Rolling Reissues 2015

Are starting to show up

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JELLYFISH’S BELLYBUTTON AND SPILT MILK,
TO BE REISSUED ON OMNIVORE
AS DELUXE TWO-CD SETS JANUARY 20, 2015
Remastered for first time,
and featuring a staggering 51 bonus tracks
LOS ANGELES, Calif. — Indie pop-rockers Jellyfish only released two albums in their short existence. Following Omnivore Recordings’ vinyl reissues of those titles in 2012, the Jellyfish Army has been reawakened and re-energized. Three never-before-available albums — Live at Bogart’s, Stack-a-Tracks, and Radio Jellyfish —helped keep the legacy alive.
The story now comes full circle with the expanded deluxe CD editions of Bellybutton and Spilt Milk, available from Omnivore on January 20, 2015 in North America.
Both titles have been expanded to two discs and include the original albums in their entirety fortified with a colossal 51 bonus tracks spread among the packages. With tracks from the demos to the albums to the tours, these releases are the ultimate Jellyfish experience.
Jellyfish’s 1994 debut, Bellybutton, has been remastered for the first time for the deluxe reissue. The full-length is joined on the first CD of the set by ten live performances recorded during that album’s tour. These tracks include Jellyfish originals, as well as covers of songs from Paul McCartney & Wings and The Archies. The second disc of the set is composed of demos — nine that would end up on Bellybutton and one eventually recorded for Spilt Milk, as well as others of which studio versions were never cut, and a cover of Donovan’s “Season of the Witch.” This disc will also be available digitally worldwide as The Bellybutton Demos on the same date.
The band’s follow-up, Spilt Milk, is also treated to a revelatory remastering, with the first disc adding eight demos of songs considered for, but not recorded for the release. The second disc contains demos for the album tracks, four live performances from the tour, the last studio recording from the band (a cover of Harry Nilsson’s “Think About Your Troubles”), and a special message from Jellyfish recorded in the studio during the album’s creation and originally sent to fan club members.
Both releases feature expanded artwork with photos and memorabilia. Essays from Ken Sharp (author of books on KISS, John Lennon & Yoko Ono, Eric Carmen and more) incorporate new interviews with Andy Sturmer, Roger Joseph Manning Jr., and Jason Falkner from Jellyfish, as well as the albums’ producers. Sturmer and Manning also provide track-by-track commentary on the original album tracks.
According to the band’s Roger Joseph Manning, Jr., “It's so great to have both albums remastered and available again. We know that the fans have been looking for the tracks that only appeared on a long out-of-print boxed set, so many of those outtakes, demos and live tracks have been added to make these expanded deluxe two-CD sets as comprehensive as possible.”
the Jellyfish trailer:
http://youtu.be/fIuJylga2FI

From Smog Veil:

hearpen.com has a new release this month: a season-appropriate reissue of Monster Walks The Winter Lake by David Thomas and the Wooden Birds. Here's what we know of it: This is the 2014 David Thomas revision of the original 1986 two track digital recordings. Nearly six hours worth of tape were reviewed to come up with the definitive version.

This album was recorded live in the studio to two-track digital tape at Suma on November 18, 20 and 21, 1985. No overdubs or drop-ins. If something went wrong then we started again. Fostex X-15 and Tascam 144 multitrack cassette recordings were used as real time accompaniments for Coffee Train, My Town, Monster Magee and Monster Thinks About The Good Days.
Some audio previews & more info:http://hearpen.com/hr181.html

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Oops out this month! Better news.

I got one more coming up on Acute, should be out in 2015. Probably the last one, at least for a longwhile.

Thanks Dan, please post info whenever's right!

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DAIS RECORDS TO RE-ISSUE
WILLIAM S. BURROUGHS
NOTHING HERE NOW BUT THE RECORDINGS

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In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard.

During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations.

By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as “Nothing Here Now but the Recordings”. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Dais Records is honored to have worked with the Estate of William S. Burroughs to finally reissue, for the first time since its original release in 1981, a proper album reissue of William S. Burroughs “Nothing Here Now but the Recordings” in its original vinyl format to celebrate the centennial anniversary of Burroughs. Fully remastered from the original master tapes in a limited edition of 1,000 vinyl copies.

Interview w Genesis P Orridge about this project
https://www.youtube.com/watch?v=1H3NCqEbgjU

Sorry, here's date

Available January 2015

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Lead Belly: The Smithsonian Folkways Collection
Lead Belly SFW40201

Lead Belly: The Smithsonian Folkways Collection, the first career-spanning box set dedicated to the American music icon, will be released on February 24, 2015.

Lead Belly is “the hard name of a harder man,” said Woody Guthrie of his friend and fellow American music icon who was born Huddie Ledbetter (c. 1888–1949). From the swamplands of Louisiana, the prisons of Texas, and the streets of New York City, Lead Belly and his music became cornerstones of American folk music and touchstones of African American cultural legacy.

With his 12-string Stella guitar, he sang out a cornucopia of songs that included his classics “The Midnight Special,” “Irene,” “The Bourgeois Blues,” and many more, which in turn have been covered by musical notables such as the Beach Boys, Creedence Clearwater Revival, Van Morrison, Nirvana, Odetta, Little Richard, Pete Seeger, Frank Sinatra and Tom Waits. Lead Belly: The Smithsonian Folkways Collection brings us the story of the man as well as the musician. 5 Discs, 108 tracks (16 unreleased), 5 hours of music, historic photos, extensive notes, and 140-page book. More info: http://www.folkways.si.edu/leadbelly

That link also has audio previews, incl to the prev. unreleased “Been So Long (Bellevue Hospital Blues).”

This was not my fave track on There's A Dream I've Been Saving..., but LHI/LITA junkies might wanna check his forthcoming Dreams and Images(Jan 13)

https://www.youtube.com/watch?v=C3NOBAYprRE

Press page, w bio & audio samples: http://lightintheattic.net/releases/1556-dreams-and-images

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DEFINITIVE COLLECTION OF STAX RECORDS’
SINGLES TO BE REISSUED

Two volumes, due out December 16, 2014
and Spring 2015, cover 1968-1975.

Volumes to be made available digitally for first time.
The Staple Singers with Booker T. & the MGs
LOS ANGELES, Calif. — Concord Music Group and Stax Records are proud to announce the digital release and physical reissue of two comprehensive box set titles: The Complete Stax/Volt Soul Singles, Vol. 2: 1968-1971 and The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975. Originally released in 1993 and 1994, respectively, these two compilations will be re-released back into the physical market in compact and sleek new packaging. Each set includes full-color booklets with in-depth essays by Stax historian and compilations co-producer Rob Bowman. The volumes feature stalwart Stax R&B artists including Isaac Hayes, the Staple Singers, Rufus Thomas, Johnnie Taylor, Carla Thomas, the Bar-Kays and William Bell, as well as bluesmen Little Milton, Albert King and Little Sonny, and “second generation” Stax hitmakers like Jean Knight, the Soul Children, Kim Weston, the Temprees, and Mel & Tim. Many of the tracks included in these collections will be made available digitally for the very first time.

The story of the great Memphis soul label Stax/Volt can be divided into two distinct eras: the period from 1959 through the beginning of 1968, when the company was distributed by Atlantic and was developing its influential sound and image (chronicled in acclaimed 9-CD box set The Complete Stax/Volt Singles 1959-1968, released by Atlantic in 1991); and the post-Atlantic years, from May 1968 through the end of 1975, when Stax/Volt began its transition from a small, down-home enterprise to a corporate soul powerhouse.
Eddie Floyd
In Stax’s early years as an independent label, founders Jim Stewart and Estelle Axton struggled with the loss of its back catalog to Atlantic/Warner Brothers Records and the loss of the label’s most lucrative artist, Otis Redding, who tragically died in a plane crash months before. In need of funding and new stars, Axton and Stewart sold the label to Gulf + Western, bringing on promotion head Al Bell (who would soon become an equal partner and major figurehead of the label). In his Vol. 2 essay, Rob Bowman recalls, “As the sun arose in Memphis on May 6, 1968 [the day Stax officially became independent of Atlantic], Stax had been essentially gutted. For all intents and purposes it was a new record company poised to issue its first few records.”
Comprised of nine CDs, Vol. 2 focuses on this period, 1968 through 1971, when Stax/Volt was forging ahead as its own entity. The 216-song collection includes all of the singles issued by the label during this time period, and features some of the biggest and best-loved hits of the day, including Isaac Hayes’ “Theme From Shaft,” The Staple Singers’ “Respect Yourself” and Johnnie Taylor’s “Who’s Making Love,” as well as a number of little-known gems by both major and less-familiar artists.
Eddie Floyd
By the end of 1971, Bowman notes, “Al Bell’s dream of [Stax/Volt] becoming a diversified full-line record company was several steps further along the line to being reality. The label now recorded a wealth of different styles and flavors of black popular music, ranging from the jazz and easy-listening proclivities of Isaac Hayes to the blues of Little Milton to the ’70s disco-infused vocal style of the Dramatics to the gutsy soul of the Staple Singers.” Indeed, the early 1970s found Stax/Volt a much bigger entity than ever thought possible during its initial split from Atlantic, with Isaac Hayes as its breakout star. Spurred by the success of Hayes’ GRAMMY Award-winning Shaft soundtrack in early 1972, the label was casting its net across a wide cross section of the entertainment industry, entering into new territory with soundtracks, comedy records, and even investing in a Broadway play. The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975, out coming Spring 2015, covers this era of success and excess, when Stax’s stars were shining bright, but the label was on the verge of its dramatic denouement. The 10-disc box set contains all 213 soul singles issued by Stax/Volt during this time, including such hits as Shirley Brown’s “Woman to Woman” and the Staple Singers’ “I’ll Take You There.
Shirley Brown
In 1976, faced with involuntary bankruptcy and an unsuccessful distribution deal with CBS Records, Stax was forced to close its doors. In his liner notes for Vol. 3, compilation co-producer Bill Belmont writes, “Stax’s difficult and inglorious end in no way diminishes its vital contributions to rhythm and blues and soul. Today, the music of Stax maintains a strong and steady presence, heard continually in cover versions by major artists, in movies and on television. Simply put, the Memphis Sound lives.” And indeed it does.
With a revival of the label in recent years, through Fantasy Records, the 2003 opening of the Stax Museum of American Soul Music in Memphis, Tenn., as well as several developing theatrical performances around the label, the music of Stax will continue to influence generations of musicians and fans alike.

# # #

For a complete track listing, as well as packaging shots and artist images, please visit our Online Media Kit: http://mediakits.concordmusicgroup.com/p/completestaxsingles/

Also Soundcloud: https://soundcloud.com/concordmusicgroup

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CAMPER VAN BEETHOVEN’S 2004 REUNION ALBUM,
NEW ROMAN TIMES, IS EXPANDED
AND REISSUED BY OMNIVORE
February 24, 2015 release to be available on CD, digital
and for the first time ever, LP.
Features new liner notes from band’s David Lowery.
LOS ANGELES, Calif. — Camper Van Beethoven, one of America’s premier indie rock bands since forming in 1983, reunited in 2000 following an inactive period from 1990-99, and seized the opportunity to record and release a pair of records (Camper van Beethoven Is Dead, Long Live Camper Van Beethoven; Tusk). But it was 2004’s New Roman Times that was the “official” document of the band’s reformation.
As David Lowery states in the liners for the New Roman Times reissue, that album was “the one that got all the press and fanfare. And it was a good thing, because it was an extremely ambitious record.”
Omnivore Recordings is proud to celebrate New Roman Times by presenting an expanded reissue on CD, Digital and double LP (with download card). Released in association with the band, and following in the footsteps of last year’s Omnivore reissues of Our Beloved Revolutionary Sweetheart and Key Lime Pie (both still available on CD and LP), New Roman Times features new artwork, extensive notes from Lowery and four previously unissued tracks culled from the sessions. Street date is February 24, 2015.
This definitive edition of Camper Van Beethoven’s “sci-fi alternate-reality rock opera” not only brings the fan favorite to vinyl for the first time, but expands and presents all formats in a way that proves these are indeed New Roman Times.
“New Roman Times is a sci-fi alternate-reality rock opera. It is intended as a political farce, a sarcastic commentary on the whole notion of a red state/blue state America. It is not directly a commentary on the Iraq war, although much of it reads that way,” Lowery explains in the liners.
“With tongue firmly in cheek, I created a world where the Christian Republic of Texas opportunistically intervenes in the Republic of California’s civil war. The story is told through the eyes of a young soldier in the Army of Texas. My sympathy lies more with the Republic of California, but as usual, I wanted to tell the story through the eyes of ‘the other,’ the Young Texan. I was torn. In real life, I was born in Texas but raised in California. So once again, it’s me doing battle with myself. All fiction is autobiographical . . . It was really fun to make this record. Once we had the concept, the record came together quickly. It was nearly effortless. It was like Camper Van Beethoven had not been dormant for 10 years.”
The band continues to perform and tour, often touring with Cracker (containing Lowery and for a time CVB member Victor Krummenacher). In 2005, the two bands launched an annual three-night “Campout” at Pappy and Harriet’s Pioneertown Palace in Pioneertown, Calif. The Campout has hosted appearances by Built to Spill, Neko Case, Magnolia Electric Company, and John Doe, as well as sets from the individual members of the band.
Track Listing:
1. Prelude
2. Sons of the New Golden West
3. 51-7
4. White Fluffy Clouds
5. That Gum You Like Is Back in Style
6. Might Makes Right
7. Militia Song
8. R ’N’ R Uzbekistan
9. Sons of the New Golden West (Reprise)
10. New Roman Times
11. The Poppies of Balmorhea
12. The Long Plastic Hallway
13. I Am Talking to This Flower
14. Come Out
15. Los Tigres Traficantes
16. I Hate This Part of Texas
17. Hippy Chix
18. Civil Disobedience
19. Discotheque CVB
20. Hey Brother
Previously Unissued Bonus Tracks:
21. Los Tigres Dub
22. Alien Ghost Song
23. It’s Gonna Rain
24. Might Makes Right Dub

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RON NAGLE’S BAD RICE ALBUM TO BE REISSUED
IN 2-CD COLLECTION BY OMNIVORE RECORDINGS
ON JANUARY 27, 2015
The San Francisco songwriter, musician and sculptor’s cult solo album,
with guests Ry Cooder and Sal Valentino.
Jack Nitzsche and Bay Area DJ Tom Donahue produced.

LOS ANGELES, Calif. — After a stint with San Francisco rock group the Mystery Trend in the mid-’60s, and before his later work with musical partner Scott Mathews (together known as Durocs), artist and maverick songsmith Ron Nagle made one, now legendary, solo album.
Released in 1970, Bad Rice remains a classic showcase for Nagle’s trademark blend of Stones-y raunch, Beach Boys lilt and Newman-esque black humor.
Now Bad Rice will be reissued — on CD for the first time — by Omnivore Recordings, in expanded form. The set includes alternative mixes and outtakes from the album, along with an entire second disc of 14 period demos drawn from the archives of Ron Nagle, as well as detailed liner notes by longtime Nagle observer Gene Sculatti, with new interviews and many previously unseen photos. Street date is January 27, 2015.
The record included guest appearances by Ry Cooder, and Sal Valentino of the Beau Brummels. It was produced and arranged by the legendary Jack Nitzsche (Phil Spector, Neil Young, Rolling Stones), along with Nagle’s mentor, legendary S.F. DJ Tom “Big Daddy” Donahue. Though released to great critical acclaim at the time, Bad Rice came and went without much impact. Those who trusted the roll that the white-hot Warner Bros. label was on at the time picked it up and have lauded the album’s unique song craft and picaresque character sketches ever since. Thus, the cult of Bad Rice came about.
A true renaissance man, Nagle has subsequently become one of the world’s foremost sculpture artists, winner of numerous awards and grants, while keeping a hand 
in music as a songwriter for others (Barbra Streisand, The Tubes, Sammy Hagar, Dave Edmunds, and Leo Kottke, among others). Additionally, Ron worked as a sound designer in film (Cat People, The Exorcist).
“How can you trust someone to be the least bit rational about a record that’s been the object of his unwavering affection for over 40 years?” asks annotator Sculatti in the set’s expansive liners. “Actually, there are plenty of folks just as untrustworthy as me. In the late ’90s, when Billboard magazine asked its readers which vinyl LPs they most wanted reissued on CD, Bad Rice topped the list. It showed up again in 2004 in the obscure-albums book Lost in the Grooves, which declared the album “a true original of Americana pop” and praised
 Ron Nagle’s ‘brilliant writer’s eye for the details of strange people’s lives and times.’

