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LION 202LP
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"Teeming with infectious hooks and delicate textures, Keady & Vallins stacks up favorably against now heralded titans of soft pop/yacht rock and pop disco-lite, living in the intersection between Bobby Caldwell, Steely Dan, and Saturday Night Fever-era Bee Gees. Keady & Vallins is an all-too-familiar story of potential left unfulfilled -- glorious pop music shunted by the impetuous thrums of a music industry stricken by decadence and a preference for high turnover and rigorous proprietorship. A tour with the Bee Gees by Vallins and help from Robert Stigwood resulted in a deal with Polydor. After a pair of singles produced by a young, upstart (now hugely important head of Universal Music Group) Lucien Grange achieved moderate success in France, an album was next: taped by Keady and Vallins during downtime from other sessions. They pulled world class talent from the studio, from the pub down the street from the studio, while also (temporarily) pilfering instruments from the shop below the studio (price tags still affixed) -- to create a striking blend of sepia-toned soft pop/yacht rock and pop disco-lite. Born out of a quick friendship turned decades long songwriting partnership between Gary Keady and John Vallins, the full-length record was meant to be a mark of the duo's growing promise as songwriters at Chappell -- the publishing house's self-proclaimed Australian facsimile of the American duo Hall & Oates (or maybe a two-person Bee Gees?). But that's not what happened, is it. Dormant since its completion in 1979, the Keady & Vallins album slots in perfectly amongst its contemporaries as a classic. To further cement its much-belated legacy, Keady & Vallins contains the original version of Johnny Mathis and Deniece Williams' smash #1 hit 'Too Much, Too Little, Too Late' (written by Vallins), and features a coterie of preeminent musicians, including Tommy Emmanuel (guitar) and John Altman (strings)."
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LION 173LP
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"In December 1976, Carpe Diem entered whacked-out recording wizard Jean-Pierre Massiera's Azurville studio and recorded -- on 16-tracks -- and in just ten days -- working sometimes from ten in the morning until three the following morning -- all the material they'd written since their first album. The trademark Carpe Diem sound is here in full force: cosmic synthesizers, psychedelic-flavored guitar-led flights of fancy, fluid woodwinds, along with an astounding degree of harmonic sophistication. The highlight is the 21-plus minute suite, 'Couleurs,' which develops through a series of sublime melodic motifs. As should be expected, the musicianship is monstrous, the playing is tight and energetic, and the melodies veer from gorgeous to haunting. The remainder of the album is taken up by short tracks which present more concise takes on Carpe Diem's ideas. This vinyl reissue includes a fascinating bonus track: an excerpt from the never-released English language version of the album. Comes with an insert with notes by Francis Grosse detailing from Carpe Diem's first album to their split, plus lyrics with translations. Lion exclusive edition of 150 hand-numbered copies on transparent orange with black swirl vinyl."
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LION 042LP
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"A wild, loud, raw New Jersey hard psych beast that's been a favorite target of record collectors, dealers, bootleggers, and swamp dwellers for the past two decades, originally released on the Zonk! label. Chugging guitars, screaming solos, gruff shouted vocals, hard-hitting drums, and a thumping bass. The bible of underground psych rock, Acid Archives, says this about Sainte Anthony's Fyre: 'This legendary private press is rated as one of the ultimate local basement hard rock blowouts by many connoisseurs. Released as early as 1970, the end result has some similarities to MC5′s hallowed Kick Out the Jams, but I find this a superior and more powerful album.' Shindig! magazine, which majors in all things '60s and psychedelic, proclaims: 'a masterpiece of zonked out, fuzz-drenched hard rock.' Deluxe package includes a full size insert with liner notes, press clippings and lyrics plus an 11×17 poster. Another quality collaboration between Lion Productions and the Vintage/Rockadrome label. Limited to 500 copies."
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LION 188LP
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"In Johannesburg, bursting, like Durban, with musicians aeons ahead of their time, Hawk added the sunburnt, brown prairies of Africa to the genre of the concept album -- the heady, steady beat of drums, and enough cross-rhythms to make you dizzy. Add the mesmerizing voices -- and the telling of a story. Tuck in the ranging flute, the saxophone. The deep bass buzz. And the hypnotic talking drums. Music the African way: earthy stuff -- virile, extraordinary, substantial. Hawk were listening to a lot of Hugh Tracey tapes (the Afro-musicologist who travelled Africa capturing sounds and music on tape for posterity). They went to Swaziland and came back with their own sounds: drums and a burning desire to make their own brand of African music. From all of this came African Day. This reissue comes with an LP-sized 12-page booklet which includes a complete band history by music writer Owen Coetzer, packed with photos, plus the story of the re-discovery of the multi-track master tapes and the transfer of those newfound tapes that resulted in this very reissue. Lion exclusive edition -- 150x hand-numbered copies on transparent strawberry pink vinyl, taken from the multi-track master tapes."
