|
|
|
|
viewing 1 To 25 of 72 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
LPS 248LP
|
$40.00
PREORDER
RELEASE DATE: 1/19/2024
"Randy Rice mixed acoustic singer-songwriter songs with electrifying acid guitar in his marvelous privately pressed double album from 1974. Offered here in a much-needed reissue. Housed in its original minimalist handmade artwork with the little upgrade twist of silk-screen printing. First ever vinyl reissue of ultra rare privately pressed double LP with remastered sound. Includes reproductions of the two original inserts plus a new one with liner notes by Randy Rice himself sharing his memories of the recording."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 249LP
|
$30.00
PREORDER
RELEASE DATE: 1/19/2024
"Susana Baron Supervielle was born in Buenos Aires in 1910, but she lived in Brazil most of her life. Creation with electroacoustic means represented one more step in her search for renewal and a new articulation of her triple cultural horizon articulated between São Paulo, Buenos Aires and Paris. The results open a new dimension in the interstices of the sound montage. Susana had been a follower of Pierre Schaffer and his peers in the Groupe de Recherche de Musique Concrète from Paris since they began in the early 1950s. Baron Superveille's catalogue of works, as selected by the artist herself, shows nine compositions for magnetic tape. With one exception (1977's 'Continuo variante'), the pieces are in the personal archives of the composer filed in the Archivo del Instituto Nacional de Musicología 'Carlos Vega,' in Buenos Aires, which depends on the Ministry of Culture of the Republic of Argentina. This edition on Wah Wah Records is a coproduction with the Instituto Nacional de Musicología 'Carlos Vega' and recovers all the available electroacoustic works composed between 1974 and 1980. While most of the collected works premiered in both Buenos Aires and São Paulo on dates close to those of their composition, there are not any previous known releases of these recordings, so this LP is not only an exception, but also a novelty."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 197LP
|
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Numbers was the first reference in the Narco catalog (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 -- in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 243LP
|
"Released on Karl Kronfeld's Synoptik Records, it was the label's only release, thus becoming a rare, sought after, private pressing. Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane. Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic soundscapes of Asmus Tietchens, '80s Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader. An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave and minimal synth (Robert Rental, Dome, a.o.) The Wah Wah edition is the first ever reissue of this rare sought after collector's item. 100% analog lacquer cut direct from the original master tape by Moritz illner at Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 241LP
|
"A welcome departure from their first effort, the record has gained greater reconnection in recent years when contemporary audiences could fully appreciate the strength and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like ''Daguerrotipo or 'La Edad del Bronce' (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and features an insert with photos and info. It is a strictly limited edition of 500 copies only."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 240LP
|
"Recorded over the course of four years during late-night, afterhours sessions at RCA's Studio at Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early '70s.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP +7"
|
|
LPS 209LP
|
2018 release. "New Jersey's Omnibus formed from the ashes of garage bands from the New Milford area: The Cliffhangers, The Forerunners and The Vandals. Original members came from these three local bands and consisted of Jay Polt, Al Raimondi, Bob Wegrzyn, Bobby Marcinczack and Jerry Garino. They soon hit the local scene and got in touch with brothers Steve and Eric Nathanson who would become their managers and finance their first recordings. A United Artists recording deal was the next step, through which the band issued their debut 45 'The Man Song' / 'It's All In Your Heart' plus their eponymous LP in 1970. Omnibus had an amazing psychedelic sound that took all the right elements from West Coast bands like The Doors or The Jefferson Airplane, Bosstown sound acts like Ultimate Spinach or Chicago hipsters like H.P. Lovecraft to produce their very own Made in Milford, N.J. mixture. Strong, dramatic vocals, tons of fuzz guitar and swirling organs built up their magic sound. Wah Wah proudly offers the first ever reissue of their original 1970 album, plus a whole second LP compiling previously unreleased recordings from rare acetates with earlier recordings of some of the LP tracks and some non released songs. Also added is an extra bonus 7" with the garage killer 'The Farm', which would have been an explosive 45 for the band had not been withdrawn from release. A luxury remastered 2LP + bonus 7" set that includes a facsimile of a vintage Omnibus gig poster in a gatefold package respecting the original artwork, plus an 8 page booklet with photos, lyrics and liner notes written by Jay Polt himself and reissue curator Ezra Lesser - all this in a strictly limited edition of only 500 copies, get yours while still available! If you like bands like The Doors, The Children, Ultimate Spinach, The Beacon Street Union, Fever Tree or Clear Light you ought to have this one on your collection!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 239LP
