Recorded in Ed Chalpin Studios in New York July/August 1967.

Hampton Grease Band's only album, is a one-of-a-kind item, drawing upon jazz, progressive/psychedelic guitar rock, and a generally surrealist bent to back Bruce Hampton's idiot-savant ravings…

Another amazing release from the official Jimi Hendrix “bootleg label” Dagger Records, this raw, direct to two-track, live recording from the Olympia Theatre in Paris was captured for French national radio and documents the Experience’s triumphant return to France almost one year from the date of their 1966 debut.

Like their music, the personal and creative relationships of Japanese rock & roll deviants Speed, Glue & Shinki were in a state of total disarray during the recording of their eponymous double-vinyl sophomore album in 1972. The ostensible bandleader, guitarist Shinki Chen, was already partially distracted from the proceedings, and original bassist Masayoshi "Glue" Kabe had completely checked out to resume his hobo-like travels, which left preternaturally wired vocalist and drummer Joey "Speed" Smith to jump into the driver's seat and accelerate the band's psychedelic rock school bus right over the cliff of reason.

Suzuki Junzo returns to Utech Records with Shizuka Na Heya De Ashioto Wa, his fifth full-length release for the label and follow-up to If I Die Before I Wake. Junzo is joined by Ikuro Takahashi of LSD March, Kousokuya, Fushitsusha and High Rise. Shizuka Na Heya De Ashioto Wa is overblown psychedelic/acid rock perfection – fuzzed out, damaged and loud.

Speed, Glue & Shinki's landmark debut album, 1971's Eve, is one of the greatest contradictions of its time (maybe all time): a primitive, deranged, and at times downright sloppy mutation of acid blues and proto-metal, akin to the Bloomfield/Kooper/Stills Super Session crashing headlong into earliest Zeppelin and Sabbath records, as performed by musicians whose instrumental chops were actually beyond reproach…but you'd never be able to tell from this!

You couldn't go anywhere in the blazing summer of '68 without hearing "Born To Be Wild" blaring, and its inclusion in the iconic film Easy Rider cemented it as a rallying cry for bikers and countless other counterculture miscreants.