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viewing 1 To 25 of 43 items
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RR 172CD
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"Originally released in 1975 as a private pressing on the Pomegranite Records label and was conceived and performed by the Trees Community from NYC. This gem was their only vinyl output and now finally has its first outing on CD. Quite extraordinary religious progressive folk album that moves across time and space in a C.O.B-like manner yet never misses the beat. Dominated by three extended mindblowers that bring in deep Search Party brooding, Indian and Japanese instruments, advanced choral experiments, bells, gongs, hippie commune vibes, you name it; the shorter tracks are less eclectic and more traditionally catholic-liturgical. The constant motion from a good idea to an even better idea is reminiscent of the first Perth County Conspiracy album, if you imagine that one being about Christ instead of Shakespeare. A deeply spiritual feel emerges, yet the massive influx of ideas spells pure psychedelia for acidhead seekers. On the IQ scale this one's way up there. Recommended to fans of Search Party, Extradition, Book Of Am and similar monastery head-trips."
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RR 169CD
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"The self-titled debut album by this Ohio based songwriter was released privately on the Mus-i-Col label in 1970 backed by a full band. All copies that exist have unique sleeves made by Crash himself. The actual finished sleeves he claimed were destroyed by fire, but he likes a tale to tell! Truth is, the cost of producing finished sleeves proved to be too expensive! Reviews claim the music to be rural acid psychedelia. Well maybe... really, he's a living history of American popular music! It's easy to hear how much he admires Elvis. Several of the songs, particularly the tender ballad 'Lilly,' show the King is an influence, but there's also Dylan too, with his humorous take on the issues of the time. Women's Liberation, space travel, and religion all get the 'Crash' treatment, with the confident support of rock 'n'roll, blues, country and jug band styles. Each of the ten tracks exhibit a fine grasp of song craft, are very musical, and certainly entertaining listening. The man himself remains an enigma."
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RR 171CD
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"Originally released on the infamous Tiger Lily label in 1976, the self-titled album by the melodic country-rock outfit Dakota is one of the most charming of '70s West Coast style albums, and finally receives a digital reissue here... Wait a second, 'infamous' Tiger Lily label? Well, so they say, Tiger Lily was a tax scam label run by the head of Roulette, Morris Levy. Whatever the rumour, the label had taste, the Stonewall album for example, plus of course this hitherto overlooked gem. Reflective songs dominate, each one short and bittersweet. There's a hint of Neil Young, particularly in the vocals, but these guys can really play too. Whether tugging at the ol' heartstrings or setting those toes a-tapping, Dakota will take you on a West Coast ride worth remembering, and you can almost smell the jasmine in the air! "
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RR 166CD
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"'I am a child of Woodstock nation, I've come a long way from my home...' So sings the one and only Cosmic Michael, on this the opening track of his second album released by the Bliss label in 1970. An album now high on serious psych collector wants lists too... Cosmic Michael. Well, some regard him as a 'Godhead,' the ultimate spiritual hippy, with songs of love, freedom & peace, all delivered with just piano, vocals and kazoo(?)...A true guru... But, what of the music? I guess these days you'd call it loner psych, but back then the term 'freak rock' might have been applied to such a release. After his eponymous, and equally enigmatic debut album released a year earlier, he'd witnessed the Woodstock festival, absorbed the vibe, and relocated to Los Angeles where he then recorded After a While, seemingly quite quickly...'I've seen The Who, and Ten Years After, Jefferson Airplane they nearly blew my mind....' The nine tracks on After a While are stoned '60s DIY rock 'n'roll. You can call it lo-fi or home made, but the message remains: Cosmic Michael preaches love and freedom, and he's a mean boogie-woogie player too. The songs run one after the other, as if part of one spontaneous recording -- the moment one ends, he's into the next, and so on. After a While is of its time, a snapshot of innocence when it was believed music could change the world, and maybe it will yet."