|
"Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela's live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster... Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames. Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze -- who would become an example for him to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada's first record: 1983's Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world. Rada's aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds. The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades at Prades Mastering. Includes an insert with liner notes by Salvatore Maldera. It is a strictly limited edition of 500 copies only."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP + 7"
|
|
LPS 206LP
|
2018 release. "Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of 'Secret' fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first synths and started producing works into a 4-track TEAC tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythesists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch. Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Green Ray under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an 8 page insert with liner notes and photos courtesy of www.audionautas.com plus one bonus 7" with previously unreleased on vinyl format material."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP + 7"
|
|
LPS 207LP
|
2018 release. "Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of 'Secret' fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track TEAC tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again, under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks were recorded using only his old EMS, but also due to his experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Moebius 256 301 under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an eight-page insert with liner notes and photos courtesy of www.audionautas.com plus one bonus 7" with previously unreleased on vinyl format material."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 196LP
|
2017 release. "Issued on le Kiosque d'Orphée in 1979, Voyage Aux Fonds De La Mer is the only LP by Alain Meunier (not to be confused with French classical music cellist of the same name), and is one of the most elusive collector pieces of the 1970s electronic experimental French scene. This rare sought-after album starts with an instrumental guitar introduction but from the second track onwards it becomes a totally electronic experimental psychedelic trip that can be aligned with the most kosmische side of kraut rock, and of course also with other works by French experimentalists of the era like Pascal Comelade's Fluence or Richard Pinhas' production (including Heldon). Guitar comes in now and then showing also a certain Robert Fripp influence. Instruments used according to the insert sheet that came with the LP are a Korg 800 DV synthesizer, a K.O. Welson Clavinet, effects like a Fender Echo or a Electroharmonix Small Stone phaser and a fuzz pedal, plus Meunier also used a Gibson Les Paul Custom Guitar, a 12-string acoustic Eko guitar and a six-string Morris guitar. First ever vinyl reissue. Limited edition to 500 copies only. Remastered sound."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 218LP
|
2019 release. "One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the 'Conciertos Beat' (Beat Concerts) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in 'candombe beat', and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them 'Esa tirsteza,' 'Y hoy te vi,' and the classic 'Mejor me voy.' Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non-constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country. On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes -- bassplayer for El Kinto, -- Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album -- which would be her only one until her 2008 comeback -- that made her legend grow among future generations of music lovers. It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattoruso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble. Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 190LP
|
2017 reissue. Originally released in 1983. Includes insert. "Issued in 1983 as a limited private pressing, Die Erde Und Ich Sind Eins was Florian Fricke's first 'solo' LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland." "You could label it as 'body-space-music' (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect." --Florian Fricke
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 200LP
|
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favored by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks 'this is his masterpiece in all of its acid-laced glory.' Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 199LP
|
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. 1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongos and also explores some interesting chord progressions. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 201LP
|
"If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 198LP
|
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Beyond The End... Eternity was released in 1971 under the Nik Raicevik monicker as Narco NR102. According to Two Headed Dog, 'Raicevic is clearly still in the early learning-curve stages,' which it a key LP to understand Nik's evolution and setting the path for more evolved works to follow. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 216LP
