The Travel Agency by The Travel Agency is a psychedelic pop/rock record from Los Angeles, a band formed in 1966. This, the band’s only album, produced by James Griffin, was released in December 1968. This is a criminally overlooked masterpiece — a raw, slightly punk-tinged psychedelic trip that stands out not only for its music but also for its striking visual presentation. The sleeve artwork, created by John Van Hamersveld, is without question one of the finest pieces of sixties album art in my collection. The music is engaging, dynamic and experimental, yet still melodic and thoughtfully written throughout. Some tracks carry a distinctly British folk influence, such as “So Much Love”, while others feel more urgent and hazy, fuelled by swirling psychedelic energy, like “What’s a Man” and “Make Love”. The variation across the album keeps it consistently fresh and unpredictable. If you ever get the chance to pick up this record, do not hesitate — it may well surprise you. Sadly, the band dissolved soon afterward and left no further classics behind. The album was largely overlooked upon release and remains seriously underrated to this day.

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Read MoreThe The – Soul Mining
Every time I play this record, it's like stepping into a time machine straight back to the mid-eighties. You've probably seen Ratatouille, where the grumpy food critic takes one bite and is instantly transported back to his childhood. That's exactly what this album does to me. Soul Mining was released in 1983. The following year I was doing my military service. I was standing in a record shop in Kristianstad, casually flipping through the vinyl bins, when a complete stranger said: "Have you heard The The?" - "What a ridiculous name for a band," I remember thinking. But the cover caught my eye. I bought it based on nothing more than a recommendation from someone whose face apparently looked trustworthy enough. What a purchase that turned out to be. If you've never heard This Is the Day, do yourself a favour. The strings, the deep, hypnotic bass, and above all the lyrics. The song moves along almost like a lullaby while quietly reminding you that, in the end, our memories are what hold our lives together. Sometimes life can look wonderful from the outside, while inside all you want to do is close the curtains, lie down on that old single bed again, and drift back to a time when—whether it's true or not—you remember yourself as being happier. The strange thing is how timeless the song feels. Today we tend to romanticise the eighties as a colourful decade full of optimism and endless possibilities. But when Soul Mining was released, it wasn't nostalgia—it was simply the present. Nobody knew what was waiting around the corner. As a vinyl record, this album ranks very high on my personal list. If you don't already own it, find a copy. As for me, I'm actually considering buying another copy. The copy I'm listening to right now sounds like frying bacon. But it's been with me for more than forty years, and every crackle reminds me that records are meant to be played, not locked away on a shelf. Long live Matt Johnson.
Read MoreThe Gun - GUN
The cover of The Gun’s debut album “Gun” from 1968 is truly striking. The intensely red, high-contrast and almost kaleidoscopic, gate of hell-artwork stands out clearly from much of what was released during that period. It feels surprisingly modern, almost reminiscent of graffiti or later graphic design, while not really revealing what to expect musically. When I first came across the record myself, it was the cover immediately caught my attention; it has a visual impact that sparks curiosity. The music then turns out to be just as multifaceted as the artwork suggests. The album is largely built around powerful riffs and an early form of hard rock energy, with Adrian Gurvitz’s guitar playing driving a strong sense of rawness and weight that often places the record in the category of early proto-metal. At the same time, clear psychedelic and experimental elements—including effects, dynamic shifts and sometimes surreal arrangements—break up the direct rock energy. What makes the album particularly interesting is its unusually ambitious production for a power trio. Several tracks feature brass, strings and more theatrical arrangements, giving it an unexpectedly large and almost cinematic feel. The record also moves freely between more pop-oriented songs, psychedelic excursions and heavier proto-metal passages, with tracks such as “Take Off” often highlighted for their more expansive and psychedelic structures. The overall result is a clear blend of British 60s pop sensibility and the emerging hard rock that would go on to dominate the early 1970s. Vocals, melodies and certain arrangements still carry traces of their time, while the guitars and energy point towards something far heavier and more explosive. So yes, definitely a album worthy recommendation.
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