (a.k.a. Jeff Plewman) and Martin Deller of famed Canadian band FM. Sixteen-page booklet has an abundance of photos, track by track information, and the odd history of these seminal recordings told by David Pritchard himself. Includes four bonus tracks not on the original 1976 Island LP release.

Catalogue number: PACE 044-LN
UPC number: 778578044022

PROBE 10 "There is a
                                      Universe"PROBE 10 "There is a Universe"
"This masterpiece crawled up my spine like a kundalini snake and proceeded to take the top of my head off. Probe 10 are unquestionably linked to a very specifically American form of proto-prog-into-jazz-rock synthesis of the precise sort Elektra Records used to specialize in, from Tim Buckley's Starsailor to David Stoughton's Transformer. Toss in trumpet fanfare laden acid psych straight out of the C.A. Quintet songbook, the riotously melodic and dense brassy arrangements of McLuhan... and...well...hold on to your hookahs!" —Mutant Sounds

"Unique jazz-rock album with major space-rock vibes. You have to love the way the bass counters the effects-laden guitar solos and heavy fuzz. Considering how many loner folk and hard rock private press albums came from the same time period, discovering something this ambitious and unusual is a real kick. Most of the time, it sounds like the world's best exploito-jazz record, Herb Alpert filtered through Pink Floyd and Quiet Sun." —Acid Archives


•Rare private press jazz/space rock album, on reissue wish lists for years

•Limited edition of 500 copies  

•Booklet comes with notes from the band

•The mini LP sleeve CD edition has five non-LP bonus tracks!

Catalogue number: LION 672
UPC: 778578067229  

Ptarmigan PTARMIGAN "S/T"
First official release of this cult favorite—an album overflowing with brooding, mystical, Eastern-influenced hippie psychedelia dominated by long and largely instrumental tracks—all based on a complex interplay of recorder, hand drums and acoustic guitar. Ptarmigan recorded the basic tracks for what would eventually become their only album in Vancouver, B.C. during the fall of 1972. It then took the band’s producer and manager, renowned flautist Paul Horn, more than a year to find a label willing to release such unusual music. Finally, in 1974, Columbia Records released Ptarmigan’s album to critical acclaim, and minimal sales. The music of Ptarmigan is deep and authentic, and sounds best when meditating on a landscape, an emotion, or a bottle of wine. Sometimes it is free-flowing and jazz-oriented; at other times it has the mystical feel of a shamanistic ceremony, with its oriental or South American harmonies. But in the end, this album is about the sea—Ptarmigan was, after all, from Vancouver Island, and the musicians were well-versed in the contradictory moods of the surrounding ocean. One of those hidden gems from the 70's that make life better when you discover them all these years later, rated by many as the best "folk/progressive" and/or "folk/psych" album ever made. As one contemporary review said, this is "music from musicians, for musicians, late-at-night, last joint music." Our Lion Productions reissue comes with a 28-page booklet that includes lyrics, liner notes from the band, and a multitude of photos and historical mementos.

Catalogue number: LION 609
UPC: 778578060923

QUAD “S/T” (A.K.A. “No.1”)
The material recorded by Sun Dial approximately between 1990-1997 under their alter-ego QUAD has been among the most elusive prizes for fans of modern psychedelia, as it was issued many moons ago as an extremely limited LP in a clear plastic sleeve. And who among us music lovers wouldn’t chase after it? It is an album certainly great enough to deserve such avid pursuit by fans of all sorts of psychedelia—mesmerizing, drugged-out and trippy at all times, with sitar and guitar floating in and out and up and down in the mix over some decidedly funky grooves. If there was ever music for dj’s to sample, and yet also for heads to enjoy at home, this is it!

Catalogue number: ACLN 1006 CD
UPC number: 778578100629

Roger & Wendy ROGER & WENDY"Love Rog + Wem"
Formerly of 1960’s U.S. psych-folk band Euphoria (MGM/Heritage), not to mention veterans of the late 1960’s Greenwich Village coffee-house scene that spawned many a career, Roger & Wendy made this private press album for family and friends in 1971, in an edition of 50 copies. They later renamed themselves Bermuda Triangle; their recently reissued 1977 album under that name has garnered terrific reviews throughout the years. "It started in New York City with the guy across the hall, who was missing two fingers, saying he earned money playing flamenco guitar in a Greenwich Village coffeehouse. Roger and Wendy (we two, the two of us) exchanged glances. Could it be that easy to get paid for making music? We put together some songs which featured our vocals and Roger's autoharp, and headed from our 5th floor walk-up slum tenement, where the holes through the ancient brick wall were big enough for snow to blow in, across town to the BASEMENT coffeehouse on MacDougal St. (in the Village) to audition. Hired after one song, we played our first sets that night and every night thereafter 'til 4 A.M., seven nights a week, 365 days a year. At the time, the coffeehouses were called basket houses, since the only pay you got was what was collected in a straw basket passed around at the end of each twenty minute set. Stephen Stills said, ‘I love your guys’ music,’ and dropped $20 in, which more than half covered our $35 a month rent." So begins the tale. With strong roots in folk music, Roger & Wendy have electric and often unconventional arrangements. The lyrics are complex and symbolic, the instrumentation very unusual. Roger is also the inventor of much of the technology required to create multiple effects that achieve a multidimensional quality: passages that listeners mistake for electric guitar are actually autoharp. Roger redesigned the autoharp's chord structure to facilitate switching between keys; now all major autoharp manufacturers worldwide make autoharps using his design. And as for Wendy, women bass players were a rarity in the 60's, and still are today. Consequently, their groups (then and now) have always been far out there beyond the leading edge. The Roger & Wendy "Love Rog & Wem" album is a alluring collection of shimmering psych-folk gems, and is the rarest of the duo’s records (fetching $900+). A superb artifact from the early 1970’s underground psych folk scene, taken from the original master tapes, and using the original sleeve artwork for this deluxe mini-LP sleeve reissue. Booklet has photos, great stories, and five bonus tracks, too!

Catalogue number: LION 639
UPC: 778578063924

ROTOMAGUS ROTOMAGUS "The Sky Turns Red: Complete Anthology"
There’s no way to know why CBS Records unceremoniously dumped Rotomagus and the Chico Magnetic Band after one single apiece; suffice to say that decision was a poor one, as both bands have (quite rightly) developed a cult-like following over the years. All in all, the artistic trajectory of Rotomagus was peculiar: they started out as a harmony pop-psych band, shifted through a brief Jimi Hendrix-ian interlude (‘The Sky Turns Red’), straight into a Vanilla Fudge groove; they then went down in flames as a hair-raising monolithic heavy rock power trio. On Julian Cope’s excellent Head Heritage web-site, the Seth Man raves about Rotomagus thus: "The first time I heard this track (‘Fighting Cock’), I did not freak out. I merely walked into a nearby closet and screamed my head off for a minute solid, beat the floor and ripped my t-shirt... then I cowered when it hit me: this thing came out in 1971? Before "Raw Power"?! I just lost my mind... The only thing that predates this monster in terms of being a full-on amassing of all things heavy are all the many key points on Sir Lord Baltimore’s "Kingdom Come" LP and THAT’S it, brother." French magazine Rock & Folk was succinct: "Rotomagus create an emotional music, violent, even aggressive." Violent. Aggressive. Intense. On this disc we bring you the entire output of Rotomagus, including an album-length demo from 1971, the band’s tumultuous, thunderous swansong, recorded as a super jam (live with no overdubs). Our Lion Productions and Martyrs of Pop edition of Rotomagus comes replete with a bi-lingual 32-page booklet, with the entirety of the Seth Man’s article on the band, plus the band’s history in both English and French, printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper, manufactured using biogas energy. Hard to believe this is all pre-1971, as much of the demo is not just proto punk but proto hardcore—with enough fiery attitude to make you want to scream along. The vocals are wild, while the guitar riffs and grinds and approaches a Stooges via Motorhead apocalyptic grandeur. Amazing!