|
2018 release. "The most popular and productive line-up of the Athenians beat group came together in Edinburgh in late 1963 and comprised Rick Alcorn (bass), Ally Black (guitar), Keith Henderson (guitar), Arthur Mackey (drums) and Ian Orr (vocals). After a deep delve into the catalogues of Sue, Chess, Atlantic, Motown etc. a pretty sassy outfit became the exponents of some very acceptable R&B/rock. Having now acquired a fan club, a manager and a large following, the band were playing seven nights a week, two of these as residents of the famous Gamp Club, allegedly their second home. Although only part-time, they were relishing their situation especially the attention coming from the student fraternity at Edinburgh University and soon they'd be performing with Manfred Mann, The Hollies, The Animals, The Pretty Things, Diana Dors (what?) and many, many more. The University connection was to introduce them to their first taste of recording as a request was made to cut a single to promote the Charity Appeal for that year. Entering Craighall Studios in early Feb. 1964 tracks 'You Tell Me/Little Queenie' are produced and released in all their glory (It has now been confirmed by rock historians/pundits that this record is the first 7" single to be released by a Scottish beat group). The Wah Wah edition compiles the bands' 45s plus previously unreleased recordings from surviving acetates - if you love bands such as The Rolling Stones, The Kinks, The Yardbirds, bluesmen like Slim Harpo or Lazy Lester and also the soulful sounds of acts like Ike & Tina Turner or Ben E. King this LP is for you! In a strictly limited edition of only 500 copies, remastered by Roger Prades at Prades Mastering and housed in new vintage styled artwork in a three backflaps sleeve. Get your piece of Scotland's beat story!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 222LP
|
2020 release. "Wah Wah is proud to release the first ever legit vinyl reissue from master tape of New Zealand's legendary Underdogs' first LP from 1968. Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La De Da's, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player. The Underdogs Blues Band LP was recorded by Murray Grindlay on vocals, Lou Rawnsley on guitars, Neil Edwards on bass and Tony Walton on drums, and shows the group's appreciation for Mayall's combo -- just like The Bluesbreakers' Crusade LP the Underdogs open their album with a cover of Albert King's "Oh, Pretty Woman," one of three 'Bluesbreakers' songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what's to come next with some incipient heavier sounds a la Cream. This is a 500 copies only reissue, housed in its original artwork in a vintage styled backflaps sleeve and insert."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 214LP
|
2019 release. "Best known to funk/groove collectors for his '70s library efforts (Freezing Point, The Pop World Of Yann Tregger, Schifters, Catchy, Ducks & Drakes) on such cult labels as L'Illustration Musicale, MTS or Montparnasse 2000 or his late funky disco output via projects like Major Symphony or M.B.T. Soul; French trumpet player/composer/arranger Yann Tregger also devoted time and efforts to delve into electronic sound abstraction when needed. Based around the possibilities of the legendary ARP 2600 synthesizer, To The Land Of No Return was an outrageous and nightmarish collection of sound vignettes that pushed the instrument's capabilities to the limit. Thrilling, uneasy, surreal, spellbinding or just plain spaced out -- an album 'whose theme is the departure of a psychedelic train on a trip with no return to a lost world, leading its only passenger to unreal adventures' according to composer's words. An essential slice of musical lunacy coming from the most experimental fringes of the French library world! First time ever reissued on vinyl, remastered from the original tapes in a gimmick cover and a limited edition of only 500 copies!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
LPS 179LP
|
2016 release. "Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla were the creators of The Book Of Am. The Book Of Intxitxu was another of their works, they began working on its songs and illustrations just after they finished the four parts of The Book Of Am in the late 1970s. It contained, again, a collection of illustrations plus three hours of music. The book was first published in 1982 by Desclee de la Brouwer (Bilbao) in a bilingual Basque-Spanish edition. In 1983 IZ issued a cassette containing a selection of the songs sung in Basque by Juan. A part of it was later performed with mime artists at the short-lived Stonehenge Festival in 1983. Conceptually it is again influenced by ancient myths and cults, you can find references to Sumerian hero Gilgamesh, the Meditarranean Moon Goddess cult, the hallucinogenic mushroom taker and healing woman from Oaxaca Maria Sabina, the works of Robert Graves, etc. Musically, it follows the ethereal folk path set by their previous works, with an acid atmosphere and a progressive appeal that offers some heavier psychedelic passages due to a higher use of electric guitar pyrotechnics. Daevid Allen and Gilli Smyth guested as musicians, so here's one of his last recordings, as are also the last by Carmeta Mansilla, since sadly she also passed away recently. Will Z, oG, Majnun and Sammy helped Juan and Leslie rescue the old material and shape it into this gorgeous 2LP set with a 24-page booklet containing all the illustrations made for the Book. Please note it is a limited edition of only 500 copies, do not miss it and complete your Book Of Am saga collection!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP + 7"