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LION 194LP
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"Lion's second volume of the Black Sun Ensemble's recordings for their classic first album contains an alternate version of that album, including the tracks from the Camera Obscura label CD (2000) version of that album -- well, sort of. When sifting through the masters while preparing the Lion reissue of the real, actual first Black Sun Ensemble album -- as issued in 1985 on Pyknotic -- it became clear that many of the original LP tracks were also on the Camera Obscura CD release, but under the wrong names. Others were present, but in versions which differed from the Pyknotic LP versions -- and again, under the wrong names. So, for example, 'Mayan Dance' on the CD is actually the same theme as the Pyknotic LP 'Heart of the Sky', but not the same take. Here's the kicker: some of the tracks on the Camera Obscura CD share a name with a track from the Pyknotic LP, but are in fact completely new recordings, with no comparable on that original LP. 'Blue Thunder', 'Red Ocean,' and 'Mandolin Winds' are three such compositions. This means that there are basically two quite different 'Blue Thunder's written by Jesus Acedo; two utterly different 'Red Ocean's; and two absolutely not-the-same 'Mandolin Winds' too. As a result, there are two separate Lion LP releases of Black Sun Ensemble's debut recordings: volume one (LION LP-193) with a black cover, as per the original, is just that: the original 1985 Pyknotic LP reissued for the first time. This second LP (LION LP-194), with a white cover, contains alternates and new tracks, as released on the CD reissue of BSE's debut. Lion Productions felt it was important to keep the Pyknotic LP separate, to do justice to the original vision Jesus had when he self-released that music, and (eventually) found a segment of the world very willing to embrace it. But the other variations of that music are equally excellent and important, thus this second, separate LP for those gems. This release comes with an 8-page booklet, with notes by Byron Coley, BSE bassist Mike Glidewell, Rich Hopkins, and a reproduction of a poetry volume by BSE's Jesus Acedo. Lion exclusive edition -- 150x hand-numbered copies on Transparent Seagrass Blue vinyl."
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LION 065LP
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"Pussy were a hard rocking band with no pretensions of being super musicians or technical geniuses. If it seemed like fun, it was worth a try, which explains a lot about their sound and direction. Managed and produced by Ian Gillan (Deep Purple), Pussy was formed from the ashes of Jerusalem, well known among 1970s hard rock enthusiasts thanks to their stone-cold classic 1972 Deram label debut album, and our recent vinyl reissues of that record. These 1973 Pussy recordings, with Paul Dean and Ray Sparrow of Jerusalem along with Brian Goff on guitar, were long-rumored to be an unreleased second Jerusalem album. It is not that: this is a different hard-edged guitar beast. Although Pussy kept the raw, no rules attitude from Jerusalem, which sets both bands apart from many others of the era, there seems to be a touch of Ziggy Stardust crunchy space glam in the mix for the Pussy recordings. Ian Gillan was far more proactive this time around, too -- he played piano and percussion, and was responsible for many backing vocals on the songs. On stage anything could happen -- no rules of course! Pussy gigged all over the UK and Germany, very much in the same way as Jerusalem had done. They recorded and released one single on Deram and then went on to record tracks between 1972 and 1973 with Brian Goff taking over for Bob Cooke on guitar. The recordings on this very album were meant to be for their debut album -- which was never released at the time. Lion Productions and Rockadrome are proud to present here what was to have been the Pussy debut album, plus bonus tracks from the original Pussy single and a studio track recorded in 1972 with Jerusalem guitarist Bob Cooke. Features more than 40 minutes of material taken from the original master reels. Includes insert with photos, lyrics and liner notes by Pussy/Jerusalem bassist and primary songwriter, Paul Dean."