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RR 159CD
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"Privately released in 1973 (Brown BVH1) and limited to just 250 copies, this debut album by the Kent based four piece is very much made in the traditional English folk music style. 6 & 12 string guitars, fiddle, and tambourine are all featured alongside some excellent male/female harmony singing. Often compared to early Steeleye Span in their treatment of traditional folk, Vulcan's Hammer also fit nicely alongside Spriguns of Tolgus, Moths, Stone Angel and others from that now highly-collectable early '70s UK folk scene. There are jigs, the tale of John Barleycorn, stories of Old England as well as an ode to Middle Earth all to be found here.These are passionate performances too, with all the rough edges left in to give the album a loose, live feel. With prices now 'through the roof' for original copies (with the insert of course!), and the current interest in all things acoustic, now is the time to sample this piece of '70s UK folk history!"
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RR 161CD
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"Now a highly regarded release among the collectors of early '70s U.S. rock, Dryewater's Southpaw album was privately released to little fanfare on the J.T.B. label in 1974. The North Carolina based four piece pressed just 500 copies of the album (fewer still with actual covers!) and the rarity value of this initial release has since increased as it's since become known that the band destroyed the copies they failed to sell at the time! Maybe they had higher expectations for the album, and this is justifiable, as in hindsight the ten original compositions show a very confident release by an obviously proficient line up. Strong rhythm guitar work forms the basis of most of the songs, but also evident is some melodic, perhaps slightly progressive keyboard work, that both underpins the occasional acid lead guitar solos and maintains the overall momentum of each performance. With a tight rhythm section and strong vocals too, this all makes for a rockin' rollercoaster ride. A fine example of the harder West Coast sound of the time. Check out the melodic "Don't Let Her Sleep Too Long," the riff-heavy track 2, and rolling rhythms of track 10, Dryewater were certainly overlooked at the time. A limited vinyl run released by Void Records in 1996 briefly led to a renewed interest in the band, but thankfully Radioactive can now finally pull the album from obscurity as it makes its digital debut here."
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RR 162CD
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"On first hearing Songs of Sunshine by British outfit Music Box, you could be forgiven for thinking of it as an album out of its time when it originally appeared in 1972 on the obscure Westwood label. Wasn't this the era of volume & arenas? Echoes of the mid '60s folk rock boom, and whimsical lyrics with a twist of Dylan (his "Tom Thumb's Blues" is the only non-original song on the album) were perhaps at odds with the sounds of that era. Whatever the reasoning, the album quickly disappeared... shame. Here is an album about a more intimate, predominantly acoustic music. Flutes, chimes, and gentle organ sounds. It spins tales of faraway lands, sand, sea, castles, kings, queens and even Peter Pan. Bet you thought only Donovan made 'em like that? Songs of Sunshine is incense & innocence, folk rock 'n' flowers! Well played, tastily arranged... and overlooked. But that was then, and things change.... we're now probably far enough away for the mid '60s to be the early '70s anyway, and if you can remember those times, well, you weren't there, as the saying goes...or something like that. Music Box not only belong at last, but are right on time for reissue too. Radioactive proudly presents Songs of Sunshine here on CD for the first time."
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RR 142CD
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"Hailing from the San Francisco bay area this private pressing is the band's only known foray into the market place with maybe only 150 copies being pressed. Released in 1973 by the Cranbus label this strange artefact was in fact never released in the States but only released in Canada. For what reason I have no idea...probably it was cheaper. Sounding like the west cost scene all rolled into one...the Allman Brothers country rock guitars, the CSN harmony song structures and a female joint lead vocal that's straight out of Joni Mitchell...this is progressive psychedelic folk rock, superbly crafted songs, wearing San Francisco firmly on its sleeve for all to see, space ships, cosmic love, spirits."
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RR 154CD
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"Sidetrack's only known recorded effort is this 1969 demo album which originally appeared in a blank sleeve with the album's labels glued to the cover! The story is that this is a demo pressing for an intended Elektra release that never happened, although after listening to the album, it is tempting to conclude that had the label gone ahead, Baby, with its classy, late '60s baroque pop/folk style, could have been an album of some significance. Sidetrack managed to combine oddball but accessible pop with far out experimentation and a distinctive keyboard sound (most songs have no guitars at all) courtesy of various permutations of piano, organ, harpsichord and harmonium. The songwriting, often melodic and addictive, is always of the highest order, thus neatly avoiding the 'ballad-type' band musical cul de sac into which guitarless bands so often blundered. The production is crisp, clear and supremely professional, the musicianship, including the up-front bass playing, is never less than exemplary and the songs, always veering towards the eclectic rather than the predictable, are a continuous source of interest. This album is something pretty special: a recording that makes one regret Elektra's lack of foresight in not making it commercially available as well as the opportunity to develop Sidetrack's considerable potential which slipped through the label's fingers."