|
|
LPS 230LP
|
2020 reissue. Originally released in 1978. "Giacomo 'Mino' di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 -- during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene -- he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship -- it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience's taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca -- his is the amazing cover concept. After the Terra in Bocca experience, Mino's will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda 'Terra' di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together. On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed. The record sleeve and notes on the insert revindicate the fight against nuclear power. The music is dominated by Mino's keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the atmosphere for Terra's voice to improvise all over."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 220LP
|
2019 reissue. Originally released in 1974. "Originally pressed in a limited run of 1000 numbered copies in December 1974 The Alice Island Band is one of the rarest UK folk private pressings, having sold in auction for over 600 pounds. Little would school friends Keith Hughes, Tim Phillips and Roger Moore imagine that when they formed The Conqueroos blues band back and subsequent projects like Cinderella's Party Songbook from 1967. By 1974, Keith, Tim and Roger were ready for something special, and the arrival of Cinny -- the 'Princess' from the principality of Wales -- completed the line-up for the next LP. They became The Alice Island Band and recorded Splendid Isolation -- Tim, Keith and Cinny played, Roger produced and recorded the 14 songs, some of which had been conceived back in 1968. For those into the UK folk and psych scenes who love the homemade recordings of Peter Howell and John Ferdinando's projects (Tomorrow Come Someday, Alice Through The Looking Glass, Agincourt, Ithaca...), the bare, raw sound of Comus or those impossibly rare folk albums cut through the Deroy Sound Services -- but also for lovers of good crafted songs with male & female vocals and mostly acoustic performances. Done in close cooperation with Keith and Roger who have been very kind to provide original masters, information and photos for the gatefold insert which also includes the original lyrics."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 213LP
|
Originally released in 2018. "The Book of AM is a collection of inspirational songs, poems and stories composed in different parts of the world through the millennia up to the present day and edited and set to music and graphics by Juan Arkotxa and Leslie MacKenzie. The Book expresses core themes from Eastern and Western philosophical and religious traditions and it follows the cycle of day with five parts - Dawn, Morning, Afternoon, Evening and Night. When the Book was first published in 1977 the incomplete Part V, Night, was not incorporated into the four part publication (Part I published in Paris 1978, and Parts I, 2, 3, and 4 were published by Wah-Wah Records in 2004 and 2010). At last the final part Night has been completed and is presented here as the conclusion of this long project. We have used recordings from that time, 1977, and combined with musical and technical collaboration, mainly from og, (introduced to us by the member of the Book of AM team Will Z and also part of the Belgium group Cosmic Trip Machine) who joined us for this project and has brought his own form of genius to the mix, adding, along with Will Z, extra overdubs to our original recordings, as well as making an invaluable contribution to the composition, mixing and mastering by which we have achieved a sound different from the previous AM albums, more ethereal and informal but at the same time surprising and powerful which steps out of the standard songs format and creates a befitting space for the nocturnal and final mood of this project."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPS 231LP
|
2020 reissue. Originally released in 1980. "The only album by Austrian trio Cultural Noise is a an electronic marvel. Band members were Gerhard Lisy, Walter Heinisch and Karl Kronfeld, and instruments used included an ARP Sequencer, an ARP 2600, a VCS 3, an EMS Digital Sequencer, a Mellotron M400, a Micro Moog, a Roland Studiosystem 700, a Roland Analogue Sequenzer and an electric guitar. With these weapons and a strong influence from the Berlin school Cultural Noise created a rich electronic tapestry which expanded through the two pieces of this record, one per side, being compared by reviewers to works by Zanov or Anna Själv Tredge. Mentions of Tangerine Dream are also present on reviews, although Cultural Noise have a pretty unique personality on their own and besides sharing the use of Mellotron, sequencers and analog synths we have a totally personal concept here which sets them aside from all TD impersonators of the era. The album was originally released in 1980 on CBS and later repressed in 1981 which came in a B&W version of the sleeve that some sources list as a self release private pressing done by the band themselves -- this has been denied by members of Cultural Noise."
|
viewing 1 To 25 of 72 items
Next >>
|
|