“A lot of us never stopped believing. We’ve clung to our battered copies of Warner Bros. WS 1902 all these years. But many potential fans were denied the pleasures of Bad
 Rice altogether. Until now.”
Disc One: Bad Rice
1. 61 Clay
2. Marijuana Hell
3.Frank’s Store
4. Party In L.A.
5. That’s What Friends Are For
6. Dolores
7. Capricorn Queen
8. Sister Cora
9. Somethin’s Gotta Give Now
10. Family Style
11. House Of Mandia
12. Berberlang
13. Francine
14. Frank’s Store (Alternate Mix)
15. Dolores (Alternate Mix)
16. Bad Rice Radio Spot 1
17. Bad Rice Radio Spot 2
Disc Two: Pre-Cooked / Converted: The Bad Rice Demos
1. From The Collection Of Dorothy Tate
2. 61 Clay
3. People Have Told Me
4. Out In The Hall

5. Showdown

6. Say My Name

7. Half As Much

8. Who You Gonna Tell
9. So Long Johnny
10. Sleep For Me
11. Rudy My Man
12. Wasted Paper
13. Alice Valentine
14. Saving It All Up For Larry
# # #
Watch (and feel free to post) the video trailer:
http://youtu.be/SQNJr_viD2A

Bad Rice has some the ugliest album art you wish you never saw.

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The Rough Guide To Psychedelic India
Various

Rough Guide, RGNET1332DD, 26 January 2015

Indian music was hugely influential on Western psychedelia and the feeling was mutual. On this mind-expanding Rough Guide, hallucinatory sounds drift in and out of drones and ragas, ranging from the lysergic sitar of Ananda Shankar and trippy Bollywood vibes of the 1970s to more recent concoctions by Sunday Driver and The Bombay Royale.

Compiled by: DJ Ritu

he first musical whispers of India’s burgeoning influence on Western popular music were heard in 1965 when The Beatles’ George Harrison added the sounds of a sitar to the Rubber Soul album track ‘Norwegian Wood (This Bird Has Flown)’. Soon everybody from The Yardbirds and The Rolling Stones to Sergio Mendes and The Byrds was reflecting an Indian influence. During these years in India, drug culture wasn’t flooding its shores, but the country was undergoing its own transformation – the 1960s saw the advent of a DIY garage band scene.

When compiling this Rough Guide, DJ Ritu cast her psychedelic net wide into the diaspora and the modern day. This album pays homage to the swinging 1960s history whilst forging the journey onwards into psychedelia’s present-day incarnations.

Beginning the mix was easy; Ritu knew instinctively Ananda Shankar’s ‘Dancing Drums’ was first on her list, the LP was a rare find, hotly desired on the Asian Underground scene. Other vintage finds on this album include R.D Burman’s Bollywood hit ‘Dum Maro Dum’ from the film Hare Rama Hare Krishna. In the film the protagonist, sung here by the inimitable Asha Bhosle, takes deep drags on a large chillum before dancing floppy limbed amidst a throng of her beatnik friends. ‘Dance Music’ is another throwback Bollywood number by brother composer duo Kalyanji & Anandji.

Other tracks on the album root the listener firmly back in the present day and launches into the music of India’s vast diaspora. Sunday Driver set out their Indian shades of influence against a backdrop of Sgt. Pepper-ish Victoriana. The Bombay Royale are an eleven-piece Australian band inspired by old school Bollywood soundtracks.
More introspective expressions come from Ray Spiegel Ensemble with their low tempo track ‘Moksha’. Paban Das Baul performs music of the Bauls, the wandering spiritual musicians of Bengal and is heard on ‘Kaliya’.

Lose yourself in this collection of far out sounds – soaring sitars, tremulous tabla, distorted deep-set drones and unbound improvisations, all twisted through a rock and roll edge.
https://soundcloud.com/world-music-network

Track List

01 Kalyanji & Anandji: Dance Music (Instrumental)
02 Ananda Shankar: Dancing Drums
03 Sunday Driver: Satyam Shivam sund4ram
04 The Bombay Royale: Bombay Twist
05 Simon Thacker's Svara-Kanti: Rakshasa
06 Tiger Blossom: Brishtir Pani
07 Asha Bhosle: Dum Maro Dum
08 Paban Das Baul: Kaliya
09 Jazz Thali: Chamber Of Dreams
10 Jyotsna Srikanth: Thillana
11 Ray Spiegel Ensemble: Moksha
12 Debashish Bhattacharya Feat. John McLaughlin: A Mystical Morning

Total Playing Time: 67:45

https://www.youtube.com/watch?v=qXBw2Y-K1lg#t=447

CD Available: February 2, 2015
LP Available: March 6, 2015

Every artist has a piece of work that niggles them—something that they wish they could redo, given the chance. It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again.

In 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident.

The singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars.

The trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed).

As part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael’s blessing and albeit with two CD-only bonus tracks. Andru notes, "Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. "It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says.

We’re loathe to disagree with him, but, well, why don’t you take a listen and decide for yourselves?

Contextualizing essay by Michael’s wife, Andru Chapman, featuring unseen archive photos
Remastered from the original tapes
LP housed in a deluxe Stoughton gatefold “tip-on” jacket
Color vinyl editions:
200 on “white" wax (LITA Vinyl Subscriber exclusive)
200 on “window clear” wax (LITA.net pre-orders exclusive, limit 2 per customer)

Also, there are two CD-only bonus tracks. Check all tracks here:
http://lightintheattic.net/releases/1569-window

Gee, I always really liked Window as it was... Interested to hear this though.

The Sunday Painters
In My Dreams
Whats Your Rupture/Terminal
LP available now

The Sunday Painters were wide-ranging DIY art-punks. Operating out of Wollongong, Australia in the early 80s, they seemed to want to be every band from the Velvet Underground to King Crimson to the Sex Pistols to Throbbing Gristle. And they wrote catchy, often beautiful, songs, the greatest of which are also commentaries on the costs of containing such multitudes.

But few people heard them. Wollongong was a working-class town, and the Painters had to make and distribute their three singles and two LPs in editions of 250 or 500 copies on their own Terminal Records. Combine that scarcity with their rapid shifts from pop to punk to industrial, and it’s easy to understand that anybody who even found the records might have been daunted by the vast claim of a band tethered just enough to London and New York to know what was afoot there, but sufficiently distant to go off on a marsupial evolution all their own.

The Sunday Painters were formed in late 1978 by Peter Raengel and Peter MacKinnon. Their first single, 1979’s Alternatives To Perfection, was a garage-DIY take on the Velvets. For their next single, 1980’s Painting By Numbers, they recorded a crunching, electro-punk cover of Bowie’s “Rebel Rebel” that got modest airplay on Sydney’s 2JJJ. Their final 7”, 1981’s Three Kinds Of Escapism, led with “Let’$ Be Moderne,” which combined wistful backing vocals by bassist Kerrie Erwin, a spiky “post-modernist guitar solo,” and a steelworker’s metallic bashing to create a snappy, industrial pop-punk classic.

Now, Whats Your Rupture (Parquet Courts, Royal Headache), in partnership with Terminal Records, is thrilled to release an LP compilation of the Painters’ three DIY singles. Transferred from the original reels and remastered. Included are an oversized, newsprint poster and a download code for the LP’s tracks, plus nine more from the handmade cassette of a 1983 show recorded live at Melbourne’s Venetian Room.

In the spring of 2015, Whats Your Rupture and Terminal will reissue the Painters’ two albums: Something To Do (1982), and 4th Annual Report (recorded 1983, released 1985).

For fans of the Homosexuals, Total Control, SPK, Swell Maps

Streamable audio here:

http://noisey.vice.com/en_au/blog/stream-the-of-the-sunday-painters-early-80s-diy-punk

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There's a remastered version of Joe Byrd and The Field Hippies lp The Metaphysical Circus coming at the end of March on Esoteric.
I think there was a cd reissue in the mid 90s on One Way but haven't heard of anything since.
I had seen somebody mention listening to the lp recently and wondered if anybody would get around to remaster/reissue it since United States of America seems popular. It changes somewhat from that earlier project, lacks female vocals as far as I recall.
I think there's an almost complete change in lineup, but USA seemed not to be a stable unit anyway. I think there are 3 lineups including bonus tracks on a cd version I have covering about a 9 month period.

Bridget St John has a 4cd set of her 3 Dandelion lps & some BBC sessions released in February. I know there were individual releases of the lps about a decade back. I'm not sure if these are those masters or not. The set is listed on the Cherry Red site at £13.95 and may be cheaper elsewhere.
Her voice has been likened to Nico and she mined a similar individualistic semiacoustic quasi-folk area to people like Nick Drake, John Martyn, Duncan Browne, Shelagh McDonald etc.

There is also word of the release of a box set called Another Splash of Colour. This is an expansion of the early 80s various artists set A Splash Of Colour which celebrated the Groovy Cellar/Groovy Movie wave of new psychedelia. This was a progression for a lot of bands who'd got together as mod revival or punk bands in the late 70s/early 80s.
There has been no tracklisting released yet but it's 3cds on Cherry Red. So if it does contain the complete original lp there's still 2.5cds to fill.

Sumdazed found a more complete set of tapes for the Shadows of Knight's 66 Live at The Cellar set so are releasing that this month. It has allowed them to correct the tracklist order to the sequence the songs were performed in. It's also further remastered, as finding better tapes would hopefully mean.

Sundazed also have a live '66 Standells set out this month.

Wish somebody'd find some similar era live Chocolate Watchband recordings

There's female vocals on the Field Hippies lp.

Right, it's just that it isn't Dorothy Moscovitz's great voice. Are they anywhere near as good?
& what do you think of the lp?

It's definitely seeker and more wonky but has some great stuff. I think there's a song or two that stick with me. The one w female vocals moon song pelog or something? I'm not at my computer now. Pretty Balinese tinged soft psychedelia type stuff.

veddy interesting wiki (wonder who wrote it)claiming that fans of United States of America's s/t and Joe Byrd and the Field Hippies' American Metaphysical Circus often much preferred one album to the other, and that the latter album was much more popular, remaining in catalogue for 20 years, 'til the late 80s, then as CD on '96, while The USA was cut out soon after its release (eventually also on CD a couple times: the 2004 edition has several bonus tracks, according to wiki). I've only heard the original United Stated of America(which also includes a track titled "The American Metaphysical Circus"), and liked it very well especially the xpost soft psychedelia, like "Love Song For The Dead Che." A variety of approaches, not all of them equally successful, but good tries, and Moskowitz sounds ready for it all. Would like to hear the Field Hippies too: http://en.wikipedia.org/wiki/The_American_Metaphysical_Circus
Stevo, thanks for word on the Sunday Painters reissue series, and St. John's; heard some great tracks at the dawn of the acid folk 00s, but still need to check out her albums

that opening suite on the field hippies album almost reaches the heights of the usa in my opinion, but after that it gets a lot more spotty (the nadir being leisure world). the sundazed reissue of the usa stuff pretty much definitive, though i read an interview recently that byrd wasn't particularly happy with it and had little involvement outside of penning some liners (given the inclusion of some of the post-byrd tracks, maybe understandable).

i do remember the field hippies got a cd reissue maybe a decade ago. any added tracks on the esoteric? don't imagine there's much in the way of extra material in the vaults compared to the stuff that was added to the usa reissue, but who knows...

listening again now, Joe Byrd album is mostly as good as United States of America, I can see why some might prefer it even. Plenty of female vocals throughout.

https://www.youtube.com/watch?v=Vv-l5ByrLAQ

Didn't see any bonus tracks. The listing is up on the Cherry Red site, doesn't look like the Esoteric site isn't being updated recently.
There was a 2007 remastered reissue on Acadia that I didn't hear about. I liked that label too they reissued Grunt label stuff as well as other SF related material. My copy of the Mendocino lp was from them, &they did the initial Kaleidoscope 3cd Pulsating Dream set I think, which somebody else is now doing very cheaply. I think the label folded but could be wrong.

Caution: Approaching Drag City Prose

FM ST. JUDE'S APOCALYPSE NOW

My sweet lord, do we have a discovery for yer heads out there far and wide! Not long after the resurrection of the singular glam/genius platter intentionally known as Here Am I, a dark and mystic carrion pigeon touched down on our window still. It flew at the bidding of cult icon/living legend Frederick Michael St. Jude, hipping us to another piece of his late 20th-century Ren-Man puzzle in but two words: GANG WAR. Whuh? Yuh! GANG WAR. Derived from a storm of pure inspiration, this 13-song journey into our (let's face it) bleak future came together quickly when it first struck FM St. Jude in 1982. Based on one song's epic vision, Gang War was a prophecy of destruction that promised great things.

FM St. Jude's musical conceit for Gang War formed a synthesis of different rock styles then in vogue, played expertly by studio pros capable of generating the sound of the radio in all its forms. Marinated in the reverberations of Rush, ELP, Styx, Journey, Halen, and yes, even the mighty Zep, FM and the band are remarkably supple, providing each mood in their rock opera with a musical style to match it. Atop these divergent sounds FM's emotes with expert theatricality, evoking the depth of Bowie, Ferry, Plant, Pop, the Ians (Gillian and Hunter) - basically, all the great lead singers of the day. This powerful combination leant itself well to a grim vision of the near future, a time in which chaos and despair and GANGS rule over the country!

Gang War was a prophetic vision of a place that we're only getting to TODAY. In fact, this vision belongs more to now than it does to the early 80s. The age of the warlord is coming again, the era of niche consciousness, the dark internet, of having only very good neighborhoods and very bad ones in our global village. We have to be careful. And how better to trumpet the coming of this time of crime than with the vitriolic rebellion found in all the stadium-rock choruses spread throughout FM St. Jude's masterpiece, Gang War? Gang War drops exclusively into your compact disc players on March 24th! And dead technologies will rise again....

Thin Lizzy Reissues Continue on Light In The Attic

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Thin Lizzy’s second album (out Feb. 10)is a nod to the past: Shades Of A Blue Orphanage were former outfits of two of the band’s members, their names combined to create an oddly evocative image–especially when combined with a sepia-tinted image cover of three small, shoeless children intended to represent vocalist Phil Lynott, guitarist Eric Bell, and drummer Brian Downey.

Looking back is a common theme of the LP. The soft, sensitive “Sarah" was written for Phil Lynott’s grandmother who raised him in lieu of his absent mother. It’s an album that challenges your perceptions about a group you think you have nailed down through future singles “Jailbreak," “The Boys Are Back In Town,” and “Whisky In The Jar.”

Here, “I Don’t Want To Forget How To Jive” sees the band try their hand at rockabilly, and “Chatting Today” evokes the emotive performances of Richie Havens. As a whole, Shades Of A Blue Orphanage presents a version of the band that places its foundations beyond the hard rock for which the group are famous. The preposterously titled “The Rise And Dear Demise Of The Funky Nomadic Tribes,” which opens the LP, epitomizes this, including tribal beats, funky guitars, and Lynott singing in full soul-power mode. It’s begging to be sampled, like the group’s contemporary–but incognito–work as Funky Junction, under which name they released Funky Junction Play A Tribute To Deep Purple the same year.

Those who prefer Thin Lizzy in more recognizable form will find things to love, too: “Buffalo Gal” is as restrained as a song with an insistent, descending riff could ever be, and “Call The Police” is a bluesy swagger that shows off Lynott’s talent for describing life on the gritty streets of the Republic Of Ireland’s much-romanticized capital city. The record culminates in the world-weary title track with a chorus that cuts straight to the bone: “It’s true blue, Irish blue.”

Released in 1972, just three years after the band formed in Dublin, it’s fair to say that Shades Of A Blue Orphanage represents a group on the move, still finding their feet, and possibly bending to the will of a record label who didn’t quite know what to do with a multiracial, multi-faith rock band from a sectarian country. Sales of the their debut album, Thin Lizzy, had been poor, and Shades Of A Blue Orphanage wasn’t the one to turn their fortunes around. Still, it’s fascinating listening for even those with a passing interest in their history.

sample all tracks here: http://lightintheattic.net/releases/1593-shades-of-a-blue-orphanage

24 bit / 96 kHz remaster from the original tapes

180-gram LP housed in a deluxe gatefold “Tip-On” jacket

Book-deep liner notes and rare archival photos

Formats:

Single LP of just “Shades Of A Blue Orphanage”

2 LP Bundle includes both new Thin Lizzy LPs “Shades Of A Blue Orphanage” and “Vagabonds Of The Western World”

3 LP Bundle includes both new Thin Lizzy LPs “Shades Of A Blue Orphanage”, “Vagabonds Of The Western World”, and Thin Lizzy’s Self Titled LP

Seismic shifts happened between the previous year’s Shades Of A Blue Orphanage and 1973’s Vagabonds Of The Western World (both out February 10).

Frontman Phil Lynott was still documenting working class life in the group’s native Dublin, and the band still featured guitarist Eric Bell and drummer Brian Downey, even if Bell was soon to leave; the shift was in the feel of the album. Between Jim Fitzpatrick’s lurid album cover which depicted the band in space, the new, hot-rod-like Thin Lizzy logo, and Lynott’s newly throaty howl, it’s possibly the first Thin Lizzy album on which they truly could be described as a hard rock band.

Vagabonds presented a swaggering confidence, a band buoyed by the success of semi-accidental smash hit “Whisky In The Jar,” and carved out a moody, dark sound by borrowing bits from the blues, folk, psych, and Celtic music. Check out “Slow Blues” for proof, and decide whether Lynott or the guitars win the wail-off that begins the track.