Catalogue number: LION 660        
UPC: 778578066024 (CD)



SANDHY
                                & MANDHY Para Castukis SANDHY & MANDHY "Para Castukis"
Alberto Infusino (Sandhy) and Alberto Vanasco (Mandhy) began their musical partnership in beat bands The New Free Men and La Máquina de Música. In 1969, Billy Bond, chief of La Pesada del Rock Roll and legendary major domo of Argentine rock, asked them to prepare a demo as a duo. Instead, they recorded an album (in three hours!) with a full band (Farfisa organ, congas, drums, bass, and guitars): one take of each song. They decided to press the record—only 110 LPs were made, making this album the ultimate Argentine rock rarity. Sandhy & Mandhy were among the first in South America to bring a rebellious attitude to their music—all this in a period of military repression, when forced haircuts (and brutality) in the streets were a common occurrence. The simmering, intense ‘La indeferencia los pone mal’ (Indifference Upsets Them), was an important protest song, possibly the first from South America. Every word demonstrates the strong concern that Sandhy & Mandhy felt about the repressions they experienced every day: "Like little birds, we will have to fight/against all who want to change us with stones/why do they have to be so cruel/or is that indifference upsets them/I do not know what they want, to teach us morals/they should clean first their consciences/and then we will talk." In the end, Bond said that Sandhy & Mandhy sounded too much like a band (not a duo), so success was not their fate. But now through the magic of reissues, you can check out their groovy, organ-driven melancholy psych, with Zombies-ish harmony vocals, a little touch of bossa, and other treats (that fuzz guitar on the excellent Os Mutantes-esque 'Lluvia'!). There are artistic ambitions too, with tape edits/inserts very unusual in an album of the era. At times introspective and acoustic, at others manic and ramshackle in the best way, it's quite a discovery. This CD companion to our deluxe LP edition (LION LP-105) has an additional five tracks. The 28-page booklet has the full Sandhy & Mandhy story, plenty of photos, and lyrics in Spanish and English; it is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.

Catalogue number: LION 643
UPC: 778578064327



SANDROSE SANDROSE "S/T"

One week in Studio Davout was all it took for Sandrose to record an album that has long been considered one of the most important to emerge from France. After a failed stint as Eden Rose, the various members of that ensemble, led by guitarist extraordinaire Jean-Pierre Alarcen, decided to try a new approach. Their first move was to add a singer. Alarcen had been struck by the vocal timbre of Rose Podwojny (later to become foxy pop sensation Rose Laurens) on a William Sheller demo, and roped her into the band, which was newly dubbed Sandrose. They started rehearsals, and rapidly built a repertoire, mainly Alarcen compositions. He was strongly influenced by both classical symphonic music and rock and roll; his goal was to combine both musical styles, which he finally achieved in several new compositions. The resulting album is something special. On their sole release (Polydor, 1972), Sandrose play a superb mellow proto-progressive rock based on the continuous floating sounds of the mellotron, incisive guitar interventions by Alarcen (whose sublime playing explodes during superbly constructed instrumental passages), and singer Rose Podwojny’s powerful, clear voice. On songs like 'Vision' and 'Never Good at Saying Goodbye,' Podwojny’s voice expresses such a maturity and sensitivity that simply listening to this song is enough to have goose-bumps and tears in your eyes. But it’s the eleven minute instrumental ‘Underground Session’ that is the centerpiece of the album, with Alarcen giving free rein to his creativity; it’s not just a highlight of the album, but one of the great instrumental rock tracks of all time. I'm serious. As for singing in English, Alarcen explained at the time: "The spirit of our music is closer to the Anglo-Saxon spirit, it is perfectly normal that we have the words in that language." Elegant 16-page booklet reproduces all original LP art; liner-notes tell the band’s history, and include rare photos, discography, and translations of several contemporary articles. If you love groups like Earth & Fire, Julian's Treatment/Julian Jay Savarin, Goliath, or Analogy, (and who doesn’t?), then Sandrose is an obvious choice for you.

Catalogue number: LION 661M
UPC: 778578066123


SANDSTONE SANDSTONE "Can You Mend A Silver Thread"
There is nothing ordinary about Sandstone. This private press folk/psych album (1971) is so head and shoulders above almost every other album in the genre, it's hard to believe it's not better known. The instrumentation and compositional style are reminiscent of heavy English folk hitters like Mellow Candle, Pentangle, and Heron. The Sandstone album was not a major label production like those records. But the local studio at which it was recorded must have been quite high end, because the production quality is astounding. Nearly everyone involved in these recordings was younger than eighteen, but there’s very little evidence of that: the music is well constructed, and no aspect of it is without sophistication well beyond the years of its creators. The three teens behind this music (David Sheirer, Laurie Braunstein, and Mario Grella) molded a seamless compound of British trad-folk with themes of American antiquity, from pilgrims’ progress to Civil War tragedies to the tainting of their unspoiled valley. Poetic lyrics, haunting female vocals, and judicious use of string sections, all serve Sandstone’s entirely original compositions: the result is a dreamy, wistful mood that calls to you across the decades. After weeks of recording, overdubs, and mixing, the album was sent off to be manufactured. Sadly, the band only had cash enough for around 300 copies. Other than a few college radio spins for "Flute Player", barely anyone heard Can You Mend A Silver Thread? outside of their inner circle. A monumental accomplishment nonetheless! From the cover to the instrumentation to the deeply strange and lovely lyrics, maybe the truest folk/psych music that these shores ever produced. Our Lion Productions edition (courtesy of Numero Group) includes two bonus tracks, out-takes from the album sessions. Booklet has the band’s story and lyrics and is printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper, manufactured using biogas energy.

Catalogue number: LION 648
UPC: 778578064822


SANTA Y SU GENTE (SANTA & HIS PEOPLE) "Urgente"
In the 1970's in Chile, recording anything was complicated. The state-owned IRT label was administered by the military. Domestic releases gave way to an invasion of foreign music. At most, a Chilean group like Santa y su Gente (Santa and his People) could hope for one appearance on television, or a very low-key event—this was the reality of the music world after the coup. Few groups had the good fortune to overcome the prevailing censorship: this was the case with Santa y su Gente (Santa and his People). Santiago Salas was a percussionist stepped in jazz. It was he who assembled a band with musicians of the caliber of Lautaro Rosas and Mario Lecaros. The latter was a powerful musician, who would appear in other jazz fusion projects in those difficult years, and then leave Chile together to do an impressive job abroad with his group Comet. The one and only album by Santa y su Gente, “Urgente,” was released by RCA/IRT/Alba in 1974. This album is very rare, and therefore not  well known, apart from the collections of a few dj's. But it contains all you can ask for—a burbling brew of Latin Afro-jazz fusion, half salsa and half Afro, with something powerful to say. Highly recommended! Comes with a bi-lingual booklet which explores the story of Santa y su Gente in the context of the rich Chilean rock music scene.

