Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. While there were many popular female vocalists in Indonesia at that time, they nearly all relied on the services of a backing band. Dara Puspita was one of the few girl groups who actually played all their own music as well.
Dara Puspita hailed from the city of Surabaya in East Java and first formed in 1964 with the line-up of sisters Titiek Adji Rachman (Titiek A.R.) on guitar and Lies Soetisnowati Adji Rachman (Lies A.R.) on bass, along with Susy Nander on drums and Ani Kusuma on rhythm guitar. In April 1965 Lies left the band for a month to finish school and was replaced on bass by Titiek Hamzah. When Lies returned she took the place of Ani on rhythm guitar and Titiek Hamzah stayed on as bass player. It was with this line-up that the band set out to conquer the world.


Brazilian band the Bubbles (Groovie Recs 022 lp, 2010) became the toast of the underground Rio de Janeiro scene, backing Tropicalist singer Gal Costa’s residence at the Sucata night club in 1970.
They won the “Best Band of the Festival” award at the VII FIC of 1971 (International Festival of Songs), the same year they appeared on Leno’s “Vida y obra de Johnny McCartney” album.

After venturing to England to attend the Isle of Wight Festival, they decided to experiment with a heavier sound, more akin to UK bands of that era (Deep Purple, Cream, King Crimson, Humble Pie, with a little Beatles’ “White Album” in for good measure) than that of their Brazilian cohorts.

A name change to A Bolha later, still loaded with verve and swagger, fueled by drugs, they recorded their first album, which has secured a permanent place as one of the best hard psych rock albums to ever emerge from South America.
The LP, “Um Passo a frente” (A step forward), was released in 1973 by the Continental label, in a gatefold cover which was quite luxurious for the era.

This masterpiece, now impossibly hard to find as an original, certainly made a name for A Bolha in the pantheon of 1970’s Brazilian rock. But success in the early 1970’s was not like it had once been in the old Jovem Guarda or Tropicalist days, when bands had weekly TV shows to help them become well- known nationwide—and eventually, worldwide.

In other words, the meager abilities of Continental to promote the album made it a collector’s item, not the fate a band would actively seek for their recordings.
Now we at Groovie Records bring to you the reissue of this masterpiece of the brazilian rock, the lp its a replica in a Gatefold carton, and includes the infamous hard- rocking 1971 single as bonus tracks.

YAYS & NAYS “Yays & Nays” - LP - GROO021LP

Monster rare USA private pressing from 1968, rated with 6 stars in the Hans Pokora 3001 book . The Yays & Nays were a groovy, hip group comprised of three guys and three girls . This is a trulyunique sounding album, full of creative songwriting and vocal arrangements and a style that defies any cathegorization. There’s som fab garage folk-rock on it (the opening track “Gotta keep travelling” is really astounding!), and also some tracks in a bizarre crooner-lounge "Incredible Strange Music" vein. Reissued for the first time, in collaboration with band members, and with original artwork.


Along with Os Mutantes, the Beat Boys represented the most radical element in Brazilian rock: their name, clothes, hair—and intense fuzz guitar raves—were all fierce indicators of a rebel spirit, and this in a dangerous time for such self- expression.

Here is the simple truth: The Beat Boys were at the very epicenter of the cultural revolution that convulsed Brazil during the late 1960’s, that movement of rupture, that bringing together of electricity and avant- garde erudition that has come to be known as “Tropicália.”

They backed Caetano Veloso and Gilberto Gil for their defining moments as artists—both live, and in the studio on tracks which became the opening Tropicalist salvo (a rare EP). So, what were this group of Argentine rock musicians doing in the forefront of all things outrageous in Brazil?

More to the point, why is it that very few people, even among the Brazilian music cognoscenti, have ever heard of them? One explanation must be the fact that the band were essentially outsiders to the Brazilian music scene.
As unlikely as it was for them to penetrate the inner circles of Brazilian elite musicians (it was unlikely), it was even more unlikely that they would remain there once their closest friends, Caetano Veloso and Gilberto Gil, were exiled from Brazil.This disc includes the Beat Boys entire output under their own name: their sole album—an exercise in what one might call “controlled Tropicália”, laden with torrid psychedelic moments (released by RCA Victor in 1968), as well as a rare singles track from the same year. A 20- page booklet includes lyrics, and an exploration of the Beat Boys’ fascinating story.“Caetano called the Beat Boys, an Argentinean group settled in São Paulo who had been inspired by the Beatles, to accompany him in ‘Alegria, Alegria.’ That, in fact marked the beginning of the Tropicalista thing.'' —Gilberto Gil