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RR 158CD
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"A rare and highly listenable compilation about which, in that time-honoured Radioactive tradition, almost nothing is known. Recorded at The Garardelli Wine Cellar in San Francisco in 1978, the album, which appears on the appropriately-named Cabernet Recordings label features 12 different artists and duos strutting their musical stuff. The vibe is country/folk/blues and the array of acoustic instruments deployed here with such competence brings a down-home warmth and richness to the sound of this beautifully-recorded album that only acoustic instruments can. From the Country Joe sound of Billy Roberts and his acoustic guitar, to Tim Dawe's musings on his chances of achieving chart success, Live At The Wine Cellar delivers the goods unerringly. Dawe is undoubtedly the big name here, and as befits his top-of-the-bill status, is encouraged to delight the audience twice with vocalist and collaborator Patricia Pickens and on one further occasion with his previously-mentioned solo excursion. Sandwiched in between are a selection of musical cameos, including a classical guitar piece from Leo Collignon, a wry homage to FM radio courtesy of John Palme, some lovely guitar picking from Jim Nels and a display of harmonica virtuosity from Billy Roberts. Canadian folk singer Skip Henderson delivers a thoughtful rendering of the traditional folk song, 'The Water Is Wide' and singer Dev Singh moistens the eye with a heartfelt version of 'Amazing Grace.' And then we're back to Tim Dawe, whose '144 Boogies' (yes, he does actually manage to sing the word 'boogie' 144 times) closes the proceedings."
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RR 153CD
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"With its immediately recognizable M C Escher cover, this intriguing folk/rock/psych release from 1974 is another incredibly rare album enjoying its first CD outing courtesy of Radioactive. A Joint Effort's Final Effort was originally recorded and released by Canada's University Of New Brunswick on its Little Records label (Little Records 101) which, despite its lack of wider recognition, is generally regarded by those that know as a diverse and eclectic album with a number of outstanding tracks. One pundit described it as 'a weird mix of early CSNY, with shades of Perth County Conspiracy and a dash of early Eagles thrown in.' The first side, with the superb 'Winter' is particularly impressive -- largely acoustic hippy folk rock with the occasional electric guitar thrown in for good measure. Side 2, however, is an altogether rockier affair with standout tracks 'Greed For Goldand,' an up-tempo fuzzed-out cover of a Horse With No Name combining effectively to elevate Final Effort to a different musical plane."
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RR 152CD
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"This north Indiana outfit ruled the roost in the 'Michiana' region in the mid-'70s, attracting huge crowds whenever they played live. Often compared with Led Zeppelin, this 5-piece outfit rocked the area with a tight and raw sound that combined in-your-face hard rock with undisguised psychedelic tendencies and lashings of fuzz. It must be said the boys didn't do themselves any favours by issuing their only known album with a cover reminiscent of a Journey photo shoot, but regardless of their dubious hair and sense of dress, Magi certainly deserved more than the obscurity into which they ultimately lapsed. Win Or Lose, recorded at Uncle Dirty's Sound Machine studios in Michigan in 1976, and which boasts a series of solid songs propelled by a tight rhythm section and some more-than respectable vocals, is always reviewed enthusiastically."
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RR 067CD
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"First and only recorded offering from the singer-song writing duo of Sonny Hahn and Doug Miller that has remained largely unknown until now. The eponymous album, released in 1971 on the Jubilee Group's Euphoria label (EST1) shared much in common with their more illustrious stable mate James Taylor's first studio album which also made its appearance on Euphoria at around the same time. Sum Pear is not an easy album to categorise. The underlying psych influences are of a quirky British nature and there is also some outstanding heavy fuzz, particularly on Side One's 'Hey Sun.' The cover artwork is imaginative and powerful, the song writing is serious, with thoughtful well-crafted lyrics dealing with the issues of the day from Vietnam to drugs. The acoustic guitar work is excellent, as are the dreamy and melodic vocals and harmonies."
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RR 148CD
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"Century Records was a Californian custom record label which pressed tens of thousands of small-run records for schools, church groups and obscure local bands and Fifth Flight's Into Smoke Tree Village was one of those delightful garage/psych jewels that occasionally cropped up on the label. Into Smoke Tree Village, with its rustic mill wheel cover, was a garage psych album consisting mostly of covers, delivered with lashings of fuzz guitar and heavy, spooky organ. The stand-out track is surely the band's jaw-droppingly awesome version of Neil Young's 'Sugar Mountain' which over the years has gained a deserved reputation as a psych masterpiece."
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RR 150CD
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"Surprisingly for a band which stayed together in one form or another for nearly 13 years, Magic Tube, originally released on the obscure British Main label is the only album that Mouzakis managed to issue during their lengthy career. Originally from Delaware, Mouzakis featured the talents of keyboard player Fred Dawson and drummer Eddie Stevenson, augmented by a neverending succession of guitarists. When asked later about Mouzakis, Fred Dawson opined 'after trying to get 4-5 people to agree on 'stuff to play,' we ended up as a three piece band. What we lacked in personnel we made up for in amplification.' Magic Tube, very much the rough and ready hard garage psych album, features almost complete material from the collective pen of Dawson and Stevenson. Of the band, one critic was moved to proclaim 'Mouzakis has to be heard to be believed. They are totally unique...and as a trio, they accomplish more in their sound than groups double their size!'"
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RR 147CD
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"Furber, born in London in 1948, emigrated along with his family to Australia in the '50s. A chance meeting in 1965 with two members of the fledgling garage band, The Bowery Boys, resulted in Furber joining the group as singer. At this point, the band was definitely a single entity, but when they were spotted by impresario Ivan Dayman and subsequently signed to his burgeoning Sunshine Records label, the emphasis shifted to Furber, who Dayman intended to launch as a solo act."
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RR 136CD
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"It is with great pleasure that we bring to you Sweden's pop pioneers with this their second album of garage/psych beat pop Ellpee. Originally released on Decca in 1966 and now... you guessed it... highly sought after. At home in Sweden there was no mistaking their name or their popularity. The Mascots took part in many of the big performances of the mid-'60s, supporting the Who, Chuck Berry, the Moody Blues, the Hollies, PJ Proby, and the Dave Clark Five, as well as appearing in movies, making guest appearances on TV programs for young people, and recording soundtracks . This is a great album. The influences are there for all to hear as was the case with most of the European bands of the time... but garage/psych it was... and still is. The Beatles coming to mind but that's just the start of it."
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RR 135CD
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"A superb slice of the swinging seventies as seen through the eyes of one contender to the throne... Rod St James. Originally released on the small budget label Paula in 1972, this obscure psych/soul/folk rock album is a superb example of years gone by and lost in aging summer sands with flairs and sunglasses to match. Very little is known about Rod... information is thin on the ground but those who have heard this album always rate it extremely high. Contains some great heavy guitar work (wailing fuzz and wha-wha), funky percussion, trippy organ, with laid-back cool-phased hippie vocals. The second half of the album showcasing a more 'folky' feel. One of the more mainstream sounding albums to be released on Radioactive, but if you're after a sound that sums up an era... this is the album. Think Donovan meets James Taylor meets Paul Williams."
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RR 126CD
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"An album that's just about as home-made a you can get. The original LP, although recorded for the Jubilee label, never saw the light of day and when the album did finally appear, it was as a private pressing limited to a paltry 100 copies with no record labels and a paste-on cover! The band, which was formed by guitarist Bruce Scofield in 1969, gigged around the New York and New Jersey areas off and on for a couple of years. Their almost transcendental approach to music won them many (mostly male!) devotees, and their bizarre stage show (typically,involving vocalist Ray Bartkowech littering the stage with mandolins, percussion instruments, teddy bears and Raggedy Ann dolls!) became somewhat of a novelty. When Jubilee finally got them into the studio, the band laid down a more conventional and more accessible album reminiscent of the sound of Little Feat and early '70s Grateful Dead and the twelve self-penned guitar-led tracks, all of which are brilliantly played, tend to get pretty heavy at times."