“Whisky In The Jar” had been a bone of contention for the band who felt it didn’t represent them. Pushed out due to their presence on package tours with rockers Slade and Suzi Quatro, it seemed to seal their fate, and their Vagabonds single, “The Rocker,” set out their stall for good.

The weirdness and idiosyncracies of Phil Lynott’s early songwriting hadn’t been ironed out completely: “The Hero And The Madman” saw them try their hand at acid-fried cowboy rock–if such a thing ever existed.

After the album, and after Bell’s departure due to ill health and disillusionment with the music industry, Thin Lizzy were reinvented once again. Lynott recruited two guitarists and the band left Decca to record Nightlife for Phonogram.

Their big hits and glory years–beginning with 1976’s Jailbreak–were still ahead of them, but, with Vagabonds as a centerpiece, Thin Lizzy’s early years left behind a cabinet of curiosities.
sample all tracks here: http://lightintheattic.net/releases/1594-vagabonds-of-the-western-world

24 bit / 96 kHz remaster from the original tapes

180-gram LP housed in a deluxe gatefold “Tip-On” jacket

Book-deep liner notes and rare archival photos
(see above for multiple-LP etc bundles)

I love that 3piece Lizzy stuff. I bought the expanded cds 3years ago or whenever that was. They came with a lot of BBC material, sessions + live. Plus singles and demoes.
Did those 2cd versions go OOP again? I didnt get around to completing the set of later ones. Never see them in the racks now, maybe its just where I live.
Incidentally there was at least one unrecorded lineup after Bell left. There are boots from a tour with John du Cann of Atomic Rooster/ Attack/Hard Stuff on guitar.

has anyone mentioned this one?

http://www.uncut.co.uk/ronnie-lanes-slim-chance-ooh-la-la-an-island-harvest-review

Did that come out a few months back, I have it if it is that one and it's pretty good I guess.

I'm really excited about more people hearing one of my huge discoveries last year.
http://www.paradiseofbachelors.com/pob-18
An understated Colorado country rock gem, unknown and unloved since its release 35 years ago. It’s bound to get the audience it deserves this May, however, thanks to a reissue from the Paradise of Bachelors label. Blending the dusty acoustic rambles of the Dead circa 1970, the world weary ache of White Light-era Gene Clark and Knight’s own brand of faded Americana, the ten tracks here offer up a shot of pure, private press pleasure. While the pedal steel and warm backing vocals are as lovely as a Rocky Mountain sunrise, there’s an intensity and melancholy seared into every moment here.
- Tyler Wilcox, Aquarium Drunkard
I could not better express how intimate this record is.

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STEVE HOWE CURATES NEW SOLO ANTHOLOGY

Two-Disc Collection Spotlights The Acclaimed Guitarist's Solo Career
With 33 Tracks And Will Be Available March 10 From Rhino

Howe Will Launch The "Anthology Tour" In April

LOS ANGELES - Guitarist Steve Howe played an integral role in shaping the sound of Yes and Asia, two of the world's most beloved and successful progressive rock bands. The gifted guitarist has also enjoyed a long and prolific career as a solo artist with more than a dozen studio albums to his credit.

Howe has handpicked 33 tracks from his vast and varied discography for ANTHOLOGY, a new retrospective drawing primarily from the studio albums he recorded between 1975 and 2011. The collection will be available as a two-CD set on March 10 for a suggested list price of $24.98. The compilation will also be available digitally.

On April 1, Howe will launch his "Anthology Tour," which will feature performances of many of the tracks heard on this new collection. A dozen shows in the U.K. have already been confirmed (see dates below) and additional performances are due to be announced soon.

Throughout his career as a solo artist, Howe has demonstrated time and again his vast stylistic range, much like one of his guitar inspirations, Chet Atkins. ANTHOLOGY maps his musical journey across 36 years, 16 albums, and countless genres. The collection provides an enlightening showcase for Howe's six-string prowess on songs like "Pennants," "The Collector," "Maiden Voyage" (one of many featuring his son Dylan on drums), "Curls & Swirls," and "King's Ransom" from his 2011 album Time. The collection also includes covers of two Bob Dylan songs ("Just Like A Woman" and "Buckets Of Rain") from Howe's 1999 album Portraits of Bob Dylan. Also featured are several cuts from Motif - Volume 1 , a compilation from 2008 that features re-recorded versions of some of Howe's classic work, like "Devon Blue" and "Diary Of A Man Who Vanished," a song that first appeared on The Steve Howe Album (1979).

In addition to selections from his studio albums, ANTHOLOGY also includes tracks from a pair of compilation albums. The first is "Sharp On Attack" from 1988's Guitar Speak, which featured various guitarists. The other is the flamenco-flavored track "Mood For A Day," one of Howe's signature songs with Yes. The version included here is taken from the 1993 album, Symphonic Music of Yes, which features Howe and the English Chamber Orchestra.

For more information about ANTHOLOGY, please contact Jessica Giordano in the Rhino Media Relations Department at jess✧✧✧.giord✧✧✧@rh✧✧✧.c✧✧ or 818-238-6403.

Anthology
Track Listing
Disc One
1. "So Bad"
2. "Lost Symphony"
3. "Pleasure Stole The Night"
4. "Pennants"
5. "Look Over Your Shoulder"
6. "Surface Tension"
7. "Sensitive Chaos"
8. "Running The Human Race"
9. "Desire Comes First"
10. "Luck Of The Draw"
11. "Maiden Voyage"
12. "Walk Don't Run"
13. "Momenta"
14. "The Collector"
15. "Just Like A Woman"
16. "Buckets of Rain"
Disc Two
1. "Distant Seas"
2. "Curls & Swirls"
3. "Meridan Strings"
4. "Simplication"
5. "Rising Sun"
6. "Westwinds"
7. "Ultra Definition"
8. "Ebb And Flow"
9. "Dorothy"
10. "Sketches In The Sun"
11. "Diary Of A Man Who Vanished"
12. "Devon Blue"
13. "King's Ransom"
14. "Bachians Brasileiras No. 5 (Aria)"
15. "Beginnings"
16. "Mood For A Day" - with The English Chamber Orchestra
17. "Sharp On Attack"

Steve Howe: The Anthology Tour
April

1 Buxton Opera House
2 The Town Hall
7 The Stables
9 Croydon
10 St John's Church
14 Manchester
15 The Brindley
16 The Robin 2
18 St. Donats
19 London
24 The Quay Theatre
25 Bristol Colston Hall

Selby
Milton Keynes
Arnhem Gallery
Farnham
Gorilla
Halton
Wolvehampton
Wales
The Jazz Cafe
Suffolk
The Lantem

©2015 Rhino Entertainment

they should have titled it howe redundant

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JEALOUS BUTCHER RECORDS IS SET TO RELEASE THE REISSUE OF RED RED MEAT'S BUNNY GETS PAID ON APRIL 28, 2015.

*CUT AS A DOUBLE LP FOR INCREASED FIDELITY
*CONTAINS EIGHT ADDITIONAL TRACKS, TWO HEARD HERE FOR THE FIRST TIME
* ALBUM ARTWORK IS RE-IMAGINED BY ARTIST RACHEL BLUMBERG
Listen & Share these fine, fine remastered Bunny Gets Paid tracks:
http://jealousbutcher.com/JB117_Press/01%20Carpet%20Of%20Horses.mp3
http://jealousbutcher.com/JB117_Press/02%20Chain%20Chain%20Chain.mp3

TRACKLISTING:

SIDE A
1. CARPET OF HORSES
2. CHAIN CHAIN CHAIN
3. ROSEWOOD, WAX, VOLTZ + GLITTER
4. BUTTERED
5. GAUZE

SIDE B
6. IDIOT SON
7. VARIATIONS ON NADIA'S THEME
8. OXTAIL
9. SAD CADILLAC

SIDE C
10. TAXIDERMY BLUES IN REVERSE
11. THERE'S ALWAYS TOMORROW
additional material:
12. MOUSE-ISH (DUB MIX) (bonus)
13. GUN (bonus - previously unreleased)
14. WORDS (bonus)

SIDE D
15. CHAIN CHAIN CHAIN (4-TRACK DEMO) (bonus)
16. IDIOT SON (CLEVERSLEY VERSION) (bonus - previously unreleased)
17. CARPET OF HORSES (CLEVERSLEY VERSION) (bonus)
18. SAINT ANTHONY'S JAWBONE (bonus)
19. WISHING (IF I HAD A PHOTOGRAPH OF YOU) (bonus)

Bunny Gets Paid is the second installment in Portland, OR label Jealous Butcher Records' year-long vinyl reissue campaign for Chicago's Red Red Meat. All of their Sub Pop albums--There's A Star Above The Manger Tonight, Bunny Gets Paid and Jimmywine Majestic--are being remastered and re-cut as double LPs. Each record will contain a selection of period-specific bonus tracks, outtakes, and singles: at the very least, there will be an additional side of music per album.

The original artwork for each album will be handed over to a new artist to be re-envisioned as they see \u001Ffit--Bunny Gets Paid's artwork has been re-imagined here by Portland, Oregon's Rachel Blumberg (a musician/composer, visual artist, film maker, and educator, known for her work drumming with The Decemberists, M. Ward, Bright Eyes, She and Him, Tara Jane O'Neil, Jolie Holland and many more). John Herndon - amazing tattoo artist and drummer for Tortoise - handled the re-imagined artwork for There's A Star Above The Manger Tonight (hit me up if you'd like to write about that one as well).

At the end of the vinyl reissuing campaign, Jealous Butcher will also be releasing Red Red Meat's debut album, for the first time both digitally and as an ultra-limited LP (150 copies) as well as part of an even more ultra super limited (100 copies) career-spanning eight-LP book containing the band's entire recorded catalog.

This eight-LP book will be limited to 100 copies, will be hand-assembled in Portland, Oregon, numbered (of course), and each LP will be pressed on a limited colored vinyl that is being made specifically for the book. They might even throw in a bonus ninth LP of live material! Downloads of the material will be made available at the time each album is released, with the book and all records delivered once the series is complete (ETA Fall 2015).

But, that's not all! Along with all of this amazing vinyl, both limited and otherwise, there will be a collection of posters designed and printed by various amazing screen printers around the country, as well as a limited collection of posters, photos and art from the time the band was originally active. On top of that, they will be selling original paintings & drawings of the newly-created album art coupled with exclusive colored vinyl.

To help Jealous Butcher bring this amazing collection of items to the public, they will be partnering with the folks at PledgeMusic. PledgeMusic are the perfect partner to bring people an extraordinary, behind the scenes view into Jealous Butcher and Red Red Meat's process as they dig through boxes, scour closets, and pour through the archives searching for lost treasures for this project.

Chicago rock ensemble Red Red Meat hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes.

Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience.

“At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.”

“I think it was about testing the melody, how strong a melody was,” Rutilli says. “It was loving pop music and classic rock songs, but also loving noise…the slow burn of actual sound.”

Drummer Brian Deck, who’d go on to work on records by Modest Mouse, The Fruit Bats, Iron and Wine, and others, recalls the band’s 1995 Sub Pop debut, Jimmywine Majestic, making “this promise of a rock revivalist band.” With Bunny Gets Paid, the band “went in a different direction from that.”

“To a certain extent we were just punk asses,” Deck says. “We wanted to do what wasn’t expected of us. We wanted to do something new.”

The record features some of Red Red Meat’s best-loved songs. Opener “Carpet of Horses” pulses with restrained energy under a pastoral shuffle, while “Chain Chain Chain” imagines RRM as a pop act, with crashing drum fills and a surging chorus. “Gauze” sits in the middle of the record, a gorgeous droning ballad with languid guitars that give way to the band’s most anthemic chorus. The record closes with a reading of “There’s Always Tomorrow,” as featured in the Rankin/Bass Christmas special Rudolph the Red-Nosed Reindeer, and the song fits magically and without irony, a downcast but hopeful sentiment.

“They were ahead of the time,” producer Brad Wood says. “People say that about bands all the time, but it certainly felt that way to me with this particular band.”

“As Red Red Meat progressed you see them abandoning traditional song forms, experimenting with the sounds of things -- basing songs on sounds and grooves,” Wood says. “More than just about any band I ever worked with, Red Red Meat digested their influences.” On Bunny Gets Paid, blues and classic rock and roll sounds are transmuted; the record is the sound Red Red Meat finding unique creative footing.

Two new Soul Jazz comps of Akron & CLE 45s, lookin goood: http://pitchfork.com/reviews/albums/20188-punk-45-extermination-nights-in-the-sixth-city-punk-45-burn-rubber-city-burn/ Think I like The Numbers Band better than he does, and some other differences, but information-wise very appealing.

They're both very good, with the Akron comp being a bit more satisfying (more pop, less punk).

Soul Jazz has a ltd. ed. 45s series too, with several New Orleans rarities next up.

Meanwhile:

Red House Painters Boxset Released In April
All Albums Back In Print After 20+ Years
1500 Numbered Copies Worldwide
Red House Painters

This April 4AD will release Red House Painters, an LP boxset containing Red House Painters' celebrated output for the label. It will be available on Record Store Day (worldwide ex. USA), and 21st April in USA.

Strictly limited to just 1500 numbered copies worldwide, Red House Painters contains the band’s first four albums, originally released between 1992 and 1995 - Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” to also include the Shock Me EP).

All details, including tracklisting, available here.
Red House Painters - Down Colorful Hill - CAD 3408
A1. 24
A2. Medicine Bottle
A3. Japanese To English
B1. Down Colorful Hill
B2. Lord Kill The Pain
B3. Michael

Red House Painters - Red House Painters - CAD 3409
A1. Grace Cathedral Park
A2. Down Through
A3. Katy Song
A4. Mistress
B1. Things Mean A Lot
B2. Funhouse
B3. Take Me Out
B4. Rollercoaster
C1. New Jersey
C2. Dragonflies
C3. Mistress (Piano Version)
D1. Mother
D2. Strawberry Hill
D3. Brown Eyes

Red House Painters - Red House Painters - CAD 3410
A1. Evil
A2. Bubble
A3. I Am A Rock
A4. Helicopter
B1. New Jersey
B2. Uncle Joe
B3. Blindfold
B4. Star Spangled Banner

Red House Painters - Red House Painters - CAD 3411
A1. Cabezon
A2. Summer Dress
A3. San Geronimo
A4. Shadows
B1. Over My Head
B2. Red Carpet
B3. Brockwell Park
B4. Moments
C1. Long Distance Runaround
C2. Drop
C3. Brockwell Park (Part Two)
D1. Shock Me

https://www.youtube.com/watch?v=dFRlqdzeTx8

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BEE GEES: 1974-1979

Five-Disc Set Includes Four Studio Albums, Plus A Bonus Disc Featuring Hits
From The Saturday Night Fever Soundtrack, Plus Rare B-Sides And Outtakes

Available From Reprise On March 24

LOS ANGELES - The Bee Gees rank among the most successful pop groups of all time and have earned every music-industry award imaginable. They are members of both The Rock and Roll Hall of Fame and Songwriters Hall of Fame, winners of seven Grammy® Awards, and were presented with The Recording Academy's prestigious Lifetime Achievement Award this year.

After setting the standard for pop harmonies in the Sixties, brothers Barry, Robin and Maurice Gibb rose to even greater heights during the Seventies with a long string of hits that drew upon their shared love for R&B.

The group's transformation into a global phenomenon is retraced with a five-disc collection that includes four of the Bee Gee's studio albums, along with a selection of songs from the multi-Grammy-winning soundtrack to Saturday Night Fever (1977), plus b-sides and outtakes from that era. Presented in a clamshell box, BEE GEES: 1974-1979 will be available March 24 for a suggested list price of $44.98. The set will also be available digitally.

The collection begins with the group's 12th album, Mr. Natural (1974), the first of many the Bee Gees would record with Grammy-winning producer Arif Mardin. Among the highlights are the soulful "Throw A Penny" and the power ballad "Charade." The group returned a year later with Main Course (1975), which featured the #1 smash "Jive Talkin'" and the hits "Nights On Broadway" and "Fanny (Be Tender With My Love)." Certified double platinum, the album cracked the Billboard Top 20 and remained on the charts for 74 weeks.

The group's 14th album Children of the World (1976) rose even higher on the Billboard album chart, peaking at #8, and earning platinum certification. Produced by the band, the album featured several hits: "You Should Be Dancing" (#1), "Love So Right" (#3) and "Boogie Child" (#12).

The Bee Gees began recording music for a follow-up album, but ultimately many of those songs would appear on the soundtrack to Saturday Night Fever, which spent 24 weeks at #1 and sold more than 15 million copies in the U.S. alone. A selection of the group's soundtrack contributions appear here on a bonus disc dubbed "The Miami Years." Also featured on this disc are several b-sides - "It Doesn't Matter Much To Me" and "Rest Your Love On Me" - along with a number of other tracks from the era, including "Emotion," "Warm Ride" and "(Our Love) Don't Throw It All Away," making the collection a complete look at the trio's output during these years.

The final studio album included in BEE GEES: 1974-1979 is Spirits Having Flown (1979). It reached #1 on the album charts in America, Australia and throughout Europe, was certified 4x platinum in the U.S., and spawned three #1 singles: "Too Much Heaven," "Tragedy" and "Love You Inside Out." Those three chart toppers completed an uninterrupted run of six consecutive #1 hits, a feat that matched a record set by the Beatles in the early Sixties.