In 1965 borns in Asunción of Paraguay Los Blue Caps, group which reached the highest levels of popularity in Buenos Aires, Argentina where they established for over a decade. They recorded a dozen of albums, published throughout Latin America, for example: Argentina, Uruguay, Ecuador, Colombia, among others. Their first three discs are certainly the best of his career: "Dejame mirarte" (1969), "Cuando te miro" (1970), "Sensacional eres tu" (1971), have a dozen of hits in singles and compilations of this time. The band break out at the end of 1977 and some of its members begins with new projects projects, for example Anibal Riveros joined other groups, and in 1978 founded Blue Caps record label. Rolando Percy then formed his own group Los Big Ben.


tarting in 1965 many groups began to borrow elements of Eastern music to add a little mystery and exotica to their sound. Some of the more prominent examples of this trend include the Kinks’ “See My Friends,” the Beatles’ “Norwegian Wood,” the Byrds’ “Eight Miles High,” the Rolling Stones’ “Paint It Black” and the Hollies’ “Stop, Stop, Stop. "
Less known than the aforementioned acts, but acknowledged in some circles as masters of the form were the Cedars. Only, for them it wasn’t a case of flirting with foreign culture—they tapped right into the source in their own backyard.

Formed in Beirut, Lebanon, around 1964, they were originally known as the Top 5. By 1966 they’d become the Sea-ders with Albert Haddad on lead guitar, Joe Shehadeh on rhythm, Raymond Azoury on bass and Zad Tarmush on drums; all four band members sang. Their first 45, “Thanks A Lot” b/w “Better Loved,” was released in Lebanon in 1966 on the Symbol label. The A-side in particular was really strong, propelled by Haddad’s spellbinding double-picked Eastern motif and Azoury’s unusual pulsating bassline. It quickly became a smash hit in Lebanon, selling around 10,000 copies and topping the charts. Shortly afterwards, Decca Records made contact with the group and offered them a record deal in the UK. The group relocated to London, and in 1967 Decca released “Thanks A Lot” b/w “Undecidedly” as their first British single. The flipside was another excellent Middle Eastern flavored beat number, which had been recorded in Lebanon at the same session as the A-side. The record got some airplay on the pirate stations, but failed to break into the charts.

Nevertheless, Decca went ahead with an EP release, featuring the three previously released tracks along with the fine “Cause I Do Care.” Apparently the record had a very limited pressing as it’s now very rare.

By 1968 the Sea-ders had become the Cedars. Their next single paired two of their strongest original songs to date, “For Your Information” and “Hide If You Want to Hide.” For the recording session the group was teamed with producer Tony Clarke, who also worked with the Tremeloes. This time they employed an authentic Middle Eastern instrument, a bouzouki. Played in tandem with an electric lead guitar, the acoustic bouzouki gave the record a highly unique and appealing flavor. Unfortunately, despite the high quality and originality of both the material and the production, the record again went nowhere.

Much to the group’s disappointment, their producer turned to outside songwriters for their third and final British single, “I Like the Way” (written by Richie Cordell) and “I Don’t Know Why.” Nevertheless the Cedars infused the songs with their own Eastern-derived sound to pleasing effect. When this single failed to click, Decca not only dropped the group, but also presented them with a huge bill for studio time. Defeated and nearly destitute, the four Cedars headed home to Beirut, leaving their prized musical equipment behind.

The story didn’t end there, though—not quite anyway. The following year, 1969, “For Your Information” was released in Turkey, where it became a huge hit, going on to be covered by several Turkish artists. The Cedars, though, had by now gone their separate ways. Fortunately, their eight-song recorded legacy remains to remind the world of their uniquely exotic sound. Thanks a lot for that.

