This album was originally released in 1969 as "First Winter". When Johnny Winter emerged on the national scene in 1969, the hope, particularly in the record business, was that he would become a superstar on the scale of Jimi Hendrix, another blues-based rock guitarist and singer who preceded him by a few years. That never quite happened, but Winter did survive the high expectations of his early admirers to become a mature, respected blues musician with a strong sense of tradition. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ bring you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill a minute dive into the crazy awesome world of Garage Psychedelic Rock. From the Psych sound explosion onto the Underground club scene in the US and UK in the mid 1960s, its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990- early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

Black Rainbows is a musical project inspired by the objects and artworks collected by Theaster Gates at the Stoney Island Arts Bank in Chicago. Situated at the Great Grand Crossing neighborhoods of Chicago's South Side, Stoney Island Arts Bank is a cathedral to Black Art, a curated collection of Black archives comprising books, sculpture, records, furniture and problematic objects from America's past.

Tube City!: The Best of The Trashmen adds their Garrett singles to their lone 1964 album Surfin' Bird. That classic single is here in all of its raw, unfettered glory, and while it does tend to overshadow the rest of the Trashmen's output, the collection shows that their other work was also strong. Their covers of "Miserlou," "It's So Easy," and "Money (That's What I Want)" reflect the band's roots, and aren't overly respectful of the original versions, while "My Woodie" and "Kuk" are respectable surf-pop songs. The Trashmen's instrumentals also fare well, particularly "Tube City" itself , the flamenco-surf of "Malaguena," and "Bird Dance," a silly, tiki-bird infested bid to follow up the success of "Surfin' Bird." "Bird Dance Beat" follows suit, but songs like "Bad News," "Whoa! Dad," and "Real Live Doll" have as much energy, but a little more originality.

Though Collectables' Psychotic Reaction: The Complete Psychotic Reaction did include every one of the band's 18 officially released tracks, Big Beat's Psychotic Revelation: The Ultimate Count Five does indeed replace it as the ultimate Count Five compilation. It's not just because it includes every one of those 18 tracks and then some, with half a dozen unreleased outtakes, demos, and unedited versions. It's also because there's a great 24-page booklet on the history of the band by Alec Palao that clears up much of the mystery surrounding the Count Five, with quotes from most of the members. While the additional material is neither that revelatory or voluminous, it does include some nice bonuses. Prominent among them is the original unedited version of "Psychotic Reaction," with a previously unheard tag and key change at the end, though Double Shot Records was wise to release the reassembled version that became the big hit…

Be clear from the git-go: this three-CD, 60-song set, which consists solely of rarities, demos, alternate takes, and unissued performances from 1964-66, should only be acquired by serious fans of the band. It's not the place to start, and most listeners would be better served by picking up a greatest hits disc or the original Autumn albums. If you do love the band, though, it's an excellent journey through the back waters of their early repertoire. The Brummels rarely wrote or recorded anything lousy, and this presents interesting, substantially different versions of officially released songs like "Laugh, Laugh" and "Just a Little"; and quite a few demos that have never before seen the light. The beautifully sad harmonies and glittering guitar arrangements are usually present, and the compositions–even the totally unissued ones–are usually quite strong. From a historical viewpoint, it's interesting in that it presents a lot of previously unheard Sal Valentino-penned tunes (Ron Elliott wrote most of the songs that ended up on official releases). The sound is superb, as are the liner notes.

Collection includes all studio albums by American rock duo: The White Stripes (1999); De Stijl (2000); White Blood Cells (2001); Elephant (2003); Get Behind Me Satan (2005); Icky Thump (2007).

The Standells made number 11 in 1966 with "Dirty Water," an archetypal garage rock hit with its Stones-ish riff, lecherous vocal, and combination of raunchy guitar and organ. While they never again reached the Top 40, they cut a number of strong, similar tunes in the 1966-1967 era that have belatedly been recognized as '60s punk classics. "Garage rock" may not have been a really accurate term for them in the first place, as the production on their best material was full and polished, with some imaginative touches of period psychedelia and pop.
This CD reissue takes off one cut (the easily found "Sometimes Good Guys Don't Wear White") and adds six bonus tracks of only mild interest, including a version of "Batman."

This sleeper-fan-favorite from Lou Reed and Velvet Underground is getting its first reissue on vinyl in over 40 years. This 2LP is comprised of two late-in-the-year dates at End of Cole Ave in Dallas and at the Matrix in San Francisco, all sourced from fan tape recordings, the two-track mixdown straight from the live console, or from acetate copies.
The fact that few recordings of Velvet Underground exist from before 1970 has made this compilation a treasured gem amongst fans. The tracks on this 2LP showcase a stripped-down and vulnerable Lou Reed accompanied by a band at arguably their creative zenith, and each song offers a fresh perspective on their respective studio versions.

First edition of a two-part set: a comprehensive compilation of South London art-rockers Art Brut, spanning their early discography, demo takes, alternative mixes and live recordings between 2003 – 2008. Features the debut album Bang Bang Rock and Roll, their second studio album It’s A Bit Complicated. Also includes unreleased live material Art Brut – Live in Paris 2006 and Art Brut Live Form ULU with Horns

Among the very finest British rock bands of the 1960s, when The Troggs’ sophomore single ‘Wild Thing’ hit big on the UK chart in May ’66 - only held off the top-spot by The Rolling Stones’ ‘Paint It Black’ - few music fans were aware the song wasn’t a Troggs original.The follow-up however, ‘With A Girl Like You’, which did achieve a number 1 placing, was a composition by frontman Reg Presley, as were most of the band’s other hit singles. The Troggs quickly became BBC radio favourites too, initially on the network’s Light Programme, and then on Radio One after its inception in September 1967. And as a home-grown talent, The Troggs were invited to perform live sessions at the Beeb regularly from 1966 onwards. This new CD compiles a near conclusive selection of recordings made for the BBC by The Troggs between 1966 and 1973, including all their radio sessions, plus all the appearances they made on flagship TV pop show Top Of The Pops.

For their 26th album, King Gizzard and The Lizard Wizard swap the widescreen concepts of their recent albums for the intimacy of six good friends collaborating on the most bonhomie-laden set they’ve yet committed to wax. For Flight b741, bandleader Stu Mackenzie says King Gizzard “wanted to make something that was primal, instinctual, more ‘from the gut’ – just people in a room, doing what feels right. We wanted to make something fun.”

The Action are one of the great "lost" bands of mid-'60s England. Though they filled mod clubs with happy patrons and managed to score George Martin as a benefactor, they only released a handful of unsuccessful singles during their brief existence. Most of their music remained in the vaults for years, only to be discovered later and celebrated. After years of reissues that only told part of the band's story, Grapefruit's 2018 Shadows and Reflections: The Complete Recordings 1964-1968 collects everything: their five officially released singles, BBC sessions, their legendary demos from 1967, backing tracks, alternate takes, different mixes, and songs they recorded just before the band broke up in 1968. It's an impressive haul made even better by the excellent liner notes, session information, and crisp sound…

Although Introspection bombed due to a belated release, collectors have since heralded it as one of the finest albums from the brief British psychedelic wave. Produced by Rolling Stone Bill Wyman in early 1968, the spirit of the era (or maybe that of the previous summer) is sonically created, with sumptuous results. Giffin and Graham's gentle harmony vocals tread a similar path to Odessey and Oracle-era Zombies, while sessionman Nicky Hopkins' harpsichord, a pumping Hammond, Terry Taylor's searing Cream-like fuzztone guitar leads, psychedelic duel-ragas, and floating Mellotron recreate the colors of a rainbow. The overall effect is psych-pop rather than acid-inspired mayhem, although the drifting ambience of the production, lyricism, and instrumentation could not be anything else than a product of psychedelia…

Five CD set bringing a comprehensive, big-tent look at the early years of punk rock in the US and Canada. Over six hours of music. Includes benchmark tracks by the scene's most influential bands plus many rare singles making their first appearance on CD. This five CD includes influential NYC bands - Patti Smith Group, The Ramones, Television, Blondie, The Voidoids, etc. - as well as the scene's other pioneers such as Pere Ubu and The Dead Boys (both Cleveland, Ohio), Dead Kennedys and Crime (San Francisco), Devo (Akron, Ohio), The Germs and The Weirdos (Los Angeles) and Mission of Burma (Boston, Massachusetts). Blank Generation offers a deliberately broad definition of punk, encompassing contributions from such outré acts as Suicide, The Cramps and The Residents through to new wave/power pop combos (Sneakers, Chris Stamey & the dB's, etc.). While the US punk scene was arguably always more diverse musically than that of the UK, the music evolved quickly, as evinced by the choices heard on Discs 4 and 5. Many of the acts here such as X, The Replacements, The Feelies, Redd Kross, The Dream Syndicate, The Gun Club and Minor Threat would make an even greater impact as the 1980s wore on. It's hard to overestimate the seismic shocks caused by the music on 'Blank Generation', not only on everything in alternative music which followed in North American, from the 80s hardcore scene and the music heard on the whole alternative college radio network through to grunge and beyond. And yet this era has never before been treated to a comprehensive retrospective of this kind.