THE BEE GEES: 1974-1979
Track Listing

Mr. Natural (1974)
1. "Charade"
2. "Throw A Penny"
3. "Down The Road"
4. "Voices"
5. "Give A Hand, Take A Hand"
6. "Dogs"
7. "Mr. Natural"
8. "Lost In Your Love"
9. "I Can't Let You Go"
10. "Heavy Breathing"
11. "Had A Lot Of Love Last Night" Spirits Having Flown (1979)
1. "Tragedy"
2. "Too Much Heaven"
3. "Love You Inside Out"
4. "Reaching Out"
5. "Spirits (Having Flown)"
6. "Search, Find"
7. "Stop (Think Again)"
8. "Living Together"
9. "I'm Satisfied"
10. "Until"
Main Course (1975)
1. "Nights On Broadway"
2. "Jive Talkin'"
3. "Wind Of Change"
4. "Songbird"
5. "Fanny (Be Tender With My Love):
6. "All This Making Love"
7. "Country Lanes"
8. "Come On Over"
9. "Edge Of The Universe"
10. "Baby As You Turn Away"
The Miami Years (Bonus Disc)
1. "Stayin' Alive"
2. "How Deep Is Your Love"
3. "Night Fever"
4. "More Than A Woman"
5. "Emotion"
6. "Warm Ride"
7. "(Our Love) Don't Throw It All Away"
8. "If I Can't Have You"
9. "Rest Your Love On Me"
10. "It Doesn't Matter Much To Me"
11. "Stayin' Alive" (Promo 12" Version)
Children of the World (1976)
1. "You Should Be Dancing"
2. "You Stepped Into My Life"
3. "Love So Right"
4. "Lovers"
5. "Can't Keep A Good Man Down"
6. "Boogie Child"
7. "Love Me"
8. "Subway"
9. "The Way It Was"
10. "Children Of The World"

That xpost Lead Belly Smithsonian box I posted about upthread now gets coverage from Barry Mazor in WSJ---was gonna quote, but the whole thing is so good:

(the WSJ site links a Spotify playlist; haven't had time to check, but hopefully the whole box is on Spotify)

By
Barry Mazor
Feb. 24, 2015 5:38 p.m. ET

Before his discovery by John and Alan Lomax in 1933 while he was serving a term in Louisiana’s prison system, Huddie Ledbetter, best known as “Lead Belly,” was a busking Louisiana street singer with a varied songster repertoire. Freed, he went on to perform professionally from 1934, when he was 46, until his death in 1949, appearing on the emerging folk-music circuit of schools, clubs and rallies, recording for various record labels and, notably, for Alan Lomax and the Library of Congress. Since then, songs he personalized, arranged and popularized have become cross-genre standards regularly revisited in folk, pop, rock and country—“Goodnight, Irene,” “The Midnight Special,” “Cotton Fields,” “Black Girl (Where Did You Sleep Last Night),” “Pick a Bale of Cotton.”

There was never a time in his years of professional celebrity, though, when Lead Belly was unencumbered by somebody else’s idea of who he was, what songs he should perform, and how he’d be presented. Since then, he’s been the subject of recording reissues, salute records, books, dissertations, poems, a feature film and a postage stamp, but there have been few occasions when he hasn’t been characterized and represented in the service of some agenda—whether musical or political.

Refreshingly, a new LP-size 5-CD set and coffee table book, “Lead Belly: The Smithsonian Folkways Collection,” an introduction to the artist for new audiences and a keepsake for aficionados, takes that relentlessly mediated history into account, weighs it, and offers a broad, illuminating take on what the reliably commanding singer meant to do and contributed on its 108 tracks (16 of them previously unreleased). The set revisits Lead Belly’s Library of Congress recordings, records he made for Moe Asch’s small folk labels that were later passed on to the Smithsonian, his appearances on New York radio, and samplings from the epic “Last Sessions” of fall 1948, recorded in the apartment of producer Fred Ramsey Jr. (Smithsonian Folkways has previously issued more encompassing sets on each of those, but not this broad, if selective, overview.)

The set’s quality photos and images of memorabilia tell a good piece of the story—Lead Belly presented with other performers that his Popular Front activist handlers favored, whether that made much musical sense or not (Woody Guthrie, Josh White, Burl Ives); a professional, proud Lead Belly in a sharp suit on one page, presented in prison stripes on the next, then performing before schoolchildren, in liberals’ living rooms, or for well-heeled ’40s night clubbers. A newspaper clipping shows the original notorious January 1935 New York Herald Tribune story that introduced him to Northern urbanites: “Lomax Arrives With Lead Belly, Negro Minstrel; Sweet Singer of the Swamplands Here to Do a Few Tunes Between Homicides.”

A full disc of New York appearances on WNYC radio’s anthropologist-produced “Folk Songs of America” reveal the songster as loose, conversational and wide-ranging in material as we’ll hear anywhere, though the programs were arranged by musical genres he had to stick to (blues, sacred music, party songs, and so on). He is, however, presented in some incongruous musical settings, such as being backed up by a jazzy, contemporary jive vocal quartet, and it is also deemed necessary to have redundant, unmistakably Caucasian translations of what Lead Belly, quite clearly, tells us he’s about to sing.

Recalling how his version of “One Dime Blues”—adapted from that of his early mentor Blind Lemon Jefferson—came about, Mr. Ledbetter explains how he had come to “fix” the songs we’re hearing in his professional career—fixed for better understanding by his new Northern, generally white audience, fixed to make them his own, fixed for maximum performance effect. When we play the Lead Belly hits collected on the first disc, that is what we are hearing, his “fixed” versions of “Irene” or “Rock Island Line” or “On a Monday” that were left to posterity.

The producers of the set—Jeff Place, archivist of the Smithsonian’s Ralph Rinzler Folklife Archives and Collections, and Robert Santelli, executive director of the Grammy Museum—have contributed lucid album notes on the man, the music and the historic and personal responses to both. The inclusiveness of their performance selections is an equal contribution. Lead Belly the songster emerges with the inclusion of his takes on such previous pop hits as Gene Autry’s “Springtime in the Rockies,” pop crooner Gene Austin’s “How Come You Do Me Like You Do?,” and Bessie Smith’s “Nobody Knows You When You’re Down and Out.” A previously unheard salute to England’s Princess (later Queen) Elizabeth on the occasion of her wedding joins the expected topical songs about the Scottsboro Boys, the Hindenburg disaster, and Hitler, which you suspect he came up with to please his urban intelligentsia audience’s expectations—just as he had once done for strangers passing in the street.

Cutting through all of the positioning and posturing, towering over them, was Lead Belly’s own forceful, still spine-tingling vocal shouts, which would have stood him well in the electric blues era ahead and do now, and his accompanying acoustic 12-string guitar attack, which got him the volume he wanted. There are not a great many quiet, tender, subtle numbers in this repertoire (the brief kind-of-cute outlier “Come and Sit Down Beside Me” being an exception to that rule), but this is a singer who found a rich variety of ways to bear down hard.

Soon after his death, hit versions of songs he had made his own burgeoned, and they haven’t stopped—from the “Goodnight, Irene” of the Weavers or Ernest Tubb and Red Foley to the “Rock Island Line” of Lonnie Donegan or Johnny Cash, “Cotton Fields” from Creedence Clearwater Revival, or “Black Girl” from Nirvana. This set is an excellent way to discover, or rediscover, the force that made that happen.

Mr. Mazor, author of “Ralph Peer and the Making of Popular Roots Music” (Chicago Review Press), writes about country and roots music for the Journal.

One more: producer of the Lead Belly box is guest for the second hour of this morning's "On Point": good biographical perspective and music excerpts; idiosyncratic roots singer Valerie June also comments:
http://onpoint.wbur.org/2015/02/27/lead-belly-valerie-june-folk-music-blues-smithsonian

i hope the remastering on that bee gees thing is good; i have a soft spot for the Mr. Natural LP.

Yeah, I'd like to hear more of their pre-Saturday Night Fever disco. That xpost Red Red Meat reissue has some good guitar, though gets predictable, also laid-back tempos & vocal undertow, but second half, with dub "Mouse-ish" and bonus tracks is def. better.

Meanwhile: a pretty good album reissued for a usually cool (hot Mavericks set archived this week) radio show's benefit:

http://d31hzlhk6di2h5.cloudfront.net/20150301/4d/d8/b7/53/ceafd2c3165f17d26a56b7d3_440x390.jpg

OMNIVORE TO RELEASE BEALE STREET SATURDAY NIGHT,
PRODUCED BY JAMES LUTHER DICKINSON, ON APRIL 14, 2015
Classic album, originally released in 1978, features Sid Selvidge,
Sleepy John Estes, Furry Lewis, Teenie Hodges — recorded at
Ardent Studios, Orpheum Theater and even artists’ homes.
Proceeds donated to the Beale Street Caravan radio program.
http://d31hzlhk6di2h5.cloudfront.net/20150301/d6/52/08/8c/b83122d40b3cbc14b87ab041_280x186.jpg
Jim Dickinson (photo by Pat Rainer)
MEMPHIS, Tenn. — When Memphis’ Beale Street — a hub of music and activity since the 1860s —was being plowed under for “urban renewal” in 1976, James Luther (Jim) Dickinson — who had played with the Stones, Ry Cooder, and the Flamin’ Groovies (later with Bob Dylan and the Cramps among others), as well as produced Big Star, Screamin’ Jay Hawkins, and Alex Chilton (also, The Replacements, Green On Red, and Mudhoney) — decided to not only celebrate the legacy of great Memphis music, but make the mythic street back into the place where both the blues and rock ’n’ roll originated.
A cadre of Memphis musicians, photographers, artists, thespians, and “appropriate weirdos” gathered under Dickinson’s direction to record the heart of Beale Street, past and present. From blues legends Furry Lewis and Sleepy John Estes to singer-songwriter Sid Selvidge and Dickinson’s own Mud Boy & the Neutrons, Beale Street Saturday Night is an unparalleled audio trip through Memphis music history.
Recorded in places varying from artists’ homes, to Ardent Studios, to the Orpheum Theatre, Beale Street Saturday Night was originally created as a fundraiser for the Memphis Development Foundation to help restore Beale Street’s legendary Orpheum Theater. This reissue will serve a similar purpose, as a portion of the proceeds will go to support the radio program Beale Street Caravan, which focuses on Memphis music, new and old.
Omnivore Recordings’ April 14, 2015 reissue of Beale Street Saturday Night (on CD, digital, and LP on clear vinyl with download card) features new liner notes from producer Jim Lancaster (who worked on the original release) and previously unseen photos by Omnivore’s resident Memphis expert Pat Rainer, who also worked on the original recording, as well as a cover photo by William Eggleston.
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L-R: Lee Baker and Furry Lewis
(photo by Pat Rainer)
This first-ever reissue of Beale Street Saturday Night was curated under the supervision and with the blessing of the Dickinson family. It finally makes widely available this important music and historical Memphis document for new audiences to discover.
According to Luther Dickinson, “ Only in Memphis would young white record producers put such raw black music and storytelling together to create an integrated southern masterpiece. Only in the grooves of this record does this Memphis exist, the ghosts telling the stories to the kids, aged memory and youthful fantasy combining to create a world all its own. Only James Luther Dickinson could have produced Beale Street Saturday Night. World Boogie is coming.”
To read more from Luther Dickinson, visit
http://www.omnivorerecordings.com/music/beale-street-saturday-night
In 1977, Memphis was officially declared “Home of the Blues” by an act of Congress.
So, welcome home.
http://d31hzlhk6di2h5.cloudfront.net/20150301/4e/ad/c7/73/743cdf533057d9f870b8cbac_280x184.jpg
Teenie Hodges (photo by Pat Rainer)
Track Listing
1. Walkin’ Down Beale Street — Sid Selvidge
2. Hernando Horn — Fred Ford
3. Beale Street Blues — Grandma Dixie Davis
4. Big Fat Mama/Liquor Store — Sleepy John Estes
5. Ol’ Beale Street Blues — Prince Gabe
6. Furry’s Blues — Furry Lewis
7. Rock Me Baby— Teenie Hodges
8. Rock Me Baby — Alex
9. “Ben Griffin was killed in the Monarch . . .” — Thomas Pinkston
10. Frisco Blow — Johnny Woods
11. On the Road Again — Mud Boy & the Neutrons
12. “Mr. Handy Told Me 50 Years Ago . . .” — Thomas Pinkston
13. Chicken Ain’t Nothin’ But a Bird — Furry Lewis
14. Roll on, Mississippi — Grandma Dixie Davis

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MASTODON VINYL REISSUE SERIES BEGINS TODAY, MARCH 3rd

WITH BLOOD MOUNTAIN

TICKETS FOR THE MISSING LINK TOUR ON SALE NOW

March 3, 2015 - (Burbank, CA) - As previously announced, Mastodon have announced they will reissue all of their Reprise Records titles on vinyl in the coming months. The first album in the series will be 2006's Blood Mountain, which will be issued today, March 3rd, on a mix of solid yellow and transparent green vinyl. Upon its release, Guitar World called Blood Mountain "pulverizing," with an "utter restlessness that grips you tighter with each cut." It also placed at No. 9 on Rolling Stone's Top 50 Albums of 2007. The next installment will be on June 2nd, featuring 2009's Crack the Skye, pressed on baby blue vinyl. Earning Mastodon unanimous critical praise, the album led to Rolling Stone calling them "the greatest metal band of their generation - no one else comes close," while Revolver praised Crack the Skye as the work of "a band at the peak of its musical and conceptual powers." We'll remind you of the other titles as we approach the countdown.

Mastodon will also release a Limited Edition 12" vinyl picture disc in celebration of Record Store Day on April 18th, which features original artwork by Mastodon guitarist, Brent Hinds. The disc is comprised of a new song titled "Atlanta," featuring guest vocals from Gibby Haynes from Butthole Surfers, originally only available digitally as part of the Adult Swim Singles Series. The 'B-Side" is an unreleased instrumental version of "Atlanta," and is exclusive to this very limited RSD pressing.

Don't miss Mastodon on the road co-headlining with their friends Clutch for THE MISSING LINK TOUR, which kicks off on April 16th in St. Paul, MN, with support provided by Big Business. Sweden's Graveyard will then take over the main support slot starting in Los Angeles on April 29th for the remaining dates, closing out the tour in Columbus, OH on May 24th. Tickets are on sale now. Please visit www.mastodonrocks.com for more info.

Confirmed dates for THE MISSING LINK TOUR are as follows:

*Mastodon closes the evening. **Clutch closes the evening.

# indicates newly added tour date.

# Apr 4 Honolulu, HI The Republik (not part of THE MISSING LINK - on sale NOW)

Apr 16 *St. Paul, MN Myth

Apr 17 * Winnipeg, MB The Burton Cummings Theatre

Apr 18 *Saskatoon, SK O'Brian's Events Center

Apr 19 * Edmonton, AB Expo Centre

Apr 21 * Calgary, AB MacEwan Hall

Apr 23 * Vancouver, BC Commodore Ballroom (SOLD OUT)

Apr 24 **Vancouver, BC Commodore Ballroom (SOLD OUT)

Apr 25 *Portland, OR Roseland

Apr 26 *Seattle, WA Showbox SODO

Apr 28 *Oakland, CA Fox Theater

Apr 29 *Los Angeles, CA Palladium

Apr 30 *Tempe, AZ Marquee Theater

May 01 *Las Vegas, NV House of Blues

May 02 *Salt Lake City, UT The Complex

May 03 *Denver, CO Red Rock's Amphitheatre

May 05 *San Antonio, TX Kapone's Ballroom

May 06 *Oklahoma City, OK Diamond Ballroom

May 08 Atlanta, GA Shaky Knees Festival

May 09 *Raleigh, NC Lincoln Theatre Street Stage

May 10 **Pittsburgh, PA Stage AE

May 12 *Clive, IA (Des Moines) 7 Flags

May 13 *Milwaukee, WI Eagles Ballroom Club Stage

May 15 **Bethlehem, PA Sands Event Center

May 16 **Baltimore, MD Pier Six Pavilion

May 17 *Boston, MA House of Blues

May 19 *New York, NY Central Park Summerstage

May 20 *Niagara Falls, NY Rapids Theatre

May 21 *London, ON London Music Hall

# May 23 **Sterling Heights, MI Freedom Hall - (Tix on sale Feb 20)

May 24 **Columbus, OH LC Pavilion

#June 7 Houston, TX Free Press Festival

Oh my fucking god:

YES: LIVE FROM SEVENTY-TWO

Two Live Collections Debut Newly Discovered Recordings From The Prog-Rock Pioneer's Acclaimed 1972 World Tour

Double-Disc, Triple-LP, And 14-Disc Boxed Set Available May 19 From Rhino
Yes was firing on all cylinders in the fall of 1972. The prog-rock pioneers' fifth studio album Close To The Edge was a smash success as audiences around the world packed arenas to see the legendary group perform. The band captured the magic of that tour on its first live album, Yessongs. Released in 1973, the triple-LP sold over a million copies and blew minds with Roger Dean's iconic artwork.

