This album, a true pearl of portuguese music, is something surprizing. For it proposes an inovative sound, even if it follows the first recordings of Quarteto 1111, giving us a bronze armour sonority. An orchestral sound, epic, progressive, medieval, folk, pop, R&B, a cappela... in the end, a whole richness to discover. 1969 is the year, already after the "fall" of the chair by Salazar, but before still his death. It's a audacious picture of the country's political situation and tradition. Stories of the prince who goes to fight in the war, be demmand of the king, leaving behind him, his young girl, like in middle ages did. That is, distant and glorious situations (like the regime proppeled) to denounce the (then) present times. Influences? It's not not easy to see where they come from, but there's some Beatles in it. For example, in "Só Marinheiros e Escravos", with those maginificent violins, remind very "Eleanor Rigby". Or the begining of "Digo Dai", it seems to be the most known song of the album (even my mother remembers it), that suggests me "Piggies". The instrumentation and the arrangements are great. Just great to feature among the Portuguese popular historical music best albums (like some people consider). Violinis, cellos, harpsicords, organ, choirs, various percussions, harp... Yes, this was a non-common group. Like it would be proved later, if any had doubts, in Banda do Casaco.
Well you might find this too "soft" for Mutant Sounds,BUT ,listen closely....excellent compositions reminding Beach Boys's Pet Sounds or Beatles Revolver,combined with a meditteranean feeling and blended with acid folkish tunes.A magickal LP.


Incredible debut album from one of New Zealand's greatest late 60's, early 70's bands. Fantastic psychedelic groove featuring a great cover of the Kinks "You Really Got Me". Only a hint of what was to come after with their following 2 LP's. This is a impossible to find LP in the original format. Now Groovie Records proudly present this fantastic reissue in is original gatefold format. Check out also the Human Instinct compilation LP with singles from 1966 to 1971.


Human Instinct is a continuation of the group, the Four Fours. The transition to Human Instinct began in 1966 when Trevor Spitz, founding member of the Four Fours, decided to leave when the other group members wanted to embark on a trip to England to seek their fortune and fame.

Trevor was replaced by 19 year old Maurice Greer. Hailing from Palmerston North, Greer had formed his first band when he was 14, and two years later joined Manawatu's number one group, the Flares Show Band. In 1963 Greer and his brother Frank opened their own Palmerston North nightspot, the Flamingo, and the following year Maurice formed the Big Three with ex-Flares Peter Knowles on guitar and Trevor Harrison on bass. It was with Big Three that Greer first used a restructured drum kit, allowing him to play while standing, to allow him to better handle lead vocals.

In 1965 Greer formed the Saints, (not to be confused with the Christchurch Saints from 1962), with Doug Rowe on bass, Dave Hurley on guitar and Winston Cartelli on vocals. They played in the Manawatu area, but in order to get greater recognition they were soon gigging in Wellington, before moving up to Auckland, which is where Greer came to the attention of the Four Fours (...)


Talented, sexy, sophisticated, adventurous, dynamic, innovative -- just some of the many tags that have been been attached to The La De Das' name. But one word was always associated with them more than any other - the La De Das were cool.

Their career spans the entire '64-'75 period, and we're fortunate that the story has been been documented in considerable detail, by Glenn A. Baker, who interviewed the band members for his extensive liner notes to the definitive double album retrospective Rock'n'Roll Decade in 1981, and then by New Zealand rock historian John Dix, who devoted a entire chapter to them in his seminal 1988 book Stranded In Paradise.

Formed in New Zealand at the very start of the beat boom, they were already major stars at home when they relocated across the Tasman a couple of years later. They're practically the only major group (on either shore) to emerge from the beat boom of 1964-65 who managed to ride out the massive musical changes of the Sixties and adapt to the new scene in the Seventies, emerging as one of Australia's most popular hard rock groups during the first half of the Seventies.

There are a lot of similarities to their Aussie contemporaries The Masters Apprentices. Both were touted as their country's answer to The Rolling Stones. Both survived for so long in that mercurial era because they had tons of talent, determination and the ability to adapt their sound and look to align with prevailing trends. Both groups went through major personnel changes -- by the time the Masters split, singer Jim Keays was the only remaining original member, and by the time of their final 1973-74 'power trio' incarnation, only guitarist and singer Kevin Borich remained from the original La De Das lineup.

Like the Masters, they started off as blues/R&B purists, and their original style leaned heavily on British R&B practitioners - The Rolling Stones, The Yardbirds and John Mayall's Bluesbreakers - and on the American originals like John Lee Hooker, Elmore James and Muddy Waters. They moved into their 'mod' period - with covers of Ray Charles, Motown and Northern Soul favourites, replete with tartan trousers, satin shirts and buckle shoes. Then they plunged headlong into psychedelia (the obligatory concept album, covers of songs from West Coast outfits like Blues Magoos, paisley shirts, sitars, long hair and moustaches). They almost came unstuck after the inevitable -- and ultimately futile -- attempt to "make it in England". But it's here that the stories diverge -- the Masters fell apart in England in 1972, but the Las De Das survived (just) limped back to Australia, regrouped, and bounced back with a mature and reinvigorated take on their R&B roots. Their final incarnation as a hard-rockin', no-frills, blues & boogie band carried them very successfully through to the mid-70s.


SERGUEI - PSICODÉLICO - LP (1965 - 1971)

One of the most obscure and oldest rocker (in activitie) in Brazil. This was the most psichedelic and interesting music made in Brazil in the 60's. A mix between garage psych and tropicalia. Stay tuned to this one....


Hailing from Oporto, these boys in the silver suits named themselves Os Tártaros. Known as the carriers of the “new antiqúes”, they became famous for the crazy twist garage versions os traditional portuguese songs, making full use of echoes and reverb on their electric guitars. Songs like TARTARIA after deepest section of Dante’s Inferno, became their wildest sucess making every one in the theathers and carnival stomp their feet on the floor. They released four Ep’s, the tracks are all here together for the first time. Fully garage and surf stomps. This is the first portuguese garage band from the 60’s reissued in a LP. Making part of a collection PORTUGUESE GARAGE DAYS. This record is a most for every world garage collectors, includes all the tracks from the ultra rare ep’s of Os Tártaros.

Only 500 copies will be released…with insert with reproduction of the ep’s covers, unsee photos and full bio.

The Brazilian Bitles were one of the most prolific bands from the 60’s in Brazil. The released a lot of ep’s and a few lp’s also, recording more than 30 songs. Here we compiled the more garage ones, with a lot of fuzz and screaming vocals. Some of the tracks were from obscure and rare to find ep’s from the band. A real most for colectors of the south american garage.



This is one of the most obscure band from garage 60's of Brazil, band of Bruce Henry, later in Soma.They recorded only this album and one single "My Generation" (the who). This is a deluxe reiisue of psychedelic garage. They where from Rio de Janeiro and played regular at sevral lubs in Rio, makeing original music and covers also. They recorded other album that was never released.

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