Houston Fearless - Houston Fearless 1969

Houston Fearless was an American hard rock and psychedelic band from Los Angeles, California, that released a self-titled debut album on Imperial Records in 1969. Known for a heavy, fuzzy sound comparable to Steppenwolf, the quartet released only one official album before disbanding.

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Streetmark - Nordland 1976

"Nordland" was a brillant debut record, the band had taken the time to play the compositions live and to work them out. The general musicianship is quite high; the only weak point, as often in German bands are the English vocals. In 1977 Streetmark released their second record "Eileen" with Wolfgang Riechmann, a solo recording artist, who had joined the band on vocals and keyboards. Tragically he was murdered in 1978, before the release of his solo record "Wunderbar". Sky re-released "Eileen" in 1979 with the new title "Wolfgang Riechmann and Streetmark" with one bonus track. Later on the record was renamed "Dreams". The third (fourth) record "Dry", entirely instrumental, was released in 1979. In 1981 Streetmark released their last record "Sky Racer", with Dorothea Raukes as the only founding member left. It is still an interesting record, but much more Pop-influenced. ProgArchives.

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Nova - Blink 1975

Italian prog-fusion band, formed out of the ashes of ex-Osanna split-off band Uno along with Corrado Rustici from Cervello. It is said that they were formed in London in 1975 and they stayed in the UK for a while. By the time of their second album only two original members remained: Elio d'Anna and Corrado Rustici, with new members Renato Rosset, Percy Jones and Narada Michael Walden turning them into a more international band, with the latter two then replaced by Barry Johnson and Ric Parnell. Genesis drummer Phil Collins also featured as guest percussionist on some releases.

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Ramasandiran Somusundaram - Skinny Woman 1974

Skinny Woman is the only solo album by Indian percussionist Ramasandrian Somusundaram, who was an active member of the Genoese prog rock scene. He worked with bands like Bambibanda E Melodie (founded by Italian prog rock pioneer Bambi Fossati after his trailblazing group Garybaldi disbanded), Maya, and the New Trolls. Originally released in 1974, the album features some of New Trolls' members – including Vittorio De Scalzi, Gianni Belleno, and Giorgio Usai – and can be regarded as a side project from the band. The result is an eclectic production that blends Indian sounds and influences with psychedelia, progressive rock, and funk.
 

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Freeport - Freeport 1970

This band from Cleveland, Ohio, formed in early 1968. They began their career under the name "Paper Sun and the Freeport Express." The band played late-'60s-style rock, performing in clubs and dance halls in and around Cleveland, where they enjoyed some popularity among local youth. After some time, Eric Janson left the band and was replaced by two guitarists: Dennis Stredney and Roger Lewis, who also parted ways with Lewis shortly afterward. With this lineup, and changing their name to "Freeport," they recorded their only LP in Miami for Mainstream Records. The band's frontman, vocalist and keyboardist Kevin Raleigh, played keyboards for the well-known Cleveland group "Michael Stanley Band" in the late 1970s and 1980s and co-wrote all of the band's hits (with Michael Stanley). In 1989, he released a solo album, "Delusions of Grandeur."

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Dzyan - Dzyan 1972

This album was the result of Dzyan Mach 1, convened solely as a studio project and not lasting beyond the production of this LP. The record is a conglomerate with many different styles from Zappa-esque jazz to King Crimson and Van Der Graaf Generator-styled prog rock, with bits of tape effects and some wild conga drums added in. From the minimalist synth drones that open "Emptiness" to the bouncy jazz rhythm of "Fohat's Work," to the monster bass riff and soaring guitar of the closer, "Back to Earth," the album offers a hodgepodge of unusual songs in unusual time signatures. The vocals at times, and even more so the lyrics, are drenched too deep in prog pretension, but at least there are some long instrumental passages to get lost in. The album is a flawed experiment, interesting in its own right, though not fully realized like the two albums that followed. The fact that this Dzyan sounded like an entirely different band is because it almost was. AMG