The band recently discovered recordings of seven complete concerts from the weeks leading up to the shows heard on Yessongs. The latest audio technology was used to restore the reel-to-reel recordings and bring out incredible sonic detail, creating an open, immediate sound that drops listeners right into the front row.

Rhino has assembled three new releases featuring previously unreleased music included on these newly discovered tapes. PROGENY: HIGHLIGHTS FROM SEVENTY-TWO includes 90 minutes of live recordings selected from various shows. Available on two CDs or three LPs, the music flows like a typical setlist from the tour as it spotlights standout performances from different cities. The set will be available May 19.

PROGENY: SEVEN SHOWS FROM SEVENTY-TWO is a 14-disc set that holds every note from all seven shows, recorded in the fall of 1972 as the band's tour jumped from Canada to North Carolina, and then Georgia and Tennessee, before their last stop in New York at Nassau Coliseum on November 20. This comprehensive set comes in a cigarette-style flip top box with new artwork by Dean and will be available on the same day.

This was Yes' first tour with drummer Alan White, who's been with the band ever since. He replaced Bill Bruford, who recorded Close To The Edge before leaving to join King Crimson. White only had three days to learn the band's live show before his first night on stage with Jon Anderson (vocals), Steve Howe (guitar), Chris Squire (bass) and Rick Wakeman (keyboards).

Recorded three months into the tour, these powerful performances attest to how quickly the new line-up came together musically as they navigate hits like "Roundabout," and complex pieces like "And You and I." Even though the setlist didn't vary much from night to night, the individual performances are strikingly different.

I saw one of those shows, from the wings, with bass and drums dominating. Much better that way, I suspect (could hear the other stuff too).

Tons of links in this, I can't be arsed, just check their site:

The Numero Group

We’re from Chicago. Not in a Da Bears/Bridgeport/West-Side-Is-The-Best-Side kind of way, but rather we’re the kind of people who took a few weird turns and ended up enduring decades of unnecessary winters because we were too caught up in the electricity of our sprawling Midwest mega-burb. When Numero threw open its doors eleven years ago, our city was teeming with independent labels all trying to break bands and seasons. Many of our peers have celebrated 20th birthdays in this span, and more than a fair share have chased the roadrunner over the cliff. Will we make nine more trips around the sun? Time will tell, but we think so. And because we think so, we’ve doubled down on Chicago, purchasing a massive new building to house Numero and our growing staff.

So we’re here, Chicago. You’re stuck with us, for now. Besides, we run this town’s musical history. From Bandit Records to our latest south side excavation The Chicago Party, we’ve spent the last decade immersed in this city’s past, shining our Mag-Lites into corners of the city so long forgotten about that the street names have changed. Places the local media is too scared to cover. Places our fellow citizens couldn’t pick out on a map. Best stash of master tapes in Dolton? We know that. Who’s got the only copy of the Auditions on Get Set? We know him. Best places to get tacos in Little Village? That’s a bit off topic, but it’s Chaparrita.

In honor of our new acquisition, this will be an all-Chicago edition. We’ve issued 54 unique records with Chicago artists represented, which is about 1/5th of all the records we’ve ever made. Here’s the latest seven:

The Chicago Party

For 23 straight Saturday nights of 1982, The Chicago Party dance show assaulted Chicagoland UHF eyeballs with Spandex, Southside fly guys, tender tenderonies, magicians, contortionists, prismatic video gimmickry, and lip-synched singles by a rising regime of local post-disco casualties. Unfettered nightlife and outlandish humor poured out of oddball outpost The CopHerBox II and onto TV screens, presented here as a 100 minute video mixtape on DVD. Its companion compilation features five previously unreleased tracks, joined by music culled from a trove of self-released 45s and small-time 12”s. Die-cut cathode-ray jacket and six in-package stills put the Party at your fingertips.

Available on CD or 2LP, each edition of Ultra-High Frequencies: The Chicago Party will arrive in one of six cover configurations, all of which are interchangeable via printed inner sleeves and enclosed booklet. Both editions include our entertaining DVD mix tape, isolating the most absurd and outrageous moments from the original broadcasts. Play functions enable viewers to enjoy 23 unique musical performances, as well as a mini-documentary about the creation and realization of The Chicago Party. For fans of electronic soul with a public access aesthetic, Ultra-High Frequencies: The Chicago Party is the place to be.

Ultra High Frequencies: The Chicago Party

Universal Togetherness Band

Between 1979 and 1982, The Universal Togetherness Band tracked unearthly portions of their sprawling songbook for bewildered students in Columbia College’s audio engineering program. Storming the gates of Chicago’s premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape. Hours of songs remained on the shelf until we hagen doing research on the short-lived public access dance show The Chicago Party, where UTB performed on episode 21 in 1982.

Universal Togetherness Band captures the eight brightest moments from this visionary group’s 5-semester recording bender. Round out your LP, CD, or digital file order with a limited edition single featuring two tracks not on the album.

Universal Togetherness Band
Universal Togetherness Band “Saturday Night” b/w “More Than Enough"

The Chicago Party 45s

There was so much Chicago Party material that we were forced to press four 45s to commemorate the embarrassment of riches:

Universal Togetherness Band "Saturday Night" b/w "More Than Enough"

Jesus Wayne “Rush” b/w “You Bring Me Up”

Donnell Pitman “Burning Up” b/w “The Taste of Honey”

Jesus Wayne “Chicago Party Theme” b/w “Instrumental”

Listen to them all here.

The Notations

From the dawn of doo-wop to the death of disco, the Notations saw—and sang—it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s south side for decades. The first overview of their indie label golden age, Still Here 1967–1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.

Notations: Still Here 1967-1973

As mentioned above, over the last eleven years we’ve pressed 54 unique Chicago-related titles. This doesn’t even cover any of the neighboring Illinois communities (Rockford, Zion please stand up). Use the below as a checklist to fill in what you’re missing:

NUM003 Eccentric Soul: The Bandit Label
NUM010 Good God! A Gospel Funk Hymnal
NUM013 Eccentric Soul: Twinight’s Lunar Rotation
NUM016 Home Schooled: The ABCs of Kid Soul
NUM021 Soul Messages From Dimona
NUM022 The Final Soltion: Brotherman OST
NUM025 24-Carat Black: Gone: The Promises of Yesterday
NUM025.5 24-Carat Black: Acetate
NUM030 Good God! Born Again Funk
NUM032 Syl Johnson: Complete Mythology
NUM033 Light: On The South Side
NUM036 Cult Cargo: Salsa Boricua De Chicago
NUM039 Eccentric Soul: The Nickel & Penny Labels
NUM040 Good God! Apocryphal Hymns
NUM044 Buttons: From Champaign to Chicago
NUM045 Eccentric Soul: Omnibus
NUM048 Warfaring Strangers: Darkscorch Canticles
NUM048.5 Medusa: First Step Beyond
NUM1207 Syl Johnson: Dresses Too Short
NUM1208 Syl Johnson: Is It Because I’m Black
NUM1224 Solaris: Waves of the Evernow
NUM703 Cave Dwellers: Run Around +3
NUM706 Little Boy Blues “Nothing Left To Say” b/w “Mr. Tripp Wouldn’t Listen”
NBR-003 South Side Story: Volume 23
ES-003 M.A.S.O “Poon Tang Thump” b/w “Part 2”
ES-004 Renaldo Domino “I’ll Get You Back” “b/w “Two Years, Four Days”
ES-013 Deacons/Fabulous Fascinators “Sock It To Me” b/w “Is It Because I’m Black”
ES-028 Sidney Barnes/Love Joy “The Ember Song” b/w “Greyhound Jingles”
ES-031 Notations “I’m For Real” b/w “That Girl”
ES-032 James Dockery “My Faith In You” b/w “Giving You The Love”
ES-034 Calvin Harris “Love’s Recipe” b/w “Wives Get Lonely Too”
ES-035 Young Souls “Quit Waiting For Tomorrow” b/w “Puppet On A String”
ES-039 Master Plan Inc. “Try It (You’ll Like It)” b/w “Intro”
ESBOX-002 Little Ed & the Soundmasters
ESBOX-003 Syl Johnson: Mythological 45s
TWI-102 George McGregor & the Bronzettes “Temptation” b/w “Everytime I Wake Up”
TWI-104 Stormy “The Devastator” b/w “I Won’t Stop To Cry”
TWI-112 Mystiques “So Good To Have You Home” b/w “Put Out The Fire”
TWI-114 Sidney Pinchback & the Schiller Street Gang “Soul Strokes” b/w “Remind Me”
TWI-126 Perfections “Which One Am I” b/w “Why Do You Want To Make Me Sad”
TWI-128 Renaldo Domino “Not Too Cool To Cry” b/w “Nevermore”
TWI-131 Kaldirons “You And Me Baby” b/w “To Love Someone”
TWI-132 Annette Poindexter “Wayward Dream” b/w “Mama”
TWI-142 Pieces of Peace “Pass It On” b/w “Part 2”
AST-004 Boscoe: S/T
+008 Final Solution “Brotherman” b/w “Theme From Brotherman”
ER-3014 Express Rising: S/T

Bonus track:

If we were going to move anywhere, LA is the place. With that in mind, we want to shout out our good friend Ned Doheny who is leaving on a two week tour of the British Isles in a few weeks. To commemorate this sojourn, Numero has screened the very first Ned Doheny tee and pressed up a single for the punters to get autographed. We’ve got a limited number of tees up for sale on our website now. If there are any singles available at the end of the tour, we’ll make them available in at pop up stores in Chicago and New York this spring. Subscribers, don’t fret. We’ll have them in your queue shortly.

March 19th London, UK at Greenwich Yacht Club (Two shows)
March 20th Manchester, UK at Soup Kitchen
March 21st Dublin, Ireland at Sugar Club
March 22nd Leeds, UK at Outlaws Yacht Club
March 27th London, UK at the Social
March 29th Berlin, Germany at Roter Salon

Kevin K.'s Drivin' & Cryin' faves (LP only), one of 'em already posted on Blurt, with KK comments (note also Fred Blurt's Spotify playlist, feat. Feedtime and 13th Floor Elevators)
http://blurtonline.com/news/track-premiere-drivin-n-cryin-preps-vinyl-reissue/

For Immediate Release...

BILL HICKS’ ENTIRE CATALOG OF WORK TO BE
RE-ISSUED BY COMEDY DYNAMICS

COMEDY DYNAMICS PARTNERS WITH COMEDIAN’S ESTATE TO RE-RELEASE ICONIC COMEDIAN’S LONG OUT-OF-PRINT COLLECTION BEGINNING THIS APRIL

Re-Issues Will Include Entire Audio And Video Catalog, New DVD Boxed Set, And New Album Of Previously Unreleased Material

https://mlsvc01-prod.s3.amazonaws.com/f4cef7eb001/0e1a377d-2ad4-4a4c-86e8-21747f5d4e5e.jpg?ver=1426182227000

New York, NY (March 12, 2015) – Comedy Dynamics is excited to announce its partnership with Bill Hicks’ estate and will re-release his entire catalog of stand-up comedy albums and specials beginning April 28; putting the iconic comedian’s entire catalog of work in print for the first time in over a decade.

Beginning April 28, Hicks’ entire audio discography - Arizona Bay, Dangerous, Flying Saucer Tour Vol. 1, 12/16/1961, Love, Laughter and Truth, The Adventure, Philosophy, Rant in E-Minor, Relentless, Revelations, and Salvation will be available through all digital retailers. On the same day, SiriusXM will host a listening party of the Hicks catalog on its Raw Dog Comedy Hits channel. An album of previously unreleased audio material will be available October 27.

Additionally on April 28 Comedy Dynamics will release Bill Hick’s video catalog through its VOD streaming platform - It’s Just A Ride, One Night Stand, Totally Bill Hicks, Relentless, Revelations, and Sane Man. A DVD boxed set of video catalog will be released on August 18.

With this news, Comedy Dynamics President of Production, Brian Volk-Weiss stated, “After many months of hard work and dedication, we couldn’t be more humbled to assume control of the Bill Hicks catalog. Bill Hicks is one of the most important stand-up comedians to have walked this planet. The duty to expose him to a new generation of comedy fans is a true honor, we’ll do him proud.”

Listed as one of Comedy Central’s 100 greatest stand-up comedians, Hicks criticized a wide range of social issues, religion, politics, consumerism, the media and popular culture in a dark and controversial way. During the 1980s, he toured the United States extensively and made a number of high-profile television appearances. Hicks also achieved a modicum of recognition as a guitarist and songwriter. At the age of 32, Hicks died of pancreatic cancer on February 26, 1994 in Little Rock, Arkansas. Now through Comedy Dynamics, his work will once again come to the forefront and be celebrated and influence another generation of comics while being celebrated by those lucky enough to live through his existence on earth.

Comedy Dynamics is the largest independent producer and distributor of comedy content in North America and has worked with A-list comedic talent including Aziz Ansari, Jim Gaffigan, Bill Burr, and Katt Williams. Additionally it maintains production, development, and distribution arms for all of its original content, collaborating with companies such as HBO, Netflix, Showtime, USA, TBS, Comedy Central, and ABC. Comedy Dynamics is available on video streaming platforms Hulu, XBOX, PSP, Roku, iOS, Android and Amazon devices.

www.comedydynamics.com

i also saw yes in '72, though on the alan white side of the ledger. nassau coliseum. my second concert! they were cool looking. all i remember is chris squire's boots & wakeman's cape.

anyway, reissue-wise, light in the attic is putting out a record i've been searching for for a while:

http://lightintheattic.net/releases/1533-songs-from-suicide-bridge

ooh nize,

http://www.factmag.com/2015/03/17/kosmische-pioneers-popol-vuh-prepare-reissue-campaign/

http://media.smithsonianfolkways.org/images/album_covers/SF700/SFW40215.jpg

info, audio (incl. free download, "Banks of the Ohio," Doc Watson & Bill Monroe: mp3 or flac, even)

http://www.folkways.si.edu/classic-american-ballads/american-folk/album/smithsonian

Also, re continuing UNESCO Collection reissue series, 2 albums a week:

http://www.folkways.si.edu/unesco

NUMERO ANNOUNCE WHITE EYES LP, PREVIOUSLY UNISSUED RECORDINGS BY KANSAS CITY PSYCH-POP QUINTET

HEAR "STREETCAR LOVE HERE:

https://soundcloud.com/numerogroup/streetcar-love-white-eyes

Hailing from the Show-Me State, White Eyes lugged their heavy psych and harmony-clad ballads across the Midwest, honing their live set wherever audiences were abundant. Whether it be the famed Cowtown Ballroom in Kansas City or the nearest American Legion , the quintet of long-haired bohemians loaded a double bass drum set, a wall of Marshall amplifiers, and a array of acoustic guitars into their 1953 Cadillac hearse to deliver their impeccable stage show across the plains.

Despite years of relentless gigging, White Eyes never caught their break. This previously unissued LP, recorded between the fall of 1969 and 1970, was originally intended as a demo for talent buyers and industry prospectors. Well-crafted arrangements and pro-sounding production make this an exceptional piece of lost psychedelic pop.
WHITE EYES TRACK LISTING

1. It's For You
2. Streetcar Love
3. Rider
4. October
5. I Know What It's Like

6. Hard Hard Livin'

7. A Girl On A Hill

8. I'm Not A Free Man

not seeing a date for this, but:

FOR MORE INFORMATION

http://www.numerogroup.com/

10 albums, a YouTube for each:

http://www.factmag.com/2015/03/26/reissues-and-retrospectives-march-2015/

Warning! Now Approaching Drag City Prose! Relatively Uneventful This Time, But Still:

THE RED KRAYOLA GETS THEIR GROOVES BACK

Red Krayola fans the world over! The years keep on turning and you keep getting younger - how do you do it? Ah, it's the fact that there are always more of you with the decades that roll on, with new fans being born every day, yes? Yes. The Krayola catalog is vast, however, and while popping in at any one particular entry point yields incredible reward, it's likely that certain devastatingly exciting titles have circumvented your radar screen (and then your desk top, now tablet, cellular device, etc. - let alone your turntable) within those decades. Insofar as vinyl is relevant again (and whoever said it wasn't, fool?), it's now time to revisit four hot titles from last century that are sure to be useful to listeners in this century!

Getting started, Corrected Slogans was first pressed by The Red Crayola with Art & Language in 1976 and was the first mention of The Red Crayola's name since 1968! It marked the beginning of Jesse Chamberlain as full time collaborator with Mayo Thompson, a run that would last 5 years, and was an album which received one known review - from Interview magazine, who were reasonably perplexed enough to ponder the album's sincerity. You be the judge! Black Snakes was issued in '83 as a co-release between Switzerland's Rec Rec and Germany's Pure Freunde labels. This particular line-up found the group joined by Pere Ubu's Allen Ravenstine, yet it's absolutely Mayo's guitar that shines in this particular configuration. Malefactor, Ade comes next, originally released on Glass Records in 1989, the first utterance of the Crayola in 5 years. The fearlessness with which genres are converted can be disarming, but stick to it - you'll find listening an utter triumph. "Amor and Language" was released in 1995 via yours truly, Drag City yeah, at a time when Mayo Thompson had recently returned to the USA and begun recording at a prolific rate (the era of S/T and Hazel). Curiously, it's sonics alarmed the pressing plant enough to wonder if there were imperfections in the master. Huh? Anyway, a good 20 years puts these essential albums in serious perspective: hindsight is 20/20, and looking back at these C/Krayola masterworks, we're seeing gold! Don't wait a minute, comrade - officially set for April 21st release, go ahead and preorder your LP copies of Corrected Slogans, Black Snakes, Malefactor, Ade, and "Amor and Language" today!

