Charly Records of England have the rights to the International Artistes catalogue and have issued at least 10 CDs.Each one comes with plenty to read and some nice graphics This CD is a limited edition of 3000 so it won't be around long In case anyone doesn't know this Texas label its full blooded psychedelia from the 60s
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8 of 9 people found the following review helpful
I WAS THERE WHEN25 Jan 2000
Travis K. Peoples
- Published on Amazon.com
Format: Audio CD
I HAVE HAD THIS ALBUM IN SOME FORM OR ANOTHER FOR OVER THIRTY YEARS. I GAVE IT 4 STARS BECAUSE ONE HAD TO BE THERE TO FULLY ENJOY THIS BAND TO ME THE ALBUM IS A 5 STAR. I NOW HAVE IT ON CD AND IT'S GREAT. ESPECIALLY THE LONG JAMMIN' STUFF. I SAW THE DRUMMER, STEVE ABOUT 9 YEARS BACK. AND HE DID'NT EVEN HAVE A COPY OF THE ALBUM AT THAT TIME, IF YOU LIKE GARGE BAND HEAD MUSIC OF THE 60's THIS IS A CLASSIC.
4 of 4 people found the following review helpful
Awesome Houston psych punk!5 Nov 2007
- Published on Amazon.com
Format: Audio CD
I wasn't lucky enough to be around at the time to see this band, like the other reviewer, but I would agree that this should be a five star item. So why did I also give it a four? I only did that because the sound quality, while not bad, is not of the highest re-master quality that I'm sure many people would expect after so many better labels have been putting out this genre in the last ten years or so. Collectables usually didn't have the greatest packaging jobs, either, and in this case they include a fold-out cover of the original album, but not much anything else. The music is another reason for a four. This only falls short of a five because the influence of their pals, the 13th FLOOR ELEVATORS, is more than obvious. They even attempt to use the water jug on an track that's not an ELEVATORS cover (though they do one of those as well). Aside from this, the album is fantastic. Could I say four and a half? Like the ELEVATORS, the LOST & FOUND came from the cool Texas psych scene that produced both the most raucous garage stomp and the most acid-drenched psychedelic ballads. You should check out a good sampling of this scene on the International Artists comp or the Houston Hallucinations comp. This album has ten tracks and is better than the majority of 60s underground reissued on Collectables over the years. For the cheap price I always see it listed here, I would totally recommend getting a copy.
1 of 1 people found the following review helpful
"The (So Far) Definitive Edition Of EVERYBODY'S HERE......"18 May 2014
John H. McCarthy
- Published on Amazon.com
Format: Audio CD
With the recent release of Lightning Hopkins' Free Form Patterns U.K.'s Charly Records have completed their Limited Edition Deluxe Digi-book Editions series of the International Artists album catalog. All have been remastered and housed in hardcover digi-books, some containing two or three CDs if enough bonus or rare material was available, and generous booklets featuring photos and memorabilia. Some of the bonus tracks throughout the releases can also be found on the Epitaph for a Legend compilation as well. There have been grumbles in some circles about the remastering, but for the time being these are the best bet out there. Besides this release, which was IA-3, the rest of the series includes The 13th FLOOR ELEVATORS 'The Psychedelic Sounds Of' (IA-1), RED CRAYOLA Parable of Arable Land (IA-2), GOLDEN DAWN [[ASIN:B001F2K5XY: Power Plant]] (IA-4), 13th FLOOR ELEVATORS Easter Everywhere (IA-5), Lightning Hopkins 'Free Form Patterns' (IA-6), RED KRAYOLA 'God Bless The Red Krayola And All Who Sail With It' (IA-7), 13th FLOOR ELEVATORS 'Live' (the only reissue not released as a digi-book, a remastered version can be found on The Albums Collection set (IA-8), 13th FLOOR ELEVATORS 'Bull of the Woods' (IA-9), BUBBLE PUPPY 'A Gathering Of Promises' (IA-10), Dave Allen 'Color Blind' (IA-11) and ENDLE St. CLOUD 'Thank You All Very Much' (IA-12). I plan to cover each release in this series, use the link to the next entry to follow the reviews.......