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Scope - Scope 1974

The progressive rock group Scope was founded in Zwolle, The Netherlands in 1971. The band was founded by Henk Zomer (drums) and Rik Elings (keyboards, flute) who knew each other from high school where they played together in a band called Strange Power. Under this name they recorded two singles in 1971, That's the way/Turn me loose and Tenderfoot/Spring. With the addition of Rens Nieuwland (guitar) and Erik Raayman (bass guitar) they became Scope. In the coming years they play a lot throughout The Netherlands and Germany. In 1974 they recorded their debut in Germany for Negram label. In 1975 Rob Franken (keyboards) joins the band, Raayman leaves the band and joins Medusa, and Elings switches to bass guitar. With this line up they record their second album, also in Germany. In 1976 drummer Zomer leaves the band and is replaced by Robert Vink for a short time. The next drummer is Roland Zeldenrust. In the same year they see a new bass player, Pablo Nahar. All these changes lead to end of the band in 1976. Their music is mainly set upon 70's jazz-rock / fusion standards, with reminiscences of Mahavishnu Orchestra, but it also drinks from the fountain of their contemporary Dutch Symphonic Prog peers, like Solution and Focus. In 1982, the group was revived by Rik, Henk, Theo de Jong (b, ex-Taurus) and a succession of guitar players. ProgArchives.

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Crystalaugur - Terranaut 1972

Interesting album by the obscure Native American band Crystalaugur recorded in Singapore between 1972 and 1973, as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity.  The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop. A weird mix of Kaleidoscope / Velvet. Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.

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Larry Saunders - Stranger 1976

Larry Saunders, aka The Prophet Of  Soul, is best remembered on the rare  soul scene for his Northern Soul, crossover classic, “On The Real Side”. It was originally recorded in 1974 at Soul Sound Studios, Englewood, New Jersey, for Joe and Sylvia Robinson’s All Platinum subsidiary Turbo. The song also saw a UK release in the same year on London Records. Soul man Saunders, son of Blues singer Johnny Ace, signed to All Platinum in ’73 and recorded a number demos, with in-house writer/producer Tommy Keith, including two unreleased numbers “Good Luck Charm” and the featured B side “Sweet Sweet Lady”. A rare, sought after, and pricey album “Larry Saunders – Stranger”, (+250.00 when market offered, and sells at such every time). Current market availibilty at this time presents soul/sweet soul collectors the opportunity to obtain the lost soul treasure lp, on cd. The album, released in the early 70s, on the small, obscure Soul International Records label was recorded at Muscle Shoals Studios during it’s glory years. Not a lot is known about the singer, there was a subsequent release “Larry Saunders & Others – Free Angela”, but Larry’s voice, style, and the production work at Muscles Shoals are what carried this lp to extremely sought after legacy! Thanks to FunkMySoul!

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Saint Steven - Saint Steven 1969

Saint Steven's only solo LP from 1969 is a pretty unique concept album kind of totality. The record is quite a short one and the material is very enjoyable psychedelic rock with some clear psych folk elements here and there. The recording is divided into two suites “Over The Hill” and “The Bastich”.

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The Main Ingredient - Bitter Sweet 1972

Bitter Sweet introduced new Main Ingredient member Cuba Gooding with a bang. Gooding added power to Tony Silvester's and Luther Simmons' mellow vocal blends. "Everybody Plays the Fool" paid immediate dividends, going all the way to number three Pop. A flute plays a catchy intro, the lyrics are accessible to all and Gooding's dynamic lead keeps you glued. A stuttering beat makes "You've Got to Take It" interesting; it's reminiscent of "Everything's Gonna Be Alright" by the Magictones. Heavier-than-usual backing voices accent "No Tears," which finds Gooding as excitable as ever on a tune marred by over-orchestration. They do the pop favorite "Who Can I Turn To?" in traditional style, showcasing Gooding's powerful crooning. A good debut for Gooding, who surpassed late lead singer Don McPherson vocally but lacked his songwriting skills. AMG.