Also this one of course (on Rough Trade)

https://www.youtube.com/watch?v=c_Ga7COGUn0

corrected slogans is ridiculous & great (also fun spotting all the borrowed texts). right up there with my favourite rc(k)

https://www.youtube.com/watch?v=9iD40rmbzZw

Is there a Corky's Debt to His Father cd currently available?

Indeedio: in five formats, even (though cassette is currently out of stock, it says here)
http://www.dragcity.com/products/corkys-debt-to-his-father

Great, I think it was out of stock or print when I was looking last year. So thought it might be redone when they were doing these new ones. maybe they just reprinted and restocked more copies.
Will try to grab it before it disappears again.

http://www.soundsoftheuniverse.com/mailouts/img/main/606/w/sjrcd302popolvuhkailashcover.jpg
from Soul Jazz Records:

Super-deluxe collectors very limited edition Popol Vuh box set vinyl + DVD and 2CD + DVD!

This album is available worldwide in all good physical and interent retail stores next week 6 Apr 2015.
more info/audio here (sample all tracks)http://www.souljazzrecords.co.uk/releases/?id=41244

Kailash is a new collection of work from Florian Fricke, leader of Popol Vuh, seminal group in the German rock scene of the 1970s (Can, Faust, Amon Duul, Ash Ra Tempel, Tangerine Dream) and creators of classic soundtracks to the films of Werner Herzog (Aguirre the Wrath of God, Nosferatu, Fitzcaraldo and others).

Popol Vuh took their name from an epic mythological text from the 16th century Quiché Maya people of Guatemala, the name translates as ‘meeting place, together or common house’

Kailash brings together essential and unreleased piano recordings, together with Fricke’s travelogue film Kailash, about his spiritual voyage to Tibet’s 22,000 ft. Kailash mountain, ‘Throne of the Gods’, and the accompanying soundtrack album to this film.

This collection is released as a deluxe 2CD + DVD set and as a one off 1000 copies worldwide collectors bespoke box set 2LP + DVD with bonus cards/inserts.

Essential Piano Recordings: For the first time, this compilation on Soul Jazz Records unites a careful selection of Florian Fricke’s most favourite piano tracks and compositions, both released and previously unreleased. Aside from his groundbreaking work with Popol Vuh, Fricke’s background is that of a classical composer and it was one of his late wishes to release ‘piano only’ recordings.

These essential piano recordings by Florian Fricke should be considered as something like the core, or the heart, of many Popol Vuh compositions. They contain tracks from 1972-1989 that Florian Fricke would have liked on a piano only album, enriched with further song improvisations that have been found posthumously, after he passed away in 2001. Some of these are studies for key tracks of Popol Vuh (for example ‘Hosianna Mantra’, 1972). Others are reoccurring patterns and sequences, with Florian often working with recurring motives frequently further developed with the group.

This record is devoted to his inspiration and creativity as a contributor to an ongoing spiritual journey for others.

Kailash – Pilgrimage to The Throne of the Gods: The holiest mountain in Asia, in a far away corner of west Tibet, amidst wild and ragged landscape, nearly entirely cut off from the rest of the world, is called Kailash. For the pilgrims of four religions this 6675m high mountain is the ‘throne of gods’, or ‘navel of the world’ – a place where the divine takes an earthly shape. For thousands of years pilgrims have travelled to this place to worship the mystery of the mountain circumnavigating it on foot. The path around Kailash is an archaic ‘path of initiation’.

Florian Fricke and filmmaker Frank Fiedler (also an original founding Popol Vuh member) made their own spiritual trek along this path and documented the journey. Accompanying epic landscape scenes in the film is the music of Florian Fricke and Popol Vuh, spiritual music inspired by this unique journey.

This posthumous project has been put together with the full cooperation and assistance of Florian Fricke’s family.

Werner Herzog: ‘Florian was always able to create music I feel helps audiences visualize something hidden in the images on screen, and in our own souls too.’

‘Herzog on Herzog’

wow that looks great

Ah sweet, Third Man is reissuing Van Lear Rose and got all this other too. Wish they'd put out the live instances of WS backing Lynn:

http://cdn4.pitchfork.com/news/59085/aedd199c.jpg

Also, "Le Cinema De Serge Gainsbourg" is getting a reissue as a 5 CD box with a ton of recently unearthed music. I have a link somewhere but it's in French. Out end of April, I think.

Also, Soul Jazz just reissued a great album by Lloyd McNeill ( who happened to be my favorite drawing professor in university. Great man.) : "Tanner Suite".

Yeah, I posted about Tanner Suite on Rolling Jazz D-Bags 2015 thread---intriguing! I'd never heard of him.

http://www.soundsoftheuniverse.com/mailouts/img/main/600/w/tannersuitecover.low.jpg

Available in all good retail, internet and digital stores, also from us, right now!

Soul Jazz Records/Universal Sound are releasing here the third album from deep jazz flautist and composer Lloyd McNeill (alongside the earlier ‘Asha’ and ‘Washington Suite’ - both now sold out).

Tanner Suite is one of the most beautiful and by far the rarest of all of McNeill’s records, a unique piece of music especially commissioned by the Smithsonian National Gallery Of Art in the late 1960s to accompany an exhibition of the work of Henry Ossawa Tanner, the first African-American painter ever to gain international success.

Tanner Suite was originally released in 1969 as a private individually numbered pressing of 1000 copies on McNeill’s own Asha Record company and has never been issued since. Soul Jazz Records new pressing of this album is also limited to 1000 copies each on vinyl and CD. Both editions come in heavyweight exact-replica hard tip-on USA card sleeve original artwork.

This beautiful and intense and set of pieces based around improvisation was the soundscape to the significant exhibition of Tanner's work, created at an important point in post-civil rights African-American self-definition. The music is both profound and spiritual.

Lloyd McNeill is flautist, composer and painter. As musician he studied with Eric Dolphy, played with Nina Simone, Mulatu Astatke, Nana Vasconceles, Ron Carter, Dom um Romao and Sabu Martinez. In the mid-1960s McNeill headed to Paris and became friends with Pablo Picasso.

more info/audio here: http://www.souljazzrecords.co.uk/index.php

He was your drawing professor, so maybe he did that cover too, eh? Cool.

gainsbourg box is on uni france probably? They have done several excellent and very desirable "Le Cinema de..." boxes, the Georges Delerue one is esp amazing

The two volumes of Cecil Taylor's Garden (live solo piano from 1981) are being reissued on Hatology, with the music now in the order it was originally performed.

Would like to hear that again, in original sequence this time (noticed Spotify has Cecil Taylor Unit etc, must get back to that too)
instabraun
15 minutes ago
Tough 70s private press soul rock, reissued by @permanentrecordschicago! The Chicago Triangle - Emergence. #nowplaying #vinyl #vinyligclub
mint Cool cover art https://instagram.com/p/1CHpPBMlMI/

There's a new remastered Camembert Electrique by Gong came out this week on Charly. I wish they'd do Flying Teapot too.

Also the 2 lps by The Specials & the 1 by Special AKA have just come out remastered in 2cd form.

Also, not a physical reissue, but Destination:Out!'s been issuing downloads of FMP catalog for a couple of years now, and next month they're putting up Cecil Taylor's complete In Berlin '88 box.

Was thinking about In Berlin after your post reGarden--more great news.

From Drag City, but easier on the eyes than usual:

LAST TRAIN TO CLARKSVILLE: GOODBYE SUPER NOVA
Steve "Chili" Rigot, the singer for the Endtableshttp://www.dragcity.com/artists/the-endtables and many other amazing bands, was an immense presence in the Louisville music community for more than 35 years, and no one who knew him will ever forget him. He was our superstar, our polestar, our standard-bearer, our inspiration.
Chili Rigot materialized from alien shores by force of will to save our lives from boredom, and we will not see his like again. We all stood in awe of his fearlessness and skill, and tried our best to be as fabulous- tried and failed but we were made better by his example.
Steve made bravery and glamour look easy, and he always brought the fun. If you walked into a room and saw Steve there, towering above the crowd, you knew you were in the right place and that you were going to have a great time. Catherine Irwin recently remarked, "He will be making me laugh for the rest of my life." Rigot in performance cut an awesome and charismatic figure.

Like Scarlett O'Hara wrapped in her green velvet curtain, Rigot
fashioned his own glamorous reality from what was available to him in the blasted cultural landscape of 1970s Kentucky. Ace bandages, gold spray paint, and duct tape became a wardrobe. All you needed, it turned out, for an unforgettable and uproarious fashion show was imagination, a couple trash bags, and some twine.The Endtables were easily one of the greatest punk bands ever, and their songs have lost none of their power to thrill and stun. If you haven't heard them yet, do yourself a favor. After the Endtables came other amazing Rigot vehicles: The Monsters, Skull of Glee, Debby, In the Vines, Women Who Love Candy, Common Law Cabin, Martine, 1069, and Lady DNA.

Steve died on the morning of March 20. That evening his friend Brett Eugene Ralph offered a lovely eulogy, ending with a legendary story. It's 1981 in Louisville, and Chip Nold, the singer for the Babylon Dance Band, is having a sprawling bachelor party at the rundown Kon-Tiki apartments. Many guests arrive in drag. Some rednecks hanging by the pool start hassling the boys dressed like girls. Kenny Ogle - Brett Ralph's predecessor in Malignant Growth, and a south end redneck himself, if a particularly awesome and open-minded one - immediately gets in their faces. "Maybe they are faggots," Kenny offers, "but they got as much right to be here as you do."Then the rednecks beat the shit out of Kenny. He can fight; he's just outnumbered. The ensuing after-image of lanky Kenny Ogle curled with his bleeding head in Rigot's lap, as Steve strokes Kenny's long brown hair, is emblazoned on the freak flag of our fair city, with a motto that reads (translated from the original French): "Welcome to Louisville, Kentucky, bitches. Be nice or get the fuck out."

Charles Schultz, drummer for the Dickbrains, Your Food, The Bulls, and Antietam, was there that night and remembers something else: "Steve did this perfect model's strut towards some of the guys who were being the loudest, and as he got closer they got quiet, as they realized that even in heels he wasn't afraid and he looked kinda big and awful strong. He got about two feet from them - without saying anything, without anything but glamour shining out of him - spun like he'd reached the end of a catwalk and sashayed back the other way. What a gentle and exemplary triumph." But there's a memory of
Rigot that Charles likes even better. "One night at 1069 (the local punkhouse),
Steve was doing abstract paintings of everybody's psyche, these colorful abstract geometries, and explaining while he painted, 'This green is your kindness, and there's this maroon part which is some stuff you haven't gotten over.' He was being so perceptive, while remembering to be kind. It was sort of intimate, but also funny, brave, inventive, and quick. Just a way to pass some time, a party game, but a standout moment for me, a capsule of how it was to be aroundSteve. Many readers will recognize that the forthcomingWhite Glove Test book takes its name from an Endtables song, a song Steve wrote. He was always the community's guiding spirit, as we strove to keep it extra weird, and he always will be. The job is harder now, but we must all work extra hard to make him proud. We love you,Steve

. We were lucky to know you, and we miss you deeply.

- Stephen Driesler, co-editor

White Glove Test: Louisville Punk Flyers 1978-1994 http://www.dragcity.com/products/white-glove-test

I never met Steve Rigot in person, but relied instead, like so many outside Louisville's sphere of influence, on a 7" that I purchased at the Cafe Dog, hauled up from behind the counter as if it were forbidden, samizdat literature. Which, in a sense, it was. The Endtables' assault on heteronormative good life fantasies was caustic, funny, catchy, mean. It was smart enough to keep you up at night parsing the lyrics to "Circumcision" but punk as fuck in that instantaneous, body-knowledge way that great punk and hardcore singles inevitably are. As a queer closet case cowering in a scene that was ready to accept me once I got the guts to get over that problem, I inhabited - without knowing it - a space that Steve Rigot had already lived, transcended and surpassed. His loss is bitter, but his legacy holds fast.- Drew Daniel, Matmos

Sorry guys late to reply!

dow - yeah! I think Lloyd did that cover. He turned me on to Dolphy - gave me a copy of "Out To Lunch" on cassette with Debussy piano pieces on the flip. I think it was a tape he would play in class as we drew. I also remember him telling me
he and Dolphy shared the same flute teacher !

Yeah I think the Gainsbourg is on Uni France.

http://www.billboard.com/articles/news/6517105/lost-serge-gainsbourg-album

http://artsbeat.blogs.nytimes.com/2015/04/07/american-epic-tv-series-examines-1920s-recordings/?smid=tw-nytimesmusic&seid=auto&_r=0

teaser: https://www.youtube.com/watch?v=jcbATyomETw

Blurt Magazine
‏@BlurtMagazine

Blurt Contest! We're giving away a copy of Captain Beefheart's "Sun Zoom Spark" LP box on Rhino - deadline 4/18. http://blurtonline.com/win-captain-beefheart-deluxe-box-set/

From Drag City:

QUIVERING FOR ARNOLD DREYBLATT'S NODAL EXCITATION ON LP!

New York, early 80's, very early. Studio 54 is hosted by a hologram, the Mudd Club is already an institution, and The Clash's first appearance in New York is in a giant casino, with a full-sized Zeppelin at the door. Not exactly a receptive pond for the next wave of adventurous music. Some names did pop up, harkening to a past of lofts and all-night concert events. In the late 60s and early 70s, Philip Glass, Tony Conrad, along with John Cale and LaMonte Young, Terry Riley and others were closing the gap between that blissed-out eternal mantra and the side door of rock.

By the late 80's most of it had been forgotten, including one amazing character, Arnold Dreyblatt. Dreyblatt only had one record, Nodal Excitation (on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, where he concentrated on his other activities, making only two more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock that any of the others combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early 60s. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm.

In 1998, dexter's cigar were on the scene, excavating the valuable stuff from that semi-recent past for Nodal Excitation's first-ever appearance on CD. It brought it into a lot of new ears - but times have changed and so have the ears. So what you have here is the first-ever LP reissue of Arnold Dreyblatt's freshman record, a slice of minimal history that is STILL as potent now, if not more, as it was in '98 and '81 before it. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face. Preorder Nodal Excitation on LP, now!(already on CD, mp3, FLAC)(not seeing date foe LP yet)

Heard an early promo of a comp of 90s punk coming out soon called Destroy All Art. Epileptics, Skudz, Cock Scratch, bunch of other bands I hadn't heard but great raw sounds; definitely punk not thrashy hardcore.

when I was still thinking about reissues to issue I thought a bunch about Dreyblatt. Would love to see/hear the Tzadik CD Animal Magnetism on vinyl.

Really glad to hear that Last Exit's Iron Path is getting a reissue through ESP-disk on May 26th. Not heard if it is getting remastered or remixed or anything.
BUt I think it is the beginning of a longer link between ESP-Disk and Bill Laswell. So possibly means that there will be reissues of the rest of Last Exit's catalogue.

Wish somebody would put out Fat's Hit lp on cd i think it may be in the same ballpark roughly as Iron Path.

I've heard the reissue - it was probably remastered, but not remixed. Doesn't sound any different than the original to me. A few of the other Last Exit albums have come out on other labels, so I don't know if ESP-Disk will do them all (plus, you gotta wonder what they're gonna do going forward, given that their founder died this week).

Yeah saw that when I was trying to find a web page for an announcement actually from ESP-disk yesterday. Couldn't find one.

Also assumed for some reason that Stollman had died earlier in the year. .

I used to work next to a guy who had worked for him in the late 60s/early 70s can't really remember much of what he said apart from one visit to Tim Hardin when he was at his junkie worst. It was a long time ago.

Peter Stampfel wrote a really strong Stollman-hating piece on Facebook the other day

Wowwww (be sure to read the comments too, which incl. some replies from Stampfel):
https://www.facebook.com/peter.stampfel/posts/962826580414551
I'd always heard this about Stollman, also read that he had to hide from the IRS for a while. Thanks, Ward.

eesh!

Oh, so he was a guy who ran a record label.

I'd assume that with it being 50 years later the latest version of the label didn't have him running it. MIght hope for more ethical treatment of artists etc & possibly some attempt to pay royalties. Though if Stollman stitched everybody up through lousy contracts they might feel they had no onus to do so.
Would hope it was being run on a different basis but it's still a record label.

I need to read that Oral History of the label. Apparently it does detail much ripping off.