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LION 104N-LP
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Transparent sun yellow vinyl. "A new edition of this Canadian folk/psych classic -- perfect dreamy, sunshine-infused-yet-with-clouds-passing-by pop psychedelia with a folk bent, originally released by independent Canadian label Allied Records in 1968. When we first issued this terrific album many 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 that someone took us up on that offer, and that the specific someone was band leader Tom Waschkowski (credited on the album as Tom Martin). He graciously offered us a band history, lyrics, and some terrific photos. 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. You may well ask, why? Our answer: the chiming guitars, the rattle of tambourine, the dreaminess, the sometimes dark lyrics, and the 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) than it does to sunny 1960's poppiness. Glorious newly remastered sound -- sourced directly from the master tapes. Dreamy sunshine-infused-yet-with-clouds-passing-by pop psychedelia with a folk bent and a futuristic sound."
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LION 199LP
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Transparent green vinyl. "Psychedelic improvisational spiritual avant-rock/jazz featuring the legendary Larry Young on organ and equally astounding Joe Gallivan on drums, steel guitar, Moog synth, and percussion; the mysterious Nicholas wailing on guitar synthesizer and ring modulator; and Jimmy Molneiri on drums and percussion -- recorded live at an anti-war rally in Washington D.C., in June 1972. They aimed the speakers at the Nixon White House, and blasted away as an anti-war protest! (The music so completely freaked out President Nixon that he demanded his chief of staff H.R. 'Watergate' Haldeman to shut off the band's source of electricity.) Includes eight-page booklet with rare photos, bios of the artists, drawings and liner notes all created by legendary artist/author/musician Alicia Bay Laurel." "After establishing himself as a leader on Blue Note in the 1960s, Young played on Miles Davis' Bitches Brew, John McLaughlin and Carlos Santana's Love Surrender Devotion, and the first three Tony Williams Lifetime albums. He emerged from those sessions at an exalted level of inspiration and with a formidable fire in his belly, and these traits helped shape Love Cry Want into a sui generis classic -- a tone poem expressed with a flamethrower. Using a self-built guitar synthesizer, Nicholas stuns throughout the disc with brash flashes of Hendrix-ian extravagance. Gallivan displays both inventive exoticness and cyclonic power as he and Molneiri deftly guide the group through its furious paces." --Dave Segal, Jazz Times
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LION 197LP
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Color vinyl. "Quintessential underground anarcho-hippie, anti-establishment private press blast by a band (and commune) from Chicago c. 1970, with poetic, sometimes vicious lyrics (Dylan-esque, or Arthur Lee and Love... you decide), and funky, hard-edged bones. Yama & the Karma Dusters, a.k.a. the Euphoria Blimpworks Band, were inter-racial, anti-war, 'Stop the Bomb', free love hippies, the wildest of the wild kids. They really cook on the up-tempo tracks, sounding like a cross between The Blues Project and Dylan's early electric period band circa 1966, augmented by a violin player. On the hard rockers, founding member Howard Berkman, formerly of morose garage punksters the Knaves, spits out sharp-tongued protest without becoming precious, while the band simmers and sizzles in sympathy. There are melodic folky ballads too, culminating in the gorgeous 'Hello Big City.' The band's ability to mix these elements into a coherent statement -- recorded in surprising fidelity -- solidify this an overlooked gem of the period. An underground counterculture classic, if ever there was one. Need to know more? Check out the massive 16-page gonzo memoir of their hippie commune -- you can find out what happened when Crazy Steve spiked the Gallo jug with acid! First legitimate reissue of this anti-establishment private press gem. Comes with an 16-page booklet gonzo memoir of their hippie commune, w/ tons of photos."
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LION 191LP
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"The first time I saw the SilverBeats... the band took the cramped stage at the window near the front door. Fronted by James Tessier, who appeared to be the missing link from The Standells, the band's sound was simple, fuzzy and perfect. These cats were no strangers to reverb. Tess' original compositions came to life with electrical transmissions from Dan Mullen's lead guitar. The primal garage rock sound of 'Over and Over' was balanced by Tess' soft-spoken vocals. 'You Did Here Wrong' could have been plucked from any top shelf album of lost nuggets. 'In the Sound Room' points to endless possibilities of mind expansion. This is the good stuff. LSD before it was cut with strychnine." --Blaine Schultz "First reissue of rare cassette-only underground neo-psychedelic punk steeped in Pebbles-era rock, from this Milwaukee band which featured Dan Mullen (Plasticland) on guitar and the talents -- songwriting and otherwise -- of iconic underground maven Tess (James Tessier). 'I Want Speed' shows The SilverBeats' affinity to West Coast psychedelia. And it's no coincidence that they cover the Human Expression's 'Calm Me Down,' rich with harmony vocal, and The Pretty Things' 'Midnight to Six (Man),' replacing the original's rough R 'n' B-edge with a slight psychedelic tinge -- a real showpiece for drummer Mike Hughes. Another killer is 'Over And Over,' penned by Tess (like all the other originals on this album). It layers beautiful, trippy guitar, a catchy vocal melody, lots of echo, strange effects, and weird sounds before it closes, and we move on to the jolly, jumping 'Love Comes Knockin.' Comes with an 8-page booklet featuring a description by journalist David Luhrssen of the Milwaukee underground music scene which produced Plasticland, Daszu, the band Ör, and the Violent Femmes, among others."