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RR 132CD
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"The self-titled debut by Orion Express was released in 1975 on the Round Mound Of Sound label (seriously!!). Hailing from California, Orion Express deliver rural hard psych/rock with acid guitar jamming. As with many of the 'back woods' guitar bands of that era the influences of Greg Allman and the Allman Brothers are never far away, with swirling keyboards, wailing leads, bluesy southern rock. great harp work... you can tell these guys were playing with the wind in their hair and the West coast sun in their faces!! Vocal comparisons are hard to tie down but Greg Allman, Paul Rodgers and a less warbly Roger Chapman all spring to mind!! Its good time summer boogie... the way it should be played."
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RR 127CD
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"The album, which first saw the light of day in 1971, was originally released on the Buddah label. The album is a real mix of musical genres, but the playing is immense, with guitarist Baird Hersey going from strength to strength as the record progresses. Check out the fast numbers, particularly 'Patato Strut' and 'Don't,' where the Hendrix influence is immediately apparent. But Baird just keeps taking it further with superb acoustic and electric work throughout, culminating with some hypnotic sitar on 'Egg Shell.' Acoustic David Crosby keeps springing to mind. Kim Ornitz's voice, often reminiscent of Tim Hardin, is also especially worthy of mention, and that early '70s fingerprint."
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RR 128CD
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"Discovered by recording artist, producer and arranger H.B. Barnum and signed to his Mothers Records label in 1968, The Nouvells, an LA-based outfit, managed to release That Did It! and a couple of singles before calling it a day a year later. Barnum, whose arrangement credits included work for Count Basie, Frank Sinatra, Etta James, The Supremes, The Temptations and Aretha Franklin, had clearly taken on more than he could chew with The Nouvells whose album, That Did It! was a nice blend of pop melodies and heavier rock -- not Barnum's thing at all, although he did manage to convince the band to do a cover of Otis Redding's 'Sitting On The Dock Of The Bay.' There's also some tasty fuzz guitar on tracks such as 'Love' (a Lee Michaels cover) but the band seemed unable to decide on exactly what their musical identity was, as they were a passable pop group as well as a serious rock band and evidence of their ability to be both is found here in ample supply. This is a surprisingly good, though slightly confused album, but one that is still worthy of investigation."
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RR 111CD
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"Another musical gem which somehow or other managed to completely bypass the musical scene of its time, only to languish undiscovered in the vaults of obscurity until now. Released on the Cornball label in 1978, Footch Kapoot (a silly name, admittedly, but don't let that deter you) this is an album of whimsical eccentricity which defies musical categorisation. From the opening bars of 'Don's Mom's Green Boiled Ham' you just sense you're in for something very different and every subsequent track simply confirms one's first impression. All six band members are virtuosos of their own chosen instrument, with several showing their multi-instrumental skills with consummate ease. The album rocks at times, then leans back and gives us a soft shoe shuffle a la Leon Redbone's 'Walking Stick.' There's incredible honky-tonk piano, crazy clarinet made stranger by the use of a reed modulator which gives the instrument a sound the likes of which the human ear has seldom, if ever, heard. The slide and lead guitars are slick and effortless, the drumming tight as it comes, and harmonies that just blend together into one angelic voice."
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RR 124CD
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"Grupa 220 (Group 220) were formed in 1966 in former Yugoslavia by members of the bands Ehosi and Jutarnje Zvijezde (Morning Stars). It was common for the new Yugoslavian bands to adopt the musical styles of the British and American bands of the day, influences which are in abundant evidence here! The band took part in Yugoslavia's first rock festival in Zagreb in 1968 and the Split festival later the same year. The influential Drago Mlinarec (vocals and guitar) left the band in 1971, but the group were undaunted, continuing to perform and record without him, leading ultimately to the 1974 release of Slike, a superb guitar-based progressive/acid rock amalgam which has become a major hard psych rarity. Think of the twin lead guitars of the Allman Brothers , combined with a heavy Sabbath/Purple influence coupled with some easy West coast sounds and maybe you'll get the idea. Grupa 220 deliver a solid album reflecting a wide range of musical influences."
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