I still love the idea that there wasa label like that releasing the music it released in the 60s both jazz and leftfield rock stuff. Not sure who else would have been doing that prioor to the setting up of something like Impulse and I'm not sure if they got as weird.
Would think Coltrane and those artists he endorsed would have a pretty assured market by the time he signed to the label.
& maybe you needed something like ESP to act as a springboard to get at least some recognition for artists. But I don't know who else was around at the time. & maybe ESp was more recognised because of the weirdo lps on it from the white rock or whatever scene whereas a black underground label would have only been known in certain circles and not broken out of those at least until crate diggers years later inspired labels to rerelease things. I don't know.

Definitely need this...

DEFINITIVE LITTLE RICHARD 3-CD BOX SET, SPANNING SPECIALTY AND VEE-JAY YEARS, COMING FROM SPECIALTY RECORDS ON JUNE 2
Directly From My Heart: The Best of the Specialty & Vee-Jay Years features 64 classics and rarities spanning the mid-’50s through the mid-’60s. Set features 36-page booklet with notes by Billy Vera.

LOS ANGELES, Calif. — In the early ’50s, Little Richard Penniman combined the spirit of church music, the barroom-hewn raunch of blues and the swing of New Orleans jazz and turned it into something altogether new — rock ’n’ roll. When the Macon, Ga. native signed to Art Rupe’s Specialty Records in Los Angeles, he was in turn dispatched to New Orleans to record at Cosimo’s legendary studio. Over the course of several sessions, the Little Richard sound began to develop around hits like “Tutti Frutti,” “Good Golly Miss Molly,” “Long Tall Sally” and “Lucille,” to name a few.

On June 2, 2015, Specialty Records — a unit of Concord Music Group — will release Directly From My Heart: The Best of the Specialty & Vee-Jay Years, an all-new three-CD box set containing 64 songs that chronicle Richard’s Specialty and Vee-Jay years — 1956 to 1965. The collection contains Richard’s classics as well as B-sides and rarities. Also included is a 30-plus page illustrated booklet featuring a handful of rare photos plus new liner notes by singer/songwriter/music historian Billy Vera.

Many artists begin their career on small labels and work their way up to the majors. Conversely, Richard began his recording career at RCA Victor, brought to the label’s attention by an Atlanta DJ. There he released four singles, no hits among them. Next he signed to Don Robey’s Houston-based Duke/Peacock Records, initially as part of the Tempo Toppers band and later as a solo. The solo sides remained unreleased until Richard struck gold at his next destination, Specialty Records.

It was at New Orleans’ legendary J&M Music Shop that Richard chanced upon Specialty’s New Orleans A&R rep, Bumps Blackwell, who brought him to the attention of Rupe in Los Angeles. On September 14, 1955, Richard, Blackwell, and New Orleans’ R&B “A team” of session players (Lee Allen and Red Tyler, saxophones; Huey Smith, piano; Justin Adams, guitar; Frank Fields, bass and Earl Palmer, drums) went into Cosimo Matassa’s studio on Rampart Street. Sadly, despite the roomful of talent, the session was, as Vera describes “an exercise in commonplace.”

An unexpected bout of magic would shortly ensue. As Vera writes, “During a lunch break at the Dew Drop Inn, Richard hopped up on the piano and began shouting out a ribald tune he always performed, usually in drag, for those college boys, ‘Tutti Frutti, Good Bootie.’ Blackwell’s eyes lit up, for the first time hearing something special in the entertainer. Spotting local songwriter Dorothy LaBostrie across the room at another table, he asked if she could clean up the naughty lyric for public consumption. She did so back at Cosimo’s and, ‘Wop bop-a-loom-bop alop bam boom,’ a hit and a career were born.”

Over the next two years, Little Richard went on to place fourteen songs in the Rhythm & Blues top ten. These include his iconic performances of “Lucille,” “Jenny Jenny,” “Keep a Knockin’” and “Good Golly Miss Molly.” The astonishing fact is, all these classics were recorded within a mere 18-month period.

Richard continued with Specialty until 1964, when he was brought to the attention of Chicagoans Vivian Carter and Jim Bracken — whose first initials formed the name of Vee-Jay Records. Having freshly lost both The Beatles and The Four Seasons, and having lost control of the company in a move to the West Coast, the label was on its final legs. It didn’t help that in the studio Richard used his road band, the Upsetters, who were not quite studio quality at a time the Wrecking Crew was setting the standard. On top of that, the Beatles had broken big, and a fellow flamboyant Georgia native named James Brown had broken onto the R&B scene with a brand new bag. With a young Jimi Hendrix on guitar, Richard recorded a Don Covay tune (Covay had once been employed by Richard as his chauffer and opening act), “I Don’t Know What You’ve Got But It’s Got Me,” which reached #12 on the R&B chart. The song was done in James Brown’s style and briefly brought Richard back. However, music had changed, and the R&B sounds of the day were now emanating from Stax and Motown.

Little Richard continued to make records for South Los Angeles’ Modern Records, CBS R&B subsidiary OKeh, Brunswick, and briefly, Specialty again (in 1971), before signing to Reprise, where his “Freedom Blues” cracked the Top 50 pop and Top 30 R&B. His peak recording years behind him, Richard remained on the scene into the ’80s and early ’90s as a colorful personality.

Vera elaborates: “Changing his look, wearing an outlandish wig, outrageous outfits and letting his large personality come out, he became a sought after guest on talk shows, like Johnny Carson, Dick Cavett and Mike Douglas, taking over every conversation and talking over even the hosts. Couch potato America loved it and high paying concerts followed.”

In recent years, the Rock ’n’ Roll Hall of Fame inductee and Hollywood Walk of Fame star recipient has stayed closer to the homefront. But the three-CD set Directly From My Heart: The Best of the Specialty & Vee-Jay Years is a reminder of the time, place and circumstance that helped define rock ’n’ roll.

DISC ONE:
1. Lonesome and Blue (2:15)
2. Wonderin’ (2:50)
3. All Night Long (2:13)
4. Maybe I’m Right (2:13)
5. Directly From My Heart (2:19)
6. Baby (2:05)
7. I’m Just a Lonely Guy (All Alone) (2:36)
8. Tutti Frutti (2:23)
9. Chicken Little Baby (1:42)
10. True, Fine Mama (2:40)
11. Kansas City (2:37)
12. Wonderin’ (2:59)
13. Slippin’ and Slidin’ (Peepin’ and Hidin’) (2:41)
14. Long Tall Sally (The Thing) (2:08)
15. Miss Ann (2:15)
16. The Most I Can Offer (Just My Heart) (2:24)
17. Oh Why? (2:07)
18. Heeby-Jeebies Love (2:09)
19. I Got It (2:19)
20. Ready Teddy (2:06)
21. Hey-Hey-Hey-Hey (2:06)
22. Rip It Up (2:20)

DISC TWO:
1. Lucille (2:24)
2. Heeby-Jeebies (2:10)
3. All Around the World (2:24)
4. Shake a Hand (2:51)
5. Can’t Believe You Wanna Leave (2:26)
6. She’s Got It (2:24)
7. Jenny, Jenny (2:01)
8. Good Golly, Miss Molly (2:08)
9. Baby Face (2:14)
10. The Girl Can’t Help It (2:30)
11. By the Light of the Silvery Moon (2:04)
12. Send Me Some Lovin’ (2:17)
13. Keep a Knockin’ (2:11)
14. Ooh! My Soul (2:10)
15. I'll Never Let You Go (Boo Hoo Hoo Hoo) (2:19)
16. Early One Morning (2:12)
17. She Knows How to Rock (1:59)
18. Whole Lotta Shakin’ Goin’ On (1:52)
19. Bama Lama Bama Loo (2:13)
20. Poor Boy Paul (2:03)
21. Annie Is Back (1:57)

DISC THREE:
1. Goin’ Home Tomorrow (3:09)
2. Goodnight Irene (2:37)
3. Money Honey (2:18)
4. Lawdy Miss Clawdy (2:17)
5. Blueberry Hill (1:48)
6. Cherry Red (2:33)
7. Only You (2:24)
8. Memories Are Made of This (2:12)
9. Groovy Little Suzy (2:14)
10. Short Fat Fanny (2:10)
11. Cross Over (2:40)
12. My Wheels They Are Slippin' All the Way (2:24)
13. It Ain’t Whatcha Do (It's the Way How You Do It) (2:20)
14. Something Moves in My Heart (2:12)
15. Without Love (3:16)
16. Dance What You Wanna (2:16)
17. Talkin’ ’Bout Soul (2:08)
18. Dancing All Around the World (2:56)
19. You Better Stop (3:05)
20. I Don’t Know What You’ve Got but It’s Got Me (4:05)
21. Why Don’t You Love Me (Like You Used to Do) (3:06)

SMOKEY, THE LOST GREAT AMERICAN GAY PRE-PUNK ICONS, REISSUED BY CHAPTER MUSIC

FIRST EVER COLLECTION, HOW FAR WILL YOU GO?: THE S&M RECORDINGS, 1973-81, OUT JUNE 23RD
Listen To Title Track:
https://soundcloud.com/chaptermusic/smokey-how-far-will-you-go/s-Id100

Chapter Music is excited to present the first ever reissue of wild and outlandish 1970s LA pre-punk icons Smokey. Featuring cameos from James Williamson of the Stooges, Randy Rhoads of Quiet Riot/Ozzy Osbourne and members of the Motels, King Crimson, David Bowie’s Tin Machine, Suburban Lawns and many others, the Smokey story has to be heard to be believed.

In 1973, two wide-eyed young music fans made their way to Los Angeles and were introduced by a notoriously touchy-feely road manager for the Doors. They fell into a relationship that would produce five of the most criminally neglected singles of the decade, as well as a treasure trove of unreleased recordings.

John “Smokey” Condon was a bewitchingly beautiful Baltimore transplant, himself no angel after spending his teenage years partying with the John Waters crowd. EJ Emmons was a budding record producer from New Jersey, already starting to work in small studios around Hollywood.

Condon had marched in New York the night after the Stonewall Riots in 1969, and so by the time he and EJ created Smokey, they weren’t about to hold back. Released in 1974, first single Leather b/w Miss Ray wasn’t just openly gay, it was exultantly, unapologetically gay, examining front-on the newly-liberated leather and drag scenes thriving in America’s urban centers. The single was shopped around to labels using Emmon’s industry contacts, but doors were regularly slammed on the duo, with industry execs stating their music was simply “too gay,” while also adding “but it is really good.”

So Smokey formed S&M Records, with a logo featuring a muscular arm encased in studded cuffs, and “S&M” tattooed on the bulging bicep. They went on to self-release five singles that span pre-punk, stoner jams, disco, synth-punk and more, all stamped with Smokey’s fearless candor. 1976 single and compilation title track “How Far Will You Go...?” features guitar from EJ’s studio buddy James Williamson, fresh from his adventures recording Raw Power with Iggy & the Stooges in London with David Bowie. The live band played almost weekly at Rodney Bingenheimer‘s English Disco, with a band featuring 14-year-old future Quiet Riot members Randy Rhoads and Kelly Garni.

All-in-all, How Far Will You Go? is a revelation, lovingly restored by Emmons from original master tapes, and even mastered for vinyl by Emmons on his own cutting lathe. With extensive liner notes and photos, How Far Will You Go? tells the story of America’s greatest 70s should-have-beens, a band so amazing that the only reason you haven’t heard of them is because they were gay, and they didn’t give a damn.

HOW FAR WILL YOU GO? TRACKLISTING
1. Leather
2. Strong Love
3. DTNA
4. Topaz
5. How Far Will You Go…?
6. Fire
7. I’ll Always Love You
8. Puttin’ On The Ritz
9. Temptation
10. Million Dollar Babies
11. Miss Ray
12. Piss Slave
13. Hot Hard & Ready
14. Ballad of Butchie & Claudine
15. Topanga
16. Million Dollar Babies (alt version)

Chapter Music Online: https://chaptermusic.com/

You had me at piss slave

see also

Smokey: "Lost Great American Gay Pre-Punk Icons"

Previously unreleased Dusty Springfield album, said to be uneven, but incl. keepers for sure:

http://sun209.com/rediscovered-dusty-springfield-faithful/

That Dusty material has been out before, unevenly split as bonus tracks between Rhino's reissues of A Brand New Me (the two singles) and the deluxe In Memphis (everything else).

I've got a version of Dusty In Memphis with a few bonus tracks; think it's from See For Miles. Pretty old, so maybe not the one you mean. Have to dig that up; anyway I'm intrigued by the unequivocally mixed, non-gushy review.
Of recent Soul Jazz comps, this is the one I'm most curious about:

http://www.soundsoftheuniverse.com/img/releases/41410/w/sjrlp296st1jump-upcover.jpg

New Studio One release featuring loads of killer tunes. Includes booklet text and lots of nice pix!

In the early releases featured here you will find the roots of Studio One’s unique sound – from the first jump-up, boogie-woogie and shuffle recordings made in Jamaica in the late 1950s, as the artists emulated their American rhythm and blues idols – Louis Jordan, Roscoe Gordon, Fats Domino – through to the early Rastafari rhythms of Count Ossie, the righteous Baptist beat of Toots and the Maytals up to the joyous excitement of Ska with tracks by Studio One’s young protégées Bob Marley and The Wailers and the all-mighty Skatalites.

Clement ‘Sir Coxsone’ Dodd first began recording music in the late 1950s, making one-off records to play on his Downbeat Sound System. These ‘exclusive dup-plates’ enabled him to reign supreme in the regular dancehall soundclashes of Kingston, fighting off the competition from rivals including Duke Reid the Trojan and Prince Buster. This new album traces the roots of the legendary label as it created the sound of the young independent Jamaican nation going into the early 1960s.

Sir Coxsone used only the finest musicians in Jamaica for these recordings, including those players that would later become known worldwide as the Skatalites, Don Drummond, Roland Alphonso, Ernest Ranglin, Rico Rodriguez, Cluett Johnson and others. As fans clamoured to get a copy of these ‘one-off’ exclusive records, Clement Dodd eventually decided to start making them available commercially starting in 1959, and so began the birth of an empire.

And so by the time the new Studio One studio/record company/pressing plant complex at 13 Brentford Road opened its doors in 1963, with The Skatalites in place as the in-house band, the foundations of Jamaica’s most important record label had already been firmly established. As well as those listed above, this album brings together some of the finest of these early reggae artists to record for Clement Dodd including Derrick Morgan, Owen Gray, Derrick Harriott, Lord Creator and Owen Gray.
More info, audio here:
http://www.souljazzrecords.co.uk/releases/?id=41410

MELT-BANANA PREVIOUSLY UNCOLLECTED SINGLES

Japanese techno-punk outfit Melt-Banana will be going on two North American headlining tours. To coincide with this two tours, Melt-Banana will release Return of 13 Hedgehogs, a collection of non-album singles.They' ve taken a map of North America and cut it in half diagonally right; the band will first tour the bottom right half in May to mid-June, and will come back in July (and a few dates in August) for the top left half. In addition to these headlining shows, Melt-Banana are also scheduled to perform at two festivals. The first is the Maryland Deathfest in May. In July, the band will appear at the Eaux Claires Music & Arts Festival curated by Bon Iver's Justin Vernon and the National's Aaron Dessner. Melt-Banana' s first show on the first tour will be in Phoenix with Lightning Bolt. For most dates of the second tour, the band will be joined by Torche. I'm hoping you'll consider advancing their show with a feature, advance blurb or album review. Let me know if you need the music.

Return of 13 Hedgehogs is a compilation of 13 singles Melt-Banana has released from 2000 to 2009,and is their second singles compilation following 13 Hedgehogs, which compiled 13 releases from 1994 to 1999. In addition to tracks from their singles, tracks from split singles released with acts such as Fantomas, The Locust, Big D and the Kid's Table, and Young Widows, etc, along with covers of songs such as Italian singer Mina' s "Tintarella Di Luna", Toots & the Maytals' "Monkey Man" (which was famously covered by The Specials), Devo' s "Uncontrollable Urge" and The Damned' s "Love Song" will be included for a total of 29 tracks. These tracks have never been released on any of Melt-Banana' s previous 8 studio albums and 2 live albums.

TR01 : Who did it? Who dig it?

TR02: Dog in Lost

TR03: 2 Knees

TR04: Puddle, float

TR05: Quite Free

TR06: And I...

TR07: Tintarella Di Luna

TR08: Grave In The Hole (Pitfall Fits A Bit)

TR09: Capital 1060 Hospital

TR10: Too Rough To Scoop (Find A Grain of Greed)

TR11 : Creeps In A White Cake

TR12: Monkey Man

TR13: Operation: 3rd Attack

TR14: Get the Head Back

TR15: About

TR16: Neck On B1

TR17: Get the T (Escaping with the ID card!)