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LION 193LP
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"Their classic first album, reissued for the very first time with the tracks exactly as they were on the original 1985 issue on Pyknotic! A second BSE volume will come out in 2023 with alternate versions of these tracks, which for the most part comprised the CD release of this album when that format/edition materialized in 2000. Comes with a eight-page booklet, with notes by Byron Coley, BSE bassist Mike Glidewell, Rich Hopkins (songwriter, Sidewinder, and founder of San Jacinto Records), and a reproduction of a poetry volume by BSE's Jesus Acedo." "It is difficult to think of a band that has ever produced psychedelic music that sounded even remotely like the original Black Sun's" --Byron Coley "Jesus Acedo was the quixotic leader of Black Sun Ensemble who, on the basis of his enigmatic recordings, has been hailed by critics as one of the most innovative guitarists of our time. Born on Christmas Eve, 1962 in Tucson, Arizona, to Mexican immigrant parents, Acedo was one of eight children, the only one with an interest in music. After the death of his father in 1975, Acedo grieved by immersing himself in music. He spent most of his early adolescence at the Tucson public library listening to Ravi Shankar and Led Zeppelin records. At this time, Acedo bought a guitar. In high school, he began experimenting with the unique tunings of his guitar that give his music what one reviewer reverently called 'peculiarly mystical, twangy, meditative, Middle Eastern rock sound'. Muze, in describing his style, said he can 'spit blasts of dragon fire or conjure the exotic, iridescent mystique of peacock feathers with a single stroke.' A self-titled debut album was released by Tucson's Pyknotic Records in 1985. Its extraordinary qualities led Acedo to sign a five-year contract with England's Reckless Records, and in 1988 the label released Black Sun Ensemble (1988), Lambent Flame (1989) and Elemental Forces (1991). These records were a critical and commercial success. At the time, Offbeat exclaimed that BSE was 'possibly, the world's coolest band.' Documenting the first incarnation of the Black Sun Ensemble and the only album with the group as a trio, the music hovers like buzzards in the desert over the dehydrated body of psychedelic rock, encircling their prey, waiting to feed on the corpse and draw new strength. A resulting mergence of melodic acoustic/Latin folk, Middle Eastern, raga, acid rock, and woolly feedback is given propulsion by a steady backbeat of rock bass and drums... A solemn peace envelops the mind, like peering out at the warm glow of the morning sun, heavy lidded, after a peyote-soaked night in the sweat lodge which invoked Shamanic visions and healing revelations... Solo electric guitar pyrotechnics, Arabian scorched landscapes, iridescent ragas on just electric or acoustic guitar and hand drums, and solo acoustic guitar rapture are all spices used in a tremendously savory trans-global stew." --Chris Scofield, fakeJazz website
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LION 198LP
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"Plastic Crimewave Syndicate has finally returned with a wide-ranging/raging new album -- recorded two years ago in an expansive, benevolent alleyway in the midst of a dark, diseased, claustrophobic time of global chaos. The new PCWS album, entitled Space Alley, boldly travels into the relatively unexplored malevolent terrain of free doom, space/noise punk, and darkly dubbed-out library/soundtrack grooves (call it 70's crooked-cop show/freak-funk, if you must). This is all capped off with a sidelong, (beat of the) earth-harvesting modal exploration of synthed-out kraut-throb. With new bassist Rob Rodak (Dead Feathers) aboard, and guests like sax-skronk legend Taralie Peterson (Spires That in the Sunset Rise), flautist Sara Gossett (Spiral Galaxy), and synth lord Will MacLean (Protovulcan), new influences have seeped into PCWS's dystopian vision. The Syndicate have opened for revered deities like Nik Turner, Loop, Simply Saucer, Chrome, and Josefus; but now a more diverse and groovy array of past underground sounds like Skin Alley, Sound of Imker, Here and Now, Mann/Sharrock, Black Sun Ensemble, Parson Sound, and Schizo have influenced PCWS's journey. Recorded by Eric Block (Rhys Chatham, Sick Gazelle) of Rec Rooms studios, and mastered by Monster Magnet/Desert Sessions guitar god JP McBain, the mind-fry level is set to 11 ½ on Space Alley!"