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New Dawn - There´s A New Dawn 1970

The New Dawn's "There's A New Dawn" has been hailed as one of the rarest and best psych albums to come out of the late 60s and early 70s. The band recorded and released their private press album "There's A New Dawn" in July of 1970. The songs were composed in the studio and were recorded late at night after gigs. Initially five hundred copies were pressed, but it's estimated that only around 200 may still exist. Their one chance at the big time came in 1971 when the ABC-Dunhill Records label expressed a serious interest in the demo of three of their new heavier sounding songs. Considering the success ABC-Dunhill had with Steppenwolf, these demo tracks (included on this collection) demonstrate what a great fit the band could have been for the label and gives us a glimpse into what might have been for The New Dawn. 

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Phantasia - Phantasia 1971

Reissue of US psychedelic ultra rarity recorded 1971/72. The original albums (a complete one and a one-sided) are legends for all psychedelic/garage collectors, only 25 copies pressed of each -- not many people have the pleasure of having seen a copy. The music is creeping slowly and sensitively in your mind, whether stoned or not φ it takes you wherever you want. Those are the complete sessions, 55mins in mastertape quality presented the first time to the public -- extremely informative booklet (20 sided), with outstanding artwork and colour photos.

One of the best Psychedelic albums, playing in the same league as Fraction, Music Emporium, Hunger, Mystic Siva, Damon. Later the band changed into Trizo 50! Here are the complete sessions in mastertaped quality with 20sided informating booklet, including outstanding artwork and photos! Thanks to Rockasreia!

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The Surprise Package - Free Up 1969

The Surprise Package was one of the top 60's Northwest contemporary psychedelic rock bands from the greater Seattle area. They were originally called the Viceroys, and had a Northwest instrumental hit called Granny's Pad. The band consisted of Greg Beck (guitar, vocals), Kim Eggers (lead vocals & Sax), Michael Rogers (piano, organ, bass, vocals) and Fred Zeufeldt (drums, vocals). In 1966 after doing some Dick Clark Where the Action Is tours and shows with their friends Paul Revere and the Raiders, they recorded some songs on Columbia Records, produced by Jerry Fuller. During a mixdown session, Lou Adler (the Mamas and Papas producer) suggested the name 'The Surprise Package' to replace the dated 'Viceroys' handle. They recorded four songs under Fuller's production: Eastside, Westside, Going Out of My Mind, The Merry Go Round, and The Other Me, written by Jimmy Griffin and Michael Z. Gordon in 1967. Unfortunately, Columbia apparently had too many artists to market, so The Surprise Package got very little promotion. In late 1967, Kim Eggers left the band and singer Rob Lowrey was hired to replace him. In 1968 they recorded an album called Free Up for Lee Hazlewood's LHI-label, which spun off two singles as well: the title track and their version of MacArthur Park in 1969. In 1970, Mike Rogers left the band, they then added Gene Hubbard on keys and became American Eagle.

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P.F. Sloan - Measure of Pleasure 1968

With famed Atlantic engineer Tom Dowd as producer, P.F. Sloan turned his sound in a bluesier, funkier direction on Measure of Pleasure. His songs were less lyrically direct, and less melodically pop-savvy than his earlier work on Dunhill. While it could be said that his singing was getting better than ever, especially on the upper register twists in songs like "New Design," the material simply wasn't as memorable, although it wasn't bad. On tunes like "How Can I Be Sure" (not the same as the Rascals' hit) and "And the Boundaries Inbetween" (one of the best tracks), there's a folk-rock-blues-jazz fusion reminiscent of Tim Hardin, amplified by the touches of vibrating guitar (which Hardin also used in his late-'60s arrangements). There's a much more distant similarity to the late-'60s country-folk-rock-blues mixture of Tony Joe White. It's not a bad album, and Sloan fans will find it worth picking up. It's just different than, and not on the same level as, his first two LPs. AMG.

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