•deep groove Latin Afro-jazz fusion

•bi-lingual booklet explores Santa y su Gente in the context of the Chilean music scene

•LP edition in 2014

CD catalogue number: LION 674
UPC: 778578067427        

SEADERS SEA-DERS "Sea-Ders"
This specially-priced disc contains all known recordings of infectious Middle Eastern inflected rock/beat from the Cedars (or Sea-Ders), Lebanon's top musical export to the world. Eight dynamic tracks, with driving rhythms, blazing electric bouzouki (or oud?), recorded between 1966-1968. Fantastic! Starting in 1965, many groups began to borrow elements of Eastern music to add a little mystery and exotica to their sound. Some prominent examples of this trend include the Kinks’ 'See My Friends,' the Beatles’ 'Norwegian Wood,' and the Byrds’ 'Eight Miles High'; less well-known than the aforementioned acts, but considered masters of the form by those in the know, were the Sea-Ders. For them it wasn’t a case of flirting with foreign culture—they tapped right into the source, there in their own backyard! Decca Records contacted the group and offered them a record deal in the UK. The Sea-ders relocated to London, and in 1967 Decca released ‘Thanks A Lot’ b/w ‘Undecidedly.' The record got some airplay on the pirate stations, but failed to break into the charts. Nevertheless, Decca went ahead with an EP release, featuring three tracks along with the fine ‘Cause I Do Care.’ Apparently the record had a very limited pressing as it’s now very rare, despite being one of the most exciting releases of the era. Booklet contains liner notes by Mike Stax (Ugly Things Magazine), printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy.


Catalogue number: LION 646
UPC: 778578064624

Search
                                  Party Each One
                                  Heard The News Is You: The Sacred & Secular Music of Nick Freund: featuring the Search Party "Montgomery Chapel" (1968) and St. Pius X Seminary Choir "Each One Heard In His Own Language About the Marvels of God" (1968)
Recorded at the San Francisco Theological Seminary’s own Montgomery Chapel, acid-folk-rock psychedelic gem Search Party "Montgomery Chapel" was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin in the late 1960s to join a burgeoning West Coast religious scene, Freund spent considerable time in Sacramento before making their way to San Francisco in 1968 to lay down this one-off with some students of his. The result is a spooky, metaphysical trip that’s equal parts God and acid-dripped mind expansion. Laced with haunting vocals and dreamlike passages, Montgomery Chapel is psychedelic music at its most evocative, and most spiritual. Original copies (only 600 were pressed on the custom Century label) carry substantial price tags. The recordings released by the St. Pius X Seminary Choir were made in the year or two which led up to the recording of the Search Party album. Not only did the three St. Pius X Seminary Choir records showcase the first work by Nick Freund, but they also were the first recordings of Search Party guitarist and vocalist Peter Apps. As one of the press clips regarding the Choir stated, "The choral treatment was electrified by a few phrases sung solo by Peter Apps, who is also the lead guitar. If Apps has not already formed a folk-rock group around that voice, he should. It is rich, deep, and ringing." Luckily, Freund and Apps heeded their advice, and the Search Party was the result. But nothing could have prepared listeners for the bizarre avant-garde (in the truest sense) electronic soundscapes backed by rock instruments which open "Each One Heard In His Own Language About the Marvels of God" (1968). The album settles down into a less out-there groove after the opening, but this is still adventurous stuff. During my conversations with Nick Freund, he told me that the electric sounds on the album were the work of composer Dary John Mizelle. Mizelle studied composition and participated in the New Music Ensemble at the University of California, Davis (the first free group improvisation ensemble); there he participated in a course led by Karlheinz Stockhausen. Mizelle is also a founding member of SOURCE Music of the Avant Garde magazine. Our two-disc set includes both albums, plus bonus tracks taken from ultra-rare early albums by the St. Pius X Seminary Choir. The 28-page booklet is packed with information, thanks to Freund, who was gracious enough to delve into his memory, scrapbook, and photo albums to help us flesh out the portrait of one of the most potent—and perhaps one of the most unlikely—psychedelic groups to ever record an album.

Catalogue number: LION 665 (2xCD)
UPC: 778578066529


SERGIUS
                                  GOLOWIN SERGIUS GOLOWIN (with the COSMIC JOKERS)
"Lord Krishna von Goloka":

In 1973, Rolf Ulrich Kaiser’s visionary powers acted as a catalyst for an authentic combination of acid, music and sprituality: the mystical LSD-fueled musical project “Lord Krishna von Goloka.” For this adventure into Indian and Oriental mythologies and legends, Kaiser asked esoteric Swiss artist (he was a friend of Giger’s), poet, specialist on Alpine folklore, and friend of Timothy Leary, Sergius Golowin, to join a group of musicians including Klaus Schulze and members of Wallenstein and Witthüser + Westrupp. It was perhaps mere coincidence that Golowin's classic treatise on witches, herbs, and magic mushrooms was published that same year (Magie der verbotenen Märchen); the book was fast becoming a cult item—it was secretly xeroxed in what was then-Communist East Germany, and later distributed in the hippie-underground there. Sergius Golowin’s intellectual and spiritual world of occultism, popular legends, and shamanism were the foundation for the project. He was responsible for the lyrics, which consisted of incantatory recitations in German over the multi-textural compositions.

“The first release of what has become known as the Cosmic Jokers series, a Cosmic Courier super-session organized by Rolf-Ulrich Kaiser... (Sergius Golowin) handles the vocals on this extraordinary album, recanting verse over music that sounds like a hybrid of Ash Ra Tempel and the Third Ear Band, full of rich musical textures adrift with Mellotron and synthesizers. A timeless work of beauty that has no equal.” —Crack in the Cosmic Egg

“In which, Rolf-Ulrich Kaiser offered us the second of his great Mage Recordings. After Timothy Leary (KK5001) had so moved the producer with 7Up, ‘The Kaiser’ and his Starmaiden Gille Lettmann decided to stay in Switzerland and record some more wise old men. As with Leary, the recording of Sergius Golowin, the middle-aged ex-MP, was nothing less than a full-on Vision-saga. Six musicians accompanied Golowin’s pronouncements throughout the LP, and it’s most remarkable of all that the speaker showed such restraint, often letting the band fly off into Ash Ra Tempel-land at any opportunity. It makes the most sensational combination and a long Kosmiche-epic of high magic proportions. Opening with the 15 minute plus “Der Grigen”, the LP announced its intention with sombre pre-Christian keyboards then softly, softly into the ritual…a slow amoeba production, at first scouting but soon positive in its holy direction. The huge unfolding driving thing called “Die Hoch-Zeit” covers the whole of Side 2, in which Klaus Schultze’s drums are combine harvesters in a Canadian wheat field 50 miles across. Massive choirs of mellotron hold the distant horizon and the machine that is the music covers the land like locusts. Dry dry music. Arid heavy tragedy — Side 2 of Joy Division’s ‘Closer.’ Golowin doesn’t even say a word for about the first eight minutes... There is no doubt this is the very highest magic — believe me. The Ur-klang of Mesolithic Man... No intellectual ever made music such as this... His voice and that music. A righteous vision.” —Julian Cope, Krautrocksampler

“The emergence of the great mythologies stands directly at the beginning of mankind’s history. In them the occupation with the large questions occurs: From whence do we come? What and who are we? Where do we go? When our ancient ancestors began to argue with appropriate ideas, dreams and emblems (the most valuable pictures), what developed from it, and was passed on to their descendants, was the birth of all that we call culture.” —Sergius Golowin, excerpt from Die grossen Mythen der Menschheit (the Great Myths of Mankind)

Our Lion Productions edition comes with a 24-page booklet which includes a Sergius Golowin biography, plus translated excerpts from interviews and texts, a list of Golowin's writings, translations of the original LP notes, text, and lyrics, as well as a Kosmischen Kuriere label discography. And on a personal note, we have long thought the song ‘Die Weiße Alm’ to be perhaps the perfect cosmic folk track... blissed out and uplifting, without being cloying.

Catalogue number: LION 628
UPC: 778578062828

Shin
                                  Joong Hyun & Yup Juns SHIN JOONG HYUN & YUP JUNS "S/T" (original version)
Spring of 1974, in Seoul: this was the time and place that witnessed the birth of psychedelic power trio Shin Joong Hyun & Yup Juns. "In Korean, yupjun literally means a brass coin," Shin explains. "However, during that time it was used as slang to describe a sense of unpleasantness and dislike. Since I was so unpleasant and dissatisfied [in my career], I told myself, ‘Ok, fine, I am just a yupjun,’ and named my band with a rebellious attitude." Shin began by renting a spacious room at Seoul’s Tower Hotel to serve as a creative home base for the group. After six months of earnest preparation, the group cut ten powerful songs filled with monster grooves, fuzz guitar, emotive singing, and top-notch songwriting. Shin had achieved his goal. The album was pressed up as an ultra-limited, broadcast-only promotional vinyl to test radio response; the response wasn’t what anyone expected, and the record label refused to release the album. Shin Joong Hyun & Yup Juns re-recorded the album (with a new drummer), but it is this, the original ten track version, that has become legendary—with good reason. An astounding record, and one that we are privileged to bring to the rest of the world for the first time. Tough and funky tracks, driven by Mr. Shin's ferocious guitar; capped off in blissful head-spinning psychedelic style by 'The Rising Sun', an instrumental in the vein of the Jimi Hendrix Experience's 'Third Stone From the Sun.' Our Lion Productions version of this quintessence of funky psychedelia features Korean/English lyric translations, rare photos, re-mastered audio, and comprehensive liner notes by Kevin "Sipreano" Howes. The deluxe mini-LP sleeve CD version has a 20-page booklet with rare photos, and great stories about Shin Joong Hyun and his continuing place of prominence in the Korean music scene; the 180 gram vinyl version comes in a deluxe old-style jacket, with full color OBI and a full color insert with liner notes, rare photos and translated lyrics.

Catalogue number: LION 664
UPC: 778578066420 (CD)

Nuestra
                                  soledad Vera VERA SIENRA "Nuestra soledad" (1969) + "Vera" (1972)
It was—and is—almost impossible to categorize Vera’s musical style, but we’ll try: wistful songs with the world-weariness of Fado, and the pulsating sadness of the bossa nova. Her powerful and unique tone of voice, plus the softness of her guitar, have always been an unmistakable trademark. Listening to the songs of Vera’s debut album (from 1969), few people believed that those mature melodies were created by the beautiful and timid blonde who could be seen on their black & white TV at the end of the Sixties. Vera’s cousin helped her release that first LP, "Nuestra Soledad" (Our Solitude) on the RCA Victor "Vik" label. At that time, iconoclastic genius Eduardo Mateo was working for the label as an arranger and studio musician. Mateo added his music knowledge and guitar skills to Vera’s songs. In 1972, Vera crossed to the other side of the River Plate (Rio de la Plata) to record her second album, "Vera," in Buenos Aires, with the help of Argentinian musicians, the direction and arrangements of Roberto Lar, and the valuable help of recording engineer/guru, Carlos Piriz. Both legendary albums are included on this release. "In Uruguay, in the south, where sleeps or sways a river as wide as the sea, there is a small country. There is a neighborhood for anyone who has lived in it, and take its mirage forever as the way of seeing the world. Punta Carretas and Punta Brava, the southernmost point of Montevideo—it knows Vera Sienra from her first breath. The songs were born from her, or the landscape, the solitude that is always inhabited by metaphors, which have to do with this country which measures changes in sadness, as the seasons pass. Hence the authenticity of all of them, a striking sensuality that brings something of the sea to the voice of a little girl, sometimes tired as if extracted out of a very dark interior. Vera is her song, a perpetual unity.

Catalogue number: LION 667
UPC: 778578066727

SOULS OF INSPYRATION “S/T”

SOLD OUT

Catalogue number: PACE 037-LN
UPC number: 778578003722


PEPPER
                                  SMELTER ST. THOMAS PEPPER SMELTER "Soul & Pepper"
The first official reissue of this much-bootlegged classic South American psychedelic freakbeat album, recorded in 1969 by Peruvian band The (St. Thomas) Pepper Smelter. Perhaps the story of the band is not well known, but their achievements were great—and international: editions of their sole LP were produced in Peru, Mexico, Brazil and Ecuador, and 45rpm singles were published in Mexico and Greece. St. Thomas Pepper Smelter was formed by Gerardo Manuel Rojas on vocals and tambourine, Beto Tataje on rhythm guitar and lead guitar, Juan Carlos Barreda on bass and vocals, Carlos Manuel Barreda on drums and backing vocals (all from the famous group Los Shains), and Freddy Macedo on keyboards. Their first single was a cover of ‘Purple Haze’ b/w one of their own compositions, ‘A New Summer.’ The band then began to record their only LP. That album contains twelve tracks—six written by the band, and the other half cover versions. The band's music could be described as freak beat; in many ways, it is a preview of the garage /surf style of Los Shain's, heading towards the heavy psychedelic rock of Gerardo Manuel & El Humo. At the time, St. Thomas Pepper Smelter simply called it "underground music." Gerardo’s voice is soft in the band’s own songs, and aggressive on the cover tunes; his guitar style oozes fuzz. The foundation of bass and drums by the brothers Barreda is very powerful and strong; and the songs benefit from the layers of keyboard played by Freddy Macedo. This fully licensed, hand-numbered, limited edition CD release comes in a mini-LP sleeve replica of the original album art; it also comes with a replica of an original poster; a replica of an original color photo of the band. More importantly, it includes three previously unreleased bonus tracks exclusive to this edition. Carefully remastered from the original master tapes and released in this limited edition of 400 copies, available exclusively worldwide from Lion Productions.

Catalogue number: LION 7658 (hand numbered edition of 400 copies)
UPC: 778578765828



Stone
                                    Harbor STONE HARBOUR “Emerges” (1974) plus bonus tracks

“Extraordinary basement psych with two multi-instrumentalists creating a melancholic dreamlike state with songs fading in and out of the speakers, cavemen drums, primitive electronics and murky fuzz lurking in the background. The best tracks go into places no other albums reach. Actually closer to the heart of psychedelia than most other records listed here.”
—Acid Archives of Underground Sounds

“What's a boy to do? It's 1974, you're young and have a head full of Hawkwind and Roky and the Elevators, and old brutalist blues in the Hound Dog Taylor/Fred McDowell backwoods whisky-fucked mode; you're stuck in Hicksville, USA; the music scene sucks: glam's dead or dying slowly; punk is a good year or so from even starting to get itself born. Town's too damn small to even muster up a band. It's just and your buddy and that's it, man. So you grow your hair and wear satin, wander wide-eyed and tripping across small-town railway tracks and hang loose at the weekend in your basement. You gather a bunch of cheapo instruments on the never-never and you start cutting low-fi bedroom demos. Stone Harbour were Ric Ballas and Dave McCarty, and out of nowhere and nothing, at entirely the wrong time, they cut an LP that will blow your head clean off. This is a trip into the true dark heart of psychedelia! The music? ‘You'll Be a Star’ shimmers and aches in the midnight; cymbals wash over you, Dave McCarty's vocals emerge from some subterranean cave, as the keyboards flicker, flicker, flash across the periphery of the song; ‘Rock & Roll Puzzle’ is dark, twisted fried garage punk blues brutality, pre-empting The Gories and Pussy Galore by a good ten years! Songs fade in and out; finger-picking blurs into screaming squelching synths; guitars melt in the mid-summer heat. ‘Grains of Sand’ frazzles like The Stooges through a fucked-up amp and filtered through a transistor radio with the valves burning out, whilst ‘Summer Magic is Gone’ is the most haunted, haunting song in many a long strange moon. Shimmers like stars in the 2 am fog and haze, and bleeds lost and lonely and bruised into the heat-warped dawn. You're still awake, although the brain doesn't work like it used to. Blurred and bleary and exhilarated and stoned to the very core of your soul.” Booklet includes lyrics and notes; disc has a handful of previously unreleased tracks from 1975 sessions as bonus tracks. Yowzah.

Catalogue number: LION 621HCD
UPC: 778578062125

Sun Also
                                  Rises SUN ALSO RISES "S/T"
Superb sought-after 1970 British acid folk rarity from the Village Thing label. The Sun Also Rises is another case of a folk/psych duo (we’re thinking of Emtidi, whose "Saat" album we have also reissued) who virtually disappeared in the flesh, once they had left behind a small but fascinating recorded legacy. The sole Sun Also Rises album has been reissued (legally and illegally) on several occasions, a testament to continuing interest in the music contained therein. Who were they? They were Graham and Anne Hemingway from Cardiff, described everywhere as a mystical, magical hippie female and male folk duo, who played guitars, dulcimer, glockenspiel, vibes, bells, kazoo, percussion—joined throughout by label-mate John Turner (bowed and finger-picked string bass), and Andy Leggett. Their one and only album is very much in the creative style and delivery of the Incredible String Band, with similarities to the work of their contemporaries Dr. Strangely Strange, COB, Comus, Forest and Tir Na Nog, as well as others of the original freak-folk brigade. The results of their efforts were tripped-out, spellbinding, esoteric folk collages—songs of wizards and dragons, dreams and intentions, love, flickering candlelight, the sweet scent of half-remembered summers, death, jasmine, and suicide. We hope that this album will come as a wonderful surprise for lovers of the Incredible String Band and their ilk, as there were few bands that were able to stray into this much loved and much loathed world of fantasy and folk music, and live to tell the tale. Our Lion Productions edition comes with a 16-page booklet printed on FSC recycled, chlorine-free, 100% post-consumer fiber paper manufactured using biogas energy, which contains a small dose of band info, album lyrics, histories of the Village Thing and Saydisc labels by co-founder Gef Lucena, as well as a Village Thing label discography.

Catalogue number: LION 631
UPC: 778578063122

Sunforest SUNFOREST “Sound of Sunforest” (Deram Nova SDN7, 1969)
There was once a band called Sunforest, who recorded a splendid album in 1969. The record is (as has been said elsewhere) a unique compendium of UK acid folk with a popsike feel, sporting harpsichord and (somewhat) medieval-tinged arrangements integrated into electric and acoustic folk-esque tunes. But one thing must be said straight away: the Sunforest album is not at all twee—the songs are far too clever, and the production (by legendary producer Vic Coppersmith-Heaven) has far too much depth—we say this despite cover art that seems to have misled people since the album was released. Worthy of special mention is the phenomenal folk/funk vibe-fest 'Magician In The Mountain,' which has made this LP the object of desire of many a DJ and a sampler. And, of course, lest we forget, the Sunforest album supplies the answer to the recent burning question (for those of you living in the UK): “What’s that song on the Marks and Spencer TV advert—the one with Twiggy and those other girls in it, singing, "I want to marry a lighthouse keeper.” Why, it’s ‘Lighthouse Keeper,’ of course! The sound of Sunforest was enlivened by contributions from exceptional and experienced studio musicians. On this album, you can hear supple work from bass guitarist par excellance Herbie Flowers (it’s his bass that makes Lou Reed's ‘Walk on the Wild Side’ one of the best late-night songs ever written; he also played bass on the Serge Gainsbourg’s “Histoire de Melody Nelson”). He was joined for the Sunforest sessions by his compatriot in the Jean-Claude Vannier Orchestra, guitarist on an incredible variety of UK number one hit songs (fifty-nine to be exact), including the Kink’s “You Really Got Me,” Thunderclap Newman’s "Something in the Air,’ and Jane Birkin and Serge Gainsbourg’s orgasmic classic ‘Je t'aime... moi non plus’: session-guitarist extraordinaire (and the mastermind behind the Lord Sitar and “Sitar Beat” albums), Big Jim Sullivan. Yes, here on the Sunforest album these two titans of UK rock can be found working with another legend, Vic Smith, on what turned out to be the only release from a trio of unpretentious girls, discovered in a cafe. Ah, the wondrous 1960’s! Includes a 20-page booklet with additional insider information on the band, as well as lyrics. Licensed from Decca/Universal, UK.

Catalogue number: ACLN 1012CD
UPC: 778578101220


SUNLIGHT “Creation of Sunlight” plus bonus

SOLD OUT

Catalogue number: Lion 605H
UPC number: 778578060527 


Boomland T2 “It’ll All Work Out in Boomland” + bonus
The rise of power trio T2 in 1970 was rapid: important open-air festivals; headlining residencies at the Marquee Club; appearances at virtually every major venue in London. Then their debut album was released; they seemed poised for a breakthrough. As the band recalled, they were playing the Marquee club, with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were coming forward saying, “we can’t find your album anywhere.” In short order, the band fell apart. Still, their sole Decca album has become well established as an all-time classic amongst progressive and psychedelic music collectors—even the techno and dj crowds. The fact that it has done so without hype is a testament to the innate quality of the music. The album is packed with melodic acoustic passages, frenzied fuzz guitar workouts, not to mention acid-trip induced lyrical and musical content. It is, in every way, an extraordinary album, one of rock music’s best kept secrets, on a par with all the other major works that form the rock music canon of the time. Hefty booklet contains extensive musicological analysis by composer and musician Andrew Keeling, which includes illuminating interviews with band members Peter Dunton and Keith Cross, as well as detailed illustrations. Included as bonus are three tracks from BBC Sessions recorded in October 1970. Licensed from Decca/Universal, UK.

Catalogue number: ACLN 1010CD
UPC: 778578101022


T2 T2 “S/T”
Even though fame and fortune never came to pass for T2, their Decca album “It’ll All Work out in Boomland” has become an all-time classic amongst collectors of progressive and psychedelic music, and even in the techno and dj scenes. Apart from a 1970 Sound of the 70’s BBC radio session, (included on our Acme/Lion reissue of “It’ll All Work Out in Boomland,” ACLN 1010 CD), fans assumed that “Boomland” was both the beginning and the end of the group’s recorded legacy. But Acme Records unearthed an eponymous second album of material, recorded in 1970 with the original line-up as demo tracks for a planned second album. This was first released way back in the late 1990’s, and is now available again thanks to the new Acme/Lion version which is the subject of this one-sheet. This second T2 album, had it been released in 1970, could have put the band on the same level of fame with the likes of Deep Purple, Free, and King Crimson (bands with whom T2 shared a stage). It’s hard-driving opener ‘Highway,’ ablaze with wailing guitars, gives way to moody introspection, culminating with the LSD induced finale ‘T2.’ It’s music that is dreamy without being sleepy; heavy without danger of suffocation. Those of you who were lucky enough to snap up a copy of the limited Acme Deluxe pressings of this album many years ago now can testify to the importance of these recordings. For those of you who missed out the first time around—or who have only recently discovered the greatness of the mighty T2—all we can say is, enjoy the power and glory of the second T2 album!

Catalogue number: ACLN 1011CD
UPC: 778578101121

T2 "1971-72"
The rise of power trio T2 was rapid: important open-air festivals; headlining at the Marquee Club; appearances at virtually every major venue in London. Their debut album ("It'll All Work Out in Boomland") was released; they seemed poised for a breakthrough. They were playing the Marquee club, with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were saying, “we can’t find your album anywhere.” In short order, the band fell apart. Still, their sole Decca label album has become well established as an all-time classic amongst progressive and psychedelic music collectors—even the techno and dj crowds. The fact that it has done so without hype is a testament to the innate quality of the music.
 
Following the departures of Keith Cross and Bernard Jinks, Peter Dunton put a new version of T2 together; in this manner, T2 toured the UK continuously throughout 1971 and 1972. The UK music scene was changing with great rapidity. T2 recorded a group of great tracks along the lines of what Free, Deep Purple, and Atomic Rooster were doing; but they were also being pressured to compromise their very-personal sound. These musical difficulties (and possibly some contractual troubles) stopped T2's material of that period from being released—until now. The sound of the band is virtually unchanged from the dense, hard-driving excellence of their previous recordings. It’s amazing that a band could produce so much quality music and still be confined to the fringes of UK rock history. Happily, we’re in a position to redress the balance a bit by letting a third great sampling of T2’s excellence be heard. Enjoy!

•third and last archival set of recordings from the classic era of UK psych/prog legends T2

•digipack with 12-page booklet detailing T2's three sets of recordings from the psychedelic era

Catalogue number: ACLN 1017CD
UPC: 778578101725

TETRAGON TETRAGON "Nature"
An ecology-inspired Krautrock album (1971) from a short-lived group comprised of German school-chums, some of whom had recorded an LP as Trikolon. Tetragon did not conform to any predetermined musical style: they played whatever they pleased, as long as it included groovy Hammond organ and very trippy, flanged wah-wah guitar, in various taut jamming modes that favored jazz/rock fusion à la Miles Davis with a small dose of classical music (adapting a Bach fugue along the way). The result is a bouquet of lush instrumentals, with elements of Egg or the Nice, and quite a bit of T2 to boot. The album was recorded in a converted barn, using a Revox A77 two-track tape recorder and seven microphones placed judiciously to best capture the sound of each instrument. Re-recording wasn’t possible, as the record was mixed live. Yet these challenging conditions inspired the band to great heights: Hendrik Schaper played organ and clavinet simultaneously, with one hand on each keyboard; meanwhile, Jürgen Jaehner unleashed rampaging electric guitar solos, then, in an instant, switched to acoustic guitar for the next musical passage; Schaper didn't own a piano, so he used a pre-amp with a wah-wah pedal to imitate that instrument’s sound. A virtuoso effort, from start to finish! Tetragon didn't bother contacting any record labels; they didn't their music would interest anyone. A mere 400 copies of the album were released on a private label, named Soma after the drug-induced effect described in Alduous Huxley’s Brave New World. Our edition includes all of the original pro-environment, anti-industrial pollution gatefold album art, a detailed band history, band photos, and a nearly fifteen-minute bonus track, recorded live in Georgsmarienhütte in 1972.

Catalogue number: LION 632M
UPC: 778578063221

Third Estate-Agonistes THIRD ESTATE “Years Before the Wine” + AGONISTES “S/T”
Third Estate’s “Years Before the Wine” is an ambitious and intricate psychedelic concept album from 1976 about the French Revolution (!) which blends warm Southern summer sounds (the band were from Baton Rouge, Louisiana) with baroque song structures. Never fear, the serious subject matter is no match for the strong songwriting and light, flowing music. Stunning vocals from Fae Ficklin on the title track are lovely, but even without them this album would richly deserve its status as a psychedelic classic. Stark, intimate production, with tasty fuzz guitar, backwards tape-loop soundscapes and beautiful treated acoustic guitar, puts one in mind of the Ithaca/Agincourt/Friends trilogy from England. The sound of exploration is evident everywhere, as the band spreads its wings, and glorious harmonies flow forth. The previously unreleased album recorded as Agonistes (1973) shows that the later recordings were no fluke—it can stand alone as one of the most beguiling folk/psych albums we’ve ever heard. Additional bonus tracks include singles and home demos. Budget-priced double disc package includes a 28-page color booklet, with histories of both groups by band co-leader Robert Everett, as well as lyrics for all the songs included herein.

Catalogue number: LION 620H (2xCD)
UPC: 778578062026

Steve Tilston STEVE TILSTON “An Acoustic Confusion”
An instantly captivating, all-original acoustic album of great depth and incredible maturity, the debut album (1971) by acoustic guitarist and songwriter, Steve Tilston. As for the making of the album: “It was Ralph McTell who very kindly contacted Ian Anderson of Village Thing on my behalf," Tilston explained. "I followed it up and secured a meeting with Ian and a gig at the Troubadour Folk Club. I’d met Ralph through Wizz Jones at Les Cousins in Soho, and he’d been very complimentary about my playing and writing.” One hears echoes of Tilston's mentors and contemporaries in England’s vibrant folk scene of the time: Bert Jansch (the fifth track, 'Train Time,' sounds to these ears eerily like early Jansch); John Renbourn; Ralph McTell; Wizz Jones; Davey Graham; and Nick Drake. Solo guitar and vocals, all recorded without over-dubbing, plus group performances with Village Thing label-mates Dave Evans, John Turner (Hunt & Turner), and others. The end result was an important piece of Britain’s folk tapestry, which launched Tilston into the limelight, and onto Transatlantic Records, just in time for their implosion. This deluxe edition of “An Acoustic Confusion” includes five bonus tracks, including three not included on any previous editions, in-depth notes by Tilston himself, lyrics, excerpts from Mark Jones' fascinating Bristol Folk book, plus a mini-history of Village Thing by label co-founder Gef Lucena; there's also a Village Thing discography to round out the twenty-eight pages of information. "At twenty, I was pretty single-minded in my quest to make an album; looking back, probably a bit pushy with it, but I was sitting on this powder keg of songs and it felt like I had to get them recorded or I’d explode." —Steve Tilston

Catalogue number: LION 662
UPC: 778578066222

Gaiety II VARIOUS "The Gaiety Records Story Volume Two":
At last, a second collection of rare singles from the label that produced the cream of the mid-sixties crop of Canadian garage, punk, and psychedelic music! The Gaiety roster was rich in talent (the 49th Parallel, Jarvis Street Review, and Souls of Inspyration, not to mention the Checkerlads, White Knights, Dewline, Tomorrow's Keepsake, NRG, Merriday Park, and Portland Street South)—but it was not rich in resources, which is why these singles are so incredibly rare. This second Gaiety Records volume has twenty-four tracks in all, ranging from the ferocious punk psych of Solid Reputation’s ‘Lies’ to the wonderfully druggy (and truly demented) ‘Ode to a Cucumber, A Berry, and A Flower", a song that deserves to be in the pantheon of weird psychedelia right alongside the West Coast Pop Art Experimental Band’s ‘Help, I’m a Rock’. NRG’s UK psych-inspired ‘Magic Man,’ much in demand in collector’s circles, is here in all its glory—along with six other tracks by this underrated band, including the psychedelic groover ‘Withcraft’. Other highlights are four more terrific beat/pop songs from the Plague and Lexington Avenue (bands who would become better known later as Jarvis Street Review). Tracks by the Checkerlads, Tomorrow's Keepsake, Flying Colours, Portland Street South, round out the disc, and (we hope) bring pleasure to everyone.

Catalogue number: PACE 044
UPC: 778578004422


CONFISERIE VARIOUS "Groove Club Vol. 1: La Confiserie Magique"
A terrific compilation of succulent French psych/pop treats, collected and annotated by French author, journalist and flaneur Jean-Emmanuel Deluxe (Martyrs of Pop), and carefully sequenced for maximum enjoyment by the Lion! Together, we have imagined those magic years 1966-71 in France to be just as you find them here — overflowing with truly decadent pop-sike, as beautiful as the cathedral of Evry; this can be the arch-hippie Lolita, singing songs to make one dream of Anicée Alvina riding her bicycle in a red dress... or it can be something "other": sunny and stunning, or brooding and tinged with sadness. "Fabrice, 17 years old, is a minet, or to say it better, a mod from one of the posh neighbourhoods, the 16th district in Paris and such "golden ghettoes" as Auteuil, Neuilly and Passy. Fab’ likes to have his "ronron at the Dugstore", as Dutronc sang it (an untranslatable wordplay on ronron, "cat food", and a minet - "a kitten" - purring). Fabrice attends Henri IV prestigious high-school; his father, a businessman who made a fortune selling plastic flowers, and his mother, a former model from Jacques Fath, are never home – a cosy home indeed! With his Weston shoes, a slim-fitting suit by Renoma and his haircut modelled on those of Anglo-Saxons musicians appearing on French Eps, Fabrice dreams of Carnaby Street and the Sunset Strip. He is not alone: there’s his sister Stéphanie, 16, who wears a fringe, a mock Courrèges dress, a pink Shetland pullover and white boots. Stéphanie reads Salut Les Copains and Mademoiselle Age Tendre, which both fuel her passion for Françoise Hardy, Zouzou, Twiggy and the Beatles." The Groove Club is happy to present twenty-two records that we dug out as a tribute to Fabrice’s kinky faves. And we sense that, paradoxical as it may seem, although we have imagined a parallel cosmos to the Grande Heures of pop culture, we are not far from the truth. Your choice of a limited edition gatefold 2xLP, or a CD edition, chock full of information about all of the tracks on this premier volume in our celebrated Groove Club series. Popisme fantastique!

CD edition: LION 641 UPC: 778578064129 (CD)


Cambodian 1 VARIOUS "Groove Club Vol. 3: Cambodia Rock Intensified!"
There were no deluxe studios for the musicians who recorded the devastating tracks contained on this double-LP collection. Nothing so grand. Most of these tracks were recorded live, with traditional instruments finding a place alongside any keyboards or guitars that could be found. And yet, it was these experiments of Khmer rock musicians which transformed the nightlife of the Cambodian capital, Phnom Penh—and which many years later have seduced countless listeners around the world with their groovy sound. Alas, in 1975 came an entirely different type of transformation: the rise to power in Cambodia of the fanatical, anti-Western Khmer Rouge, led by Pol Pot. Within roughly four years, implementing their "concept of Year Zero," Pot and his regime were responsible for the deaths of an estimated two million Cambodians, many in the notorious "killing fields." Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth ("the Emperor of Khmer Music"), Ros Sereysothea ("The Golden Voice of the Royal Capital"), and Pan Ron—all featured on this collection—met their deaths at the hands of the Khmer Rouge. Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an "Ethiopiques" way, we’d say), or sweet and lyrical, but always moving, and with that deep soulfulness (regardless of actual musical genre or style) that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far—without the later overdubs that confuse the mind, without the artificial speeding up of tracks that often has marred compilations over the years; what you’ll find here are crucial Khmer rock tracks, made available in the best possible sound, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. And so, without further ado, welcome to "Cambodia Rock Intensified!"

Catalogue number: LION 656-CD
UPC: 778578311315


Cambodian 2 VARIOUS "Groove Club Vol. 2: Cambodia Rock Spectactular!"
There were no deluxe studios for the musicians who recorded the devastating tracks contained on this double-LP collection. Nothing so grand. Most of these tracks were recorded live, with traditional instruments finding a place alongside any keyboards or guitars that could be found. And yet, it was these experiments of Khmer rock musicians which transformed the nightlife of the Cambodian capital, Phnom Penh—and which many years later have seduced countless listeners around the world with their groovy sound. Alas, in 1975 came an entirely different type of transformation: the rise to power in Cambodia of the fanatical, anti-Western Khmer Rouge, led by Pol Pot. Within roughly four years, implementing their "concept of Year Zero," Pot and his regime were responsible for the deaths of an estimated two million Cambodians, many in the notorious "killing fields." Even the most famous and beloved Khmer musicians could not escape. Sinn Sisamouth ("the Emperor of Khmer Music"), Ros Sereysothea ("The Golden Voice of the Royal Capital"), and Pan Ron—all featured on this collection—met their deaths at the hands of the Khmer Rouge. Cambodian rock music is (rightfully) adored in Cambodia. The music is wild and anarchic, rhythmic and undulating (in an "Ethiopiques" way, we’d say), or sweet and lyrical, but always moving, and with that deep soulfulness (regardless of actual musical genre or style) that singles out the best music. We have assembled what we consider to be the most definitive collection of classic Cambodian rock music to appear thus far—without the later overdubs that confuse the mind, without the artificial speeding up of tracks that often has marred compilations over the years; what you’ll find here are crucial Khmer rock tracks, made available in the best possible sound, assembled with love and respect for the artists who made the Khmer rock scene as thrilling as we find it to be. And so, without further ado, welcome to "Cambodia Rock Spectactular!"

Catalogue number: LION 655-CD
UPC: 778578311223

LION PRODUCTIONS with VICOR MUSIC (Philippines):
Official reissues of albums by JUAN DELA CRUZ guitarist WALLY GONZALEZ!!
That’s right: official reissues (for the first time) from the master-tapes (for the first time) of rare LP's by Wally Gonzalez, the amazing heavy fuzz guitarist on all the Juan De La Cruz albums. Gonzalez emerged in the 1970's as a rock icon along with band-mates Joey "Pepe" Smith (who was also in Speed, Glue, & Shinki by the way) and Mike Hanopol. Together, they were collectively called Juan Dela Cruz—a powerhouse group who awed the hippie generation in the Philippines with a their scorching Pinoy Rock. The two solo Wally Gonzalez albums are the rarest—and among the best—recordings from the Juan Dela Cruz contingent, up (or down) the same turgid back-alley as the the Juan Dela Cruz band’s own "Himig Natin" and "Maskara" LPs. Recommended without reservation. If you like heavy fuzz guitar/psych similar to Shinki Chen and Speed Glue and Shinki—you will love these albums!

WALLY GONZALEZ "Tunog Pinoy" (1977) (KBA-5009)
A much more varied album than we expected—just listening to the soaring solos of the third track, ‘Pinag-isa’, makes us think how much this sounds like Pink Floyd circa “Dark Side of the Moon”—atmospheric, with breathy vocals, yet thick with that mid-70’s heavy energy at the same time; then you get to ‘Rock & Roll Mama’, and it’s stinging guitar leads and crunching rhythm section all the way; Gonzalez clearly was not a one trick (heavy acid blues rock) pony, which explains why this album has always been held in such high regard among those who had a chance to hear it.

Catalogue number: KBA-5009 (LN)
UPC number: 4800616770108

Wally On The Road WALLY GONZALEZ "Wally On The Road" (1978) (KBA-5024)
First off, don’t be deceived by the title—this is a studio album all the way; altogether a different sort of album from “Tunog Pinoy”, thudding out of the gate with the monumental ‘Kailan Pa Kaya’, syrupy treated vocals, John Bonham-esque drumming and all; dig too, if you will, the Zeppelin vibe of ‘Screw’ before sailing into the trippy, acoustic ‘Tattong Araw’, or the legendary ‘Wally’s Blues’; more effects than the earlier record, sounding more like newfound recordings from the late 1960’s than a mid-70’s record—this has more psychedelic credentials than most reissues which get that label bestowed upon them; you might say that while “Tunog Pinoy” is classic rock in the best sense, this is classic psychedelia, in the best sense.

Catalogue number:KBA-5024 (LN)
UPC number: 4800616770115

WE ALL TOGETHER WE ALL TOGETHER "S/T"
40th anniversary edition—and for the first time, taken from a pristine master, which restores missing elements to several songs! Those of you with a more than slight acquaintance with rare psych will know that We All Together were among the best Beatlesque pop/rock bands of the early '70s. In fact, when the people of Peru first heard We All Together in 1972, they thought that the band was a foreign group, because of the high production values of their tracks. Both of the We All Together albums were influenced by late period Beatles music: the vocal harmonies, melodic tunes and sophisticated arrangements, blending keyboards, acoustic guitars and electric guitars in a graceful manner. Really, We All Together had an affinity for Paul McCartney's engaging melodicism more than anything, to the point of covering obscure, early McCartney solo tunes. Yet it's the original We All Together compositions that make this album special: 'It’s A Sin To Go Away' is a South American psychedelic classic, which begins with Procol Harum style organ, then hits you with thick fuzz guitar riffs, and backward and phased guitar solos; it's the most popular song on this album, due to it’s inclusion on the Nuggets compilation. 'Hey Revolution' sounds like a White Album era outtake with Lennon-esque vocals and hard blues guitar riffs; 'Dear Sally' features angry vocals and pounding piano that recall Lennon’s Plastic Ono Band. The reason for We all together’s excellence is simple: the band members had been around many years, first as New Juggler Sound, and then as Laghonia. The Peruvian scene at the beginning of the 1970's, still heavily influenced by the psychedelic experimentation of the 1960's, colored the way that the band shaped its songs, made its drawings, and developed its recording techniques. For this 40th anniversary release, we're pleased to be able to include eight bonus tracks, including acoustic demos outlining possible songs for a new album, only one of which only was ever recorded (‘Symbol queen’). This special mini-LP sleeve edition comes with a silkscreen replica poster, and other colorful ephemera, including photos and drawings from the Cornejo archives. A limited, hand-numbered edition of 400 copies, remastered from an original master tape (unplayed since 1972). Like all Lion/Repsychled co-productions, this is available exclusively from Lion Productions.

Catalogue number: LION 7663  
UPC: 778578766320  (hand numbered edition of 400 copies) 


we all
                                  together now WE ALL TOGETHER "Singles"
This joint effort of Lion Productions and Repsychled Records of Peru presents that nation's answer to the Beatles and Badfinger! When the people of Peru heard the first singles by We all together in 1972, they thought that these songs were the work of a foreign group—this because of the high quality of production demonstrated therein. The band’s songs were fashioned after the lighter side of the late-'60s Beatles sound—not to mention the early solo John Lennon and Paul McCartney material—with melodic tunes, vocal harmonies, and sophisticated arrangements which blended keyboards, acoustic guitars and electric guitars in a graceful manner. The reason for We all together ’s excellence is simple: the band members had been around many years, first as New Juggler Sound, and then as Laghonia. The Peruvian scene at the beginning of the 1970's, still very influenced by the psychedelic experimentation of the 1960's, colored the way that the band shaped its songs, made its drawings and developed its recording techniques. This disc contains the thirteen We all together singles that did not appear on either of the band’s LPs. Audio mastered from the original tapes using tube amplifiers by original band member Saúl Cornejo with Miguel Vance in MCA studios, Lima - Peru; bi-lingual 24-page booklet with rare photos, band history, as well as drawings and watercolors painted by Manuel Cornejo during 1971-73. The cover image was painted by band-member Manuel Cornejo for a possible third We all together album that never came to fruition..

Catalogue number: Lion 615 (CD 1009)
UPC number: 778578061524

WE ALL
                                  TOGETHER & FRIENDS WE ALL TOGETHER & FRIENDS "We Are Not Together"
Second joint effort of Lion Productions and Repsychled Records of Peru brings together an abundance of rare tracks recorded at MAG studios in Lima, Peru between 1968 to 1974 by members of We all together along with various musician friends of the time (and a few relatives too). Some of the songs are originals, others are covers—what they all have in common is the musical skill that Carlos Guerrero, Saúl Cornejo, Manuel Cornejo, Ernesto Samamé, Félix Varvarande and Carlos Salom brought to these varied projects—some recorded prior to, some after the creation of their great band. Eight different groups of musicians (Illicit, Smog, Carlos Guerrero & Nilo Espinosa orquesta, FE 59, Cerro Verde, Beto Villena & We All Together, and Monik) produced rich and varied music of uniform excellence! Audio mastered from the original tapes using tube amplifiers by Saúl Cornejo, Miguel Yance and Andrés Tapia in MCA Studios, Lima – Perú; watercolors and drawings painted by Manuel Cornejo during 1970 –1972.

Catalogue number: Lion 616 (CD 1010)
UPC number: 778578061623

YAMA &
                                  THE KARMA DUSTERS Yama & the Karma Dusters "Up From the Sewers"
Super political, rocking, anti-establishment communal band (c. 1970) put together as a result of the Kent State Massacre. As the Euphoria Blimpworks Band, fronted by Howard Berkman from morose garage punksters the Knaves, they played demonstrations and student strikes when they weren’t opening for blues royalty—or being the first band to play the yard at Cook County Jail. They were inter-racial, anti-war, Stop the Bomb, free love hippies, the wildest of the wild kids. And this is the quintessential anarcho-hippie record, a surprisingly well-engineered indie effort which came inside home-made silk-screened jackets, with twisted, poetic lyrics (Dylan or Arthur Lee and Love? you decide), and funky, rocking bones—political, sociological, ecological, reflective and free-love sexy. The Karma Dusters really cook on the up-tempo tracks, sounding at times like a cross between The Blues Project and Dylan's band circa 1966, augmented by some dazzling violin. This excellent sounding master-tape reissue has two bonus tracks; it also has two booklets—one is for the outrageous and explicit Gonzo history of the band and their urban commune; the other is a wrap-around booklet for lyrics, all served up together in a Mylar plastic sleeve. You just know the FBI has a huge file on these punks. But do they have the album?

Catalogue number: LION 636
UPC: 778578063627