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LION 196LP
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Transparent blue with black swirl vinyl. "Lothar Jahn's February '75 single was released by the German label Sound Records in 1977 -- a very unusual record, somewhere between psychedelic, folk, and krautrock. That single was reviewed thus on Discogs: 'A mysterious journey through Cosmic Psych Folk Kraut, whatever you may call it. Fantastic, from beginning to end. Another Kraut on 45 milestone.' This newly recorded album, Dreams of 75, is an extended riff on the original single, taking that smaller vision as a starting point and then launching into a wilder and weirder psychedelic/progressive stereoscopic headspace than was evident (or possible) on the original single. So, who is Lothar Jahn? He is a singer/songwriter, television presenter and multi-instrumentalist who has been active in the German music scene since the early 1970s. Since 2020, Jahn has his own television show, Lothar's Liedertreff. And what were Jahn's dreams of '75? 'They were wistful dreams of boundless love, community and peace, boundless sex, boundless freedom and a lot of wonderful music. What better time to grow up than back then, in the middle of works like Oldfield's 'Ommadawn' and Pink Floyd's 'Wish You Were Here'?' says Jahn. Hand-numbered copies on transparent blue with black swirl vinyl; comes with an 8-page booklet giving Jahn's thoughts on his life and the dreams which provoked this album; includes the bonus track 'Merseburger,' recorded with Olaf Casalich, the singer of famed German band Ougenweide."
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LION 059LP
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"Double album of recently unearthed live recordings from 1974 by legendary Midwestern underground hard rock trio Truth & Janey, captured stretching out on extended jam sessions over several nights in Topeka, Kansas. Celebrated Iowa hard rock trio Truth & Janey are captured here doing what they did best, stretching out into raw extended jams featuring heavy guitar action from Billylee Janey, booming fuzz bass from Steve Bock, with Denis Bunce locked in the zone behind his drum kit. 'Midnight Horsemen,' originally released as a three-minute single in 1972, is featured here as a side-long 22-minute jam -- and is a prime example of vintage Truth & Janey. Included are several songs otherwise unreleased in any form (live or studio), as well as early versions of 'Down the Road' and 'My Mind,' from their 1976 underground hard rock classic debut album, No Rest for the Wicked. A new pressing of this double album collection of live recordings excavated from the archives of a long-time roadie, made over several nights in Topeka, Kansas in 1974. Limited edition of 500 copies. All previously unreleased recordings."
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LION 186LP
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US exclusive version on transparent orange gold vinyl, 150 copies. "Not many albums can get you in the mood to blow out your speakers quite like Kath 1, the hideously rare and expensive 1974 low-fi, semi-ramshackle DIY psychedelic LP made by members of Maryland band Badge, recorded in the home of band leader Val Rogolino (and, yes, dedicated to his girlfriend and their pet monkey!). What Patrick the Lama said in Acid Archives about Kath, is equally applicable to Badge: 'Obscure and impressive melodic basement garage/psych with a lo-fi atmosphere that would have most purveyors flip out... at times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day... 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.' The fact that Badge had been a going band for a while, and that they released several singles and EPs -- written by Val and his best friend Cheese Sollers and recorded the same way, on the same equipment as the Kath album, seems to have been overlooked -- until now. Here are those singles and EP tracks, lovingly remastered and presented as a coherent LP compilation. Badge formed 13 March 1970, a Friday: Cheese Sollers -- guitar/vocals; Jim O'Dell -- bass/vocals; Val Rogolino -- drums/vocals. Badge played on into the 1970's with several band member changes, adding at one point female vocalists and horn players. Cheese and Val remained the core of the group at all times. 'In 1970, Cheese and I started recording original songs with two stereo tape recorders, using PA systems for mixing. That was the beginning of the recording bug for us. We purchased a professional tape recorder, a TEAC 2340 four-track machine. This really opened up our recording process.' --Val Rogolino Comes with an eight page insert with liner notes by Kath leader and Badge co-leader Val Rogolino and a bevy of photos from his personal stash."
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LION 163LP
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"After nearly twenty years of work, finally a proper reissue of this sought-after album by the Souls of Inspyration, first released on Columbia in 1970. Sought after, yes -- and deservedly so, with stellar keyboard-driven, melodic songs, strong vocals, and an overall sense of cohesion. Terrific acoustic driven songs like 'Eyes of Nature' and 'Sun Shines in the Winter' merge beautifully with hard-edged, progressive-tinged offerings like 'Dil Kusha (Heart's Happiness) and 'Of Lambs and Wolves.' Souls of Inspyration emerged from Sherbrooke, Quebec. They had two big breaks: they recorded this album with famed producer Don Grashey (49th Parallel, Jarvis Street Revue and yes, discoverer of Loretta Lynn!); and they were chosen for a two-week engagement at the Expo 70 Canadian pavilion for the 1970 World's Fair in Osaka, Japan. After Expo 70, the band were happy: they had been chosen the best band to represent their country, and had brought back a nice plaque signed by the people of Japan and Prime Minister Trudeau. They felt they were going somewhere. But it was not to be. Read all about why and how in the beautiful 12-page insert booklet. Now is the perfect time to discover this beautiful aberration, one of the unspoiled jewels of the late psychedelic era -- on vinyl cut from 24-bit/96kHz transfers of the master tapes! First ever reissue on vinyl. Beautiful 12-page insert booklet with a complete band history."
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LION 152LP
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"The music scene in Cleveland in the mid to late 1960s was ripe with talent: the James Gang with Joe Walsh and Glenn Schwartz, The Choir, Eric Carmen (pre-Raspberries), Glass Harp with Phil Keaggy, the Damnation of Adam Blessing? and the Lost Souls. Of all those bands, only the Lost Souls never released a record. Then again, they were in high school, trying to navigate dress codes and bullies -- and playing in front of a couple thousand fans when not suspended. Sure, they lost a battle of the bands at Teen Fair 1968, but it was to the James Gang with Joe Walsh. And somehow it is the Lost Souls who emerge from that time and place with the greatest mystique and some of the most adventurous music, music which few have heard. Lost Souls main songwriter Denny Carleton released a cassette of the band's original recordings in 1984. It received airplay on hundreds of college and public radio stations in the USA (and around the world), and garnered glowing reviews? and that was it, until now. Not only is this the first time the music of the Lost Souls has been available since that cassette, our Lion Productions edition is the first release for many additional Lost Souls cuts, including alternate versions of key tracks like the insightful 'Things That Are Important' and 'I'm Falling' (the closest to a hit the band ever had), all taken from the original tapes and carefully mastered. Seven bonus tracks highlight the work of Lost Soul's main songwriter Denny Carleton (one-time member of The Choir, and more surprisingly, punk legends the Pagans); selections by The Choir, Moses, Milk and Carleton, many in all possible low-fi glory, recorded on various 4-Track devices, ranging from power-pop to grimy garage. Eight-page booklet has the full story of the band and info on the recordings by Carlton. Includes a multitude of unseen photos from his personal archive."
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LION 187LP
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"Jeff Carney's sophomore effort for audioFile (1989) could not have been criticized were it to have remained in similar territory as the electronic wall of sound he had created on Imperfect Space Journeys. Instead, he created a more sparse, evolving tapestry of analog timbres. Using an exclusively vintage analog arsenal and recording live without overdubbing, Carney pushed forward with new ideas and uniquely developing sweeps of filter madness. The side-long 'Questions (Unanswered)' is immensely innovative: the sounds are at once organic and of the earth, yet futuristic in their skyward drones and hypnotic hooks. Additional layers are gradually added, like a bubbling alien swarm tone that comes in successive falling surges, followed by cosmic whooshing and howling rushes of wind. The effect is simultaneously meditative and intense. And live. As Carney said, 'I was quite proud because I managed to essentially perform the entire composition without error. Just about every sound came in at the right level. Every part was performed without mistake. And nothing was adjusted or corrected. This was what happened on the spot.' Carney explores different territory on the two B-side tracks: 'ARP 2600 Improvisation' is like a master class of cosmic effects. It feels like the soundtrack to a 1950s sci-fi movie, recalling Forbidden Planet's most electrifying moments, but also at times sounding like sci-fi flick meets battle-in-space video game. 'Pensive Mood' roars out of the starting gate with a high octane electronic arpeggiated pattern, creating a somewhat white-knuckled brand of 'pensive' contemplation. This is the most minimal piece of the set, with the incessant, almost imperceptibly evolving arrangement having a somewhat edge-of-your-seat hypnotic effect. The album was completely uninfluenced by the digital trends that were dominating the era, and stands as a landmark example of the uncompromising ethos adopted by many artists of the 1980s underground. Featuring an all new essay and interview with Jeff Carney by Jerry Kranitz (author of the Cassette Culture book and publisher for nearly two decades of Aural Innovations), this is the definitive reissue of Live Electronic Music."