The Bubbles - Raw and Unreleased - LP GROO 0022LP

When Belgian-Portuguese duo Jess & James (Tony Lam and Wando Lam) released their third LP in 1969, they already had an impressive body of work under their belt. Playing a highly energized blend of pop and soul, they achieved great success in Europe with singles like "Move" and "Something for nothing". Oddly enough, they were often presented as British musicians origin instead of Portuguese. Jess & Jamed released a couple of well-received albums in the same style of the singles, a brilliant mix of soul, pop and psych, recorded along with the legendary J.J.Band: “Move!” (Palette MPB S-3114, 1968 / Belter 22.281) and “Revolution, Evolution, Change!” (Palette MPB S-3237, 1969 / Belter 22.305).
Their next record wouldn't bear the name Jess & James but instead the quite adventurous name of Free Pop Electronic Concept. “A New Exciting Experience” was a joint effort with experimental composer Arsène Souffriau, one year before the much-lauded “Ceremony”, where composer Pierre Henry is joined by rock group Spooky Tooth.
Later in 1969, Jess & James released their self titled third and final album which is widely regarded as their best. This time they are joined by top session musicians Scott Bradford (keyboards) and Stu Martin (drums) and the sound changes toward a more hard-psych-prog approach, featuring superb Hammond work and some long jams, at times reminiscent of early Caravan.
Here you can find this fabulous album reissued for the first time, licensed from Belter Portugal, plus three bonus tracks taken from non-LP 45s released in 1970-71, in the same musical style.

The Bubbles - Raw and Unreleased - LP GROO 0022LP

Groovie Records has the pleasure to present THE BUBBLES. Originally from Brazil, this beat band was the first incarnation of the legendary psych group A BOLHA. "Raw and Unreleased" contains their only 45 from 1966, featuring a superb Portuguese sung cover of The Shakers "Break it all" plus unreleased studio tracks recorded between 1966 and 1969, including some Beatles and Yardbirds covers and a couple of tracks taken from a rare film soundtrack which shows the transition from garage-beat to a more hard psych sound. As a bonus, two tracks taken from the fantastic first single recorded as A BOLHA from 1971 are included. Remastered sound and insert featuring liner notes and rare pics.

Mike Stax
Ugly Things Magazine



A seriously primitive artefact this from the late (very recently deceased) Joaquim Costa, Portugal’s longest serving rabble rousing son of rock’n’roll.Costa has been tearing it up since way back in the 1950s but never had himself a hit, or got himself any kind of slick record deal. He was at the tail end of last year, at age 72, still a self-confessed rock’n’roll addict who dug the old, and the (relatively) new, citing The Cramps and Hasil Adkins among his faves. “If you want to know who I am, I am a rebel and a Rockabilly freak. I’ll follow rockabilly till I die” he says. Well, he did just that!

Here we have a crazy 5 track EP where 1959 renditions of ‘Rip It Up’ and ‘Tutti Frutti’ share space with three equally raw and enthralling pieces from 1978, including my fave ‘Baby Sixteen Rock’ and the cool ‘Shake Shake My Baby’. Man, this stuff is positively No-Fi, and great trashy fun at that, as Costa makes a right royal racket on his amped-up acoustic axe. Has a nice little gatefold insert too chock-fulla pics and all the gen in both Portuguese and English.




The Rhythm Checkers were an exceptional beat group playing a raw mixture of rhythm and blues and rock and roll with a wild garage attitude. Maybe we can call them the european Sonics. Formed by musicians native from France, Germany and Holland with Roland “Bouboule” Bauer (vocal), the regretted Robby Sterheim (lead guitar) Eddy Van Nelfen (rhythm guitar), Kurth Horbach (bass) later replaced by Dany Gentner and Norbert Holweck (drums), they set the stage on fire during their shows in France between the years 1966 and 1967.
It is in Strasbourg where The Rhythm Checkers release their first EP with their powerful composition « Cause i need you » which is a real classic of European garage- rock. Their second EP is a unique document of their stage savageness thanks to these recordings captured live when they opened for Chuck Berry in Paris on February 1967, it’s amazing how these guys made it live....they make my wig jump listening on record, I can’t imagine what could I do if I were there!!!!

The eight mythical tracks of their two rare records are present on this LP, and as bonus, both sides of their single recorded in 1972 during the reformation of the group under the name of Checkers in the prog pop style of the time. The record comes with an insert with all the history and never published photos of the band, both in English and French. Limited release of 500 copies only!


The Peace were an obscure band from Copperbelt, Zambia. According to some rumours, they were in fact a band from the Zambian Air Force...Before they became THE PEACE the band was called The Boyfriends, a popular local band featuring Ted Makombe and Emmanuel Chanda from another legendary band from Zambia, THE WITCH.

Recorded at Malachite Studios, Chingola, in the mid 70s, “Black Power” is one of the rarest psych- rock records ever released in Africa. Killer afro- psychedelic- rock sound, the missing piece from the weird and amazing African afro- rock 70s puzzle along with other rare as hell records like The Witch, Amanaz and Question Mark. Limited, first time ever reissue with only 500 copies.


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