Formed in 1965 as The MISFITS (they should've copyrighted the name!), LOST AND FOUND was forged in the same rarefied Houston heat as THURSDAY'S CHILDREN and THE RED CRAYOLA, toiling in the same venues until their burgeoning popularity landed them gigs at the Texas town's top hot spots, La Maison and Love Street. They were also witnesses to the birth of the 13th FLOOR ELEVATORS at Austin's Jade Room, which made an indelible impression on their musical psyches. Like the ELEVATORS, the band (Peter Black-guitar, vocals, Jimmy Frost-lead guitar, James Harrell-bass & Steve Webb-drums) made their own Californian foray, but instead of influencing other bands, LOST AND FOUND soaked up the tight vocal harmonies and guitar jangle of their West Coast compadres. Welcomed back by their hometown fans during a Houston Living Eye Club residency, the band earned the distinction of being the first busted for LSD in Texas, saved only by the confusing or non-existent laws governing the mind-expander. The bust did result in the creation of the LOST AND FOUND handle, so they wouldn't be confused with those bad-boy MISFITS! Signed to International Artists, the resulting (and only) album, 'EVERYBODY'S HERE' once again beggars the question, what WERE those Texas boys breathin' down yonder? Another great slab of real psychdelica, it stands proudly alongside and holds it's own among the amazing quintet of International Artists' initial releases. The opening track "Forever Lasting Plastic Words" (sometimes mistaken as the album's title) shows off their West Coast harmony influences on it's paisley sleeve, somewhat reminiscent of MOBY GRAPE, followed by the Dylan-esque title-cut. A WHO-type intro ushers in "There Would be No Doubt," a track that would feel at home on 'A QUICK ONE.' A great cover of the ELEVATORS' "All Fall Down," precedes the first of two instrumentals, "Zig Zag Blues," probably an ode to the Summer Of Love necessity. A tip of the electric jug weaves through "Let Me Be," as does a propulsive Jack Cassidy-like bass. After the driving pop-psych of "I Realize" the band performs what's arguably the only stinker in the bunch, a corny two-step named "2 Stroke Blues." No amount of stroking can make this strange teen ballad explode. Luckily the band ends the original album's tune-stack with two climaxes, "I'm So Hip To Pain" features a truly psychedelic guitar duel between Black and Frost in it's tasty center, while the over seven minute album closer "Living Eye" takes us on an almost eight-mile journey. It's another impressive stew of 12-string psych, with shades of "I'm A Man" peeking through it's Byrds-eye journey......
Three bonus tracks round out the release, their final single "When Will You Come Through" b/w "Professor Black" and the outtake "25 MPH." The single's A-Side is a fuzzed out, bass heavy, distorted mess...meaning it's fantastic! It almost sounds like Jim Morrison fronting the ELECTRIC PRUNES, only better. The B-Side couldn't be any different, a piano based dirge with breathless vocals that alternates with manic choruses, injected throughout with a ghostly chorus and occasional bursts of stinging Cipolina-inspired guitar. "25 MPH' was first released on the 'Epitaph for a Legend' compilation. The punky acoustic guitar and bass demo has the singer counting through where the break would be, like Mal Evans' similar performance on THE BEATLES 'Anthology 2' version of "A Day In The Life." The band had the bad luck of completing their album around the same time as the ELEVATOR's 'Easter Everywhere,' and had it's release bumped so International Artists could promote their only (at that time) hit-making group. With absolutely no support coming from their record company, the band finally split up. Black and Harrell later played with 13thFE''s Stacy Sutherland and Danny Thomas to help them honor some dates. Both musicians ended up joining ENDLE ST. CLOUD, and when that band's run was over due to the eventual collapse of IA, drummer Webb came aboard for their next project, POTTER ST. CLOUD. If LOST AND FOUND were able to record another album, all three songs give us a tantalizing taste. More's the pity it was never to be.....
The sound quality of the album tracks is stellar for an International Artists recording, with great stereo separation. Since many of the original International Artists masters are long gone this is a bonus. the single tracks are a different story and must have been taken from a vinyl dub. The demo sounds better. The booklet is devoid of any mastering information. The hardcover digi-book packaging is beautiful and the full-colour disc replicates the album art. The bound-in booklet is made of heavy stock and contains the original Leland Rogers sleeve note, an eight-page appreciation by Mole of Shindig! Magazine, and a postscript from the 'zine's editor Jon "Mojo" Mills. 'EVERYBODY'S HERE' is another example of a classic album that actually lives up to it's hype and reputation, get it while you can......