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LION 189LP
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2024 repress. "Ultra-rare rehearsal sessions from 1969 by this South African heavy psych/acid rock band, mastered from a tape transfer -- and yet still doom-laden, dark, heavy, and as messy as can be, in all the right ways. Influences from heavy bands of the time, such as Black Sabbath, Deep Purple and Steppenwolf are noticeable, with proto-doom and psych/funk undercurrents. Do you like fuzz guitar? You're going to hear it screaming and wailing and building to epic tidal waves and crashes, the kinds of astonishing guitar cascades not heard since you cued up the best of all available live Jimi Hendrix recordings. Highly recommended for fans of psychedelic obscurities and hard rock from the 1960s and early 1970s. Cover art by NYC-based artist Nate Harris."
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LION 120LP
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2021 repress. "Search Party was the brainchild of (then Reverend) Nicholas Freund. Having left Wisconsin to join a burgeoning West Coast religious scene, Freund made his way to San Francisco in 1968 to lay down this sole effort with some of his students. The result is a spooky trip that's equal parts acid-soaked mind expansion and God. Laced with haunting vocals and dreamlike passages, sinister farfisa, blasts of fuzz guitar, and downer lyrics, Montgomery Chapel is psychedelic music at its most evocative and thanks to its depth and sense of anxiety, most truly spiritual. The ominous nine-minute drifter 'So Many Things Have Got Me Down,' for example, tackles the difficulties of an unfulfilled married life, depression and spiritual apathy, all while riding a stripped down, grooving beat. If you can imagine a lo-fi United States of America/Jefferson Airplane hybrid, you have an idea of how cool this band sounds. Only 600 copies were pressed and issued on the custom Century label; they've become holy grails of collectors. Artists as disparate as Current 93's David Tibet and Sonic Boom have heaped praise on it. We're thrilled to give this lost classic its only authorized reissue. Audio restoration by Anders Peterson. 180-gram LP in old-style tip-on jacket. Insert is packed with info thanks to Nick 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 most unlikely -- psychedelic groups to ever record an album." 180 gram vinyl.
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CD
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DRUG 019CD
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"These rare recordings were recorded as part of the legendary Prescription label subscription-only album series in the late 1990s that resulted in the Astral Disaster album. Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange -- a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtors prison, with three underground levels -- and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the Astral Disaster album. But there were other tracks recorded during those Halloween sessions, including the recordings on this very limited LP release, Astral Disaster Sessions Un/finished Music Vol. 2. The album includes all previously unissued mixes and alternative versions, and includes 'The Mothership,' which was the first version of a track which was later remade and re-named during the sessions as'The Mothership and the Fatherland.'"
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LION 181LP
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"I doubt whether the name Earthforce will be familiar to many, mainly due to the fact that they merely existed for a couple of years, with only a 60x copy private press cassette release in 1977 to their name during their time together. Earthforce were a musical collective out of step with the punk age, children of the UK free festival scene -- events like the Psilocybin Festival -- enjoying a connection with the earth, singing meditative songs with lyrics about the 'moontide of the pagan heart' and the 'wind blowing seaward.' The end result is a fantastic album, loosely charting the course of a day, from dawn to moonrise. The diverse instrumentation (sitar, 12-string guitar, flageolet, electric guitars, fretless bass, harmonium, doogi, synthesizer, acoustic guitar, percussion, tabla, cymbals, etc.) are used in ways which bring unexpected wonders to the Earthforce sound. And if the late date of Earthforce's existence is at all worrying to you, as you probably remember, Caedmon's legendary debut album, also released as a private pressing -- and one of the most sought-after progressive folk-rock albums from the UK -- came out in 1978. Had Earthforce opted for vinyl instead of cassette for their release, we have little doubt that an Earthforce LP would be at least as sought after as the Caedmon LP -- and so, with that idea in mind, we have made an Earthforce LP." "The first ever vinyl issue of these recordings. Comes with a 12-page full color booklet with band info, photos, and lyrics. Newly remastered by Earthforce band leader Steve Bayfield."
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LP
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LION 161LP
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"Dominique Blanc-Francard's Ailleurs is trippy and weird... and yet... the songs are catchy and the album rocks out. Fuzzy guitar, chunky drums, weird effects, a thick mix of layers of sound -- all tasty ingredients. Pink Floyd meets T-Rex? It's a terrific recipe, which surely must describe other albums? Even so, we can't think of another album that sounds quite like Ailleurs. Without realizing it, you've probably already listened to Dominique Blanc-Francard's work -- as a sound engineer. DBF (as his intimate friends call him), worked from 1970 to 1973 at the mythical Chateau d'Hérouville studio under the leadership of Michel Magne, the legendary composer of soundtracks such as Les Tontons Flingueurs, Fantômas, and Angélique. The studio was the famous Honky Château of Elton John, a place where Dominique Blanc-Francard participated in recordings by Pink Floyd, David Bowie, T. Rex, Elton John, and Cat Stevens Pink Floyd. You can also find DBF's involvement on records by Magma, C?ur Magique, Gong, Catharsis, Ergo Sum, Zoo, Markusfeld, Axis and the compilation Puissance 13+2 (Power 13 + 2), recently reissued in all its glory by one of your favorite labels (we hope), Lion Productions. Here, DBF was able to collaborate with famous producers such as Paul Samwell-Smith, Gus Dudgeon, and Tony Visconti. Since then, DBF has worked with all the French artistic upper-crust: Jacques Dutronc, Françoise Hardy, Jane Birkin and others. But in 1972, it was Pink Floyd and King Crimson and Led Zeppelin who were on DBF's mind. DBF: 'In April 1972, at the time we recorded this album, French pop was stuck between Claude François, Joe Dassin, Sheila and Mike Bran -- in other words, music with very little creativity. I was 28 already and wanted to show what I could do.' Pink Floyd was a big influence on this LP... as well as King Crimson and Led Zeppelin. 'I remember the tremendous shock I had when I first heard King Crimson's '21st Century Schizoid Man,' with its distorted voices. When I listened to the Crimson album, I saw on its cover that it was recorded in four days. I thought, 'there's no reason not to be able to do the same.'" With Ailleurs released in 1972 on Riviera, a subdivision of Barclay, DBF offered to a world that quite frankly wasn't looking for or expecting it, a wonderful LP -- an album as unclassifiable as it is enjoyable (it is both). The Barclay promotions department was thrilled and asked DBF to perform on television. He had no wish to sing in front of people. He called it a day as a performer, just like that." Includes eight-page color booklet.
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LION 180LP
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Sold out, repressed later in 2024... "Discovering the wealth of Cambodian recordings was like falling into a parallel universe, complete with its own Elvises, Patsys and Jimis. You can recognize some of the anonymous outstanding instrumentalists as they appear on record after record and marvel at their uncanny blend of Western and Far East, a pure synergy Western musicians have never accomplished. Of course, looming over every recording is the tragic end of the music and the musicians themselves under the axe of the Khmer Rouge, a cloak of darkness hovering over some of the most joyous, festive music ever made. In a world of instant global communication and mass pop culture, Cambodian rock remains one of the few undiscovered secrets of music. Not content with killing the musicians, the government further ordered the destruction of their records, implicitly understanding the power of pop music to create community. It is a testament to the power of Sinn Sisamouth's music that it has survived all that has been done to vanquish it." --Joel Selvin, author/journalist. The first official reissue of these recordings since their initial release as singles. Comes with an 8-page full color booklet with info and photos supplied by Sinn Sisamouth's surviving family.
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COLOR 010LP
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"The highly anticipated sixth volume of the well-received electronic compilation series of tracks drawn from the vaults of the Color Tapes label. As with the other volumes you can find great examples of cold wave, minimal wave, and synth electronics made by obscure British bands in the 1980s such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord, and Mystery Plane. As with all of the other volumes, this is a co-production between Lion Productions and Color Tapes."
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