TR18: Steel me lust

TR19: 52 hands, 36 possibilities

TR20: Sweeper

TR21 : Target Inside

TR22: Cat In Red

TR23: ヘビノウタ/ snake song

TR24: アイノウタ/ love song

TR25: Uncontrollable Urge

TR26: Pain In Ash

TR27: Loop Nebula

TR28: Leeching

TR29: Jack And A Red Dog

ORIGINAL RELEASES FOR THE ABOVE TREACKS: Melt-Banana/Three Studies For A Crucifixion Split 8inch Single (2001 Passacaglia Records, USA), Melt-Banana/Dynamite Anna and the Bone Machine Split 7inch Single (2001 Valium Records, Italia), Melt-Banana/ Daemien Frost Split 7inch Single (2001 Alpha Relish, Ireland), Melt-Banana/The Locust split 7inch Single (2002 GSL, USA), Melt-Banana/Big D And The Kids Table split 7inch Single (2002 Fork In Hand, USA), Melt-Banana 6inch Single "666" (2002 Level Plane, USA), Melt-Banana/Narcosis split 7inch Single (2004 Speedowax Records, UK), Melt-Banana/Chung split 10inch Single "Quick Quick Slow Death" (2005 Sounds of Subterrania, Germany), Melt-Banana/Fantomas split 5inch Single (2005 Unhip Records, Italy), Melt-Banana 5inch Single "アイノウタ- Ai no Uta" (2006 Hg Fact, Japan), Melt-Banana/Fatday split CDEP (2008 Dark Beloved Cloud , USA), Melt-Banana/Young Widows split 7inch Single (2009 Temporary Residence Ltd., USA), Melt-Banana 7inch Single "initial T." (2009 Init Records, USA)

All songs by Melt-Banana except TR07, TR12, TR24, TR25.

Release on A-ZAP Records :

http://www.a-zap.com/

http://files.ctctcdn.com/fad5d549001/f6c12e0b-35c5-4a9d-8cb0-98585156a539.jpg

Lone's classic debut album Lemurian gets the deluxe re-issue treatment courtesy of Magic Wire and R&S. Originally released in 2008, it returns in 2015 re-mastered by Matt Colton, with new artwork from Konx-om-Pax and on vinyl for the very first time. The LP has a spot gloss cover, full color printed inner, download codes and initial press is on colored vinyl.

Lone's Lemurian returns perfectly timed for the summer.

What the press said about Lemurian's original 2008 release:

"Kaleidoscopic, shimmering hip-hop instrumentals from Lone that fill your ears with warm nostalgia and sails you away into a nebulae of opiated psychedelia. Superb, accomplished 17 track album for Dealmaker...a perfect seasonal soundtrack." - Bleep (Album of the Week)

"Lens Flare Lagoon conjures up the glistening, watery effect suggested by its name, and 'Buried Coral Banks' has a Boards Of Canada-meets-Jacques Cousteau feel that's hard not to love." - Boomkat (Album of the Week)

Lone
Lemurian
Magic Wire / R&S Records
June 29, 2015
LP / CD / Digital

Track List:

1. Koran Angel
2. Cali Drought
3. Interview at Honolulu
4. Banyan Drive
5. Green Sea Pageant
6. Girl
7. Orange Tree
8. Maya Codex
9. Atoll Mirrored
10. Sea Spray
11. Under Two Palms
12. Lens Flare Lagoon
13. Borea
14. Buried Coral Banks
15. Phthalo Blue
16. Sunken
17. Minor Suns

wtf @ reissuing something that isn't even 10 years old

http://4ad.com/uploads/news/613_c_w_450_h_450.jpg

On 14th August, each of Red House Painters' original studio albums released on 4AD will be resissued on individual black vinyl, after being out of print for over twenty years.

Originally released between 1992 and 1995 - Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” LP to also include the Shock Me EP), are now available to pre-order individually, or as a bundle, exclusively through 4AD.

Additionally, we're excited to share the latest edition of Sleeve Notes, our interactive web-series, in which label biographer Martin Aston reflects on the legacy left by Red House Painters, as well as reflecting on his own pivotal role in their discovery. The feature too collects a number of previously unseen photos of the band, along with original press releases for each record, a ten track sampler stream and shots of the very demo cassette where Mark Kozelek's relationship with 4AD began.

You can read Sleeve Notes here.http://4ad.com/sleevenotes/red-house-painters/

wtf @ reissuing something that isn't even 10 years old

Don't know about this particular item but the internet has driven prices for out of print things stupid. And the great thing is that some people will treat a 2009 "original pressing" of something as if it's a sacred, lost artifact.

http://d31hzlhk6di2h5.cloudfront.net/20150507/cd/62/c5/24/9af2bc043fbb975ed31c0e44_280x280.jpg
CARL HALL’S YOU DON’T KNOW NOTHING ABOUT LOVE:
THE LOMA/ATLANTIC RECORDINGS 1967-1972, OUT JUNE 23, 2015,
IS INTRODUCTION TO PROLIFIC, UNDER-THE-RADAR
NORTHERN SOUL SINGER
Compilation’s 19 songs include hits plus 13 unissued bonus tracks.
All were produced by Jerry Ragovoy, and not previously available on album.
LOS ANGELES, Calif. — Carl Hall’s four-octave range first came into prominence on the gospel sides he cut in the 1950s for labels like Vee-Jay and Savoy. His later acting work on Broadway (Inner City, The Wiz, and Truly Blessed: A Musical Celebration of Mahalia Jackson) and in the film version of Hair was renowned. But it’s the soul sides he cut for the Loma and Atlantic labels, with producer Jerry Ragovoy, that are truly sought after. You Don’t Know Nothing About Love: The Loma/Atlantic Recordings 1967-1972 not only fills that need, but delivers in spectacular fashion.
This 19-track CD, set for release on Omnivore Recordings on June 23, 2015, collects the singles from this era and adds an astonishing 13 previously unissued tracks, brand new to soul collectors, who up until now have only had the aforementioned single sides issued on the original 45s. In addition to the title track, “I Don’t Wanna Be (Your Used to Be),” and Hall’s take on Jefferson Airplane’s “Somebody to Love” (re-titled “Need Somebody to Love” for Hall’s version) You Don’t Know Nothing About Love gathers unreleased versions of hits from The Beatles (“The Long and Winding Road”), Broadway’s Stop the World — I Want to Get Off (“What Kind of Fool Am I”) . . . and even The Rolling Stones, who themselves had a hit with their cover of Ragovoy’s “Time Is on My Side,” represented here in a pair of unissued versions.
You Don’t Know Nothing About Love acts as both a primer and a definitive statement on Hall’s six years under the Warner Bros. umbrella. The mystery of why so much of this music lingered in the vaults for so many decades and a historical overview of both Hall’s and his colleagues’ careers are brought to life via an essay from musicologist Bill Dahl.

From Dahl’s notes: “The stratospheric four-octave vocal range of Carl Hall was truly a gift from on high. No less an esteemed authority than Anthony Heilbut declared him the finest male soprano in gospel. But after establishing himself in the sacred field, Hall crossed over to the secular arena, cutting a series of mesmerizing soul singles that showcased his uncanny vocal mastery just as vividly as those spirituals had.”
Omnivore Recordings is proud to present yet another set of recording that many have talked about, but few have had the pleasure of hearing. You Don’t Know Nothing About Love: The Loma/Atlantic Recordings 1967-1972 guarantees you’ll know about Carl Hall. And, make you wish it hadn’t taken so long to find out.
Track Listing:
1. You Don’t Know Nothing About Love*
2. Mean It Baby*
3. Just Like I Told You
4. He’ll Never Love You
5. It Was You (That I Needed)
6. The Dam Busted*
7. I Don’t Wanna Be (Your Used To Be)*
8. Dance Dance Dance
9. What Kind Of Fool Am I?
10. Sometimes I Do
11. The Long And Winding Road
12. It’s Been Such A Long Way Home
13. Time Is On My Side
14. Need Somebody to Love*
15. Change With The Season*
Alternate Takes:
16. Just Like I Told You
(Take 7)
17. It Was You (That I Needed) (Take 12)
18. The Dam Busted (1971 Remake)
19. Time Is On My Side (Takes 1 & 2) 

All selections previously unissued except *

Mostly the top end of that xpost four-octave range, or pretty far up and out there, at least: bold, sweet and raspy, inexhaustible, though sometimes exhausting (at least in a 66-minute bloc, but that wasn't the goal). Sometimes he could use a little edit, and having horns etc. try to answer, rather than accompany, can lead to overheating (mostly in the second half, incl. several outtakes), but the rhythm tracks cook like they should, and the few ballads are mostly revelatory (damn I even almost like "The Long and Winding Road,"in this instance). Rec. to fans of Howard Tate, Janis, Aretha, early Rod, Little Richard, Little Jimmy Scott, even (he's not any of them but maybe close enough if you're jonesing).

(When he slows down a little, leaves more room, there's more oxygen to mold and ignite each note,)

(But he can do it fast too, maybe with some circular breathing.)

vinyl bubble's gettin outta hand:

JOY DIVISION

The Band's Studio Albums And Essential Compilations Are Coming Out On
180-Gram Vinyl This Summer As "Love Will Tear Us Apart" Celebrates 35 Years

A New Version Of Substance Featuring Two
Additional Tracks Will Arrive On 24th July
To celebrate the 35th anniversary of "Love Will Tear Us Apart" on June 27th, Rhino is pleased to announce the re-issue of four iconic Joy Division releases on heavyweight 180-gram vinyl. The studio albums UNKNOWN PLEASURES (1979) and CLOSER (1980) will be available on June 29th at retail outlets. They will be followed on July 24th by STILL (1981) and an expanded version of SUBSTANCE (1988), both available as a double-LP set.

Each design replicates the original in painstaking detail, including the gatefold covers used for Still and Substance. The music heard on the albums was remastered in 2007 when Rhino introduced expanded versions of the albums. The lone exception is Substance, which features audio remastered in 2010 for the +- singles box and for the first time on vinyl, the expanded tracklist from the original CD release, plus two additional songs: "As You Said" and the Pennine version of "Love Will Tear Us Apart." In addition to the vinyl format, Rhino will also release this expanded version of Substance as a 19-track CD, available on July 24th.

Joy Division recorded two albums before singer Ian Curtis tragically took his own life in 1980. But what the Manchester quartet lacked in longevity, it more than made up for in quality. The band's only two studio albums were groundbreaking and helped shape the sound and mood of the alternative music that followed in the band's wake.

Ian Curtis (guitar/vocals), Bernard Sumner (keyboard), Peter Hook (bass), and Stephen Morris (drums) released their debut, Unknown Pleasures, in 1979. By the end of the year, the album's atmospheric sound had won over fans and critics with tracks like "She's Lost Control" and "Day of the Lords." Closer , the group's second album, arrived the following year and its dark and melancholy tones continued to earn rave reviews for songs like "Isolation" and "Heart and Soul."

The compilations Still and Substance fill in the missing pieces of the band's history with non-album singles ("Transmission" and "Love Will Tear Us Apart"), unreleased studio tracks ("Something Must Break" and "Ice Age"), and choice live recordings ("Disorder" and the only performance of "Ceremony.")
Unknown Pleasures
Side A
1. "Disorder"
2. "Day of the Lords"
3. "Candidate"
4. "Insight"
5. "New Dawn Fades"

Side B
1. "She's Lost Control"
2. "Shadowplay"
3. "Wilderness"
4. "Interzone"
5. "I Remember Nothing"
Closer
Side A
1. "Atrocity Exhibition"
2. "Isolation"
3. "Passover"
4. "Colony"
5. "A Means to an End" Side B
1. "Heart and Soul"
2. "Twenty Four Hours"
3. "The Eternal"
4. "Decades"
Still (2LP)
Side A
1. "Exercise One"
2. "Ice Age"
3. "The Sound of Music"
4. "Glass"
5. "The Only Mistake"

Side C
1. "Ceremony"
2. "Shadowplay"
3. "Means to an End"
4. "Passover"
5. "New Dawn Fades"
6. "Twenty Four Hours"
Side B
1. "Walked in Line"
2. "The Kill"
3. "Something Must Break"
4. "Dead Souls"
5. "Sister Ray" Side D
1. "Transmission"
2. "Disorder"
3. "Isolation"
4. "Decades"
5. "Digital"
Substance (1CD and 2LP Track Listing)
1. "Warsaw"
2. "Leaders Of Men"
3. "Digital"
4. "Autosuggestion"
5. "Transmission"
6. "She's Lost Control"
7. "Incubation"
8. "Dead Souls"
9. "Atmosphere"
10. "Love Will Tear Us Apart"

11. "No Love Lost"
12. "Failures"
13. "Glass"
14. "From Safety To Where"
15. "Novelty"
16. "Komakino"
17. "As You Said"
18. "These Days"
19. "Love Will Tear Us Apart" (Pennine Version)

Sun Dog Propaganda Press Release: Banned In DC Back in Print 6/23
After nearly 10 years out of production, Banned In DC is finally coming back into print.

Assembled by Cynthia Connolly, Leslie Clague, and Sharon Cheslow and originally released in
December of 1988, Banned in DC collects hundreds of photos, flyers, and stories documenting the DC punk scene of the mid-’80s.

It was thought that the sixth edition – which was released in 2005 – would be the final version of the book, as the negatives used to make the printing plates had deteriorated beyond use. However, due to consistent demand Connolly decided to recreate the book, hewing as closely as possible to the original design only this time as a digital negative.

The intention of the book – one of the first to be published on punk in the US – was to capture the feeling and energy of the movement, using stories from the people who were involved. Images of many of the bands of that time can be found in this book: Minor Threat, Faith, Marginal Man, Scream, Red C, Bad Brains, Rites of Spring, Nuclear Crayons, Insurrection, Hate from Ignorance, G.I., Bloody Mannequin Orchestra, Void, Second Wind, and more.

With the seventh edition of Banned in DC, Connolly has added an eight-page afterword explaining how and why the book came together. The story highlights her years growing up in Los Angeles in the late ’70s and early ’80s – going to shows and discovering and documenting the punk scene in DC after her family relocated to the area in 1981. Her personal collection of ephemeral objects such as letters, photos, and notes are used to illustrate her story.
The books will be available June 23, 2015.
EVENTS
- 6/20 Culver City, CA @ Arcana Books w/ Brian Turcotte (Book signing)
- More TBA

fabulous book, very highly recommended

the joy division records JUST GOT REISSUED a few years ago, in fact, I suspect these are straight repackagings of the ones that came out a few years ago. I have Unknown Pleasures from that series, it looked and sounded great on vinyl. The one nice thing there is the expanded Substance.

Yep. Oh btw, that xpost Smokey collection has a few really outstanding tracks, esp. the title song, with a dolorous daddy calling after his wayward, ambitious boyo; "Million Dollar Babies" (not the Alice Cooper number) is in effect something of an answer song, and the second version of it is even better; an anthem, leading/following the Babies out to streets o' smokin' gold, under the stars you can't see for the big city lights!

^^^ so looking forward to that Smokey stuff

the joy division records JUST GOT REISSUED a few years ago, in fact, I suspect these are straight repackagings of the ones that came out a few years ago.

Yeah I'll bet you they're $5-10 more expensive though. Because VINYLSSSS

That extended Substance makes me wonder, though. Also wondering about Frederick Michael St. Jude's Gang War, early 80s dystopian rock opera recently reissued on disc by Drag City
http://www.dragcity.com/uploads/products/2293/images/1046/large_DC623.jpg
Anybody heard it?

Samples here, and they've got some other stuff by him
http://www.dragcity.com/products/gang-war

I'm curious about that one too - heard a couple of tracks from an earlier album by him and one of them was really good, kind of coldly funky with some Roxy Music vibes maybe.

June thing from Numero:

Royal Jesters: English Oldies

Twenty-eight homespun stunners from the Alamo City’s scrappiest souleros. The Royal Jesters were the kings of San Antonio's cross-cultural teen scene in the 1960s, soundtracking lovelorn slow dances with their heart-sick harmonies. For the first time, English Oldies gathers the best early doo-wop, R&B, and blazing Latin rock and soul from these Tex-Mex masterminds—a simmering melting pot of diverse regional flavors, best served hot.

CD/2LP/Digital

White Eyes: S/T

The Summer of Love hadn’t reached Missouri, even by 1969. But White Eyes, a true anomaly of the Midwest, channeled the sound of Haight-Ashbury straight to the plains. The band was among the top performing acts in the “Show Me” state, opening for The Flying Burrito Brothers, Black Oak Arkansas, and Brewer and Shipley. Blending acoustic and electric instrumentation, three-part harmonies, and anti-Vietnam lyrics, this previously unissued LP holds true to the acid-drenched sounds of the Woodstock era.

CD/LP/Digital

Saved & Sanctified: Songs of the Jade Label

The rawest DIY gospel ever resurrected. The West Side of Chicago was just an annex of the deep rural South for Gene Autry Cash and his flock of recent Old Dominion transplants looking to cut their fiery, unadorned sounds indelibly to plastic. His Jade label absorbed those God-fearing artists: family bands with wailing kids and barely amateur groups sourced from local parishes, infused with reverberations of country and western and deep soul. Glinting authenticity shines from every track like a diamond in the unpolished rough—each group completely convinced that salvation comes through song.

LP/Digital

Scharpling & Wurster: The Best of the Best Show

Culled from the vaults of WFMU—the world’s most acclaimed free-form radio station—comes more than 20 hours of mind-bending, hilarious phone calls between the renowned comedy duo of Tom Scharpling & Jon Wurster. From 2000 to 2013, their tremendous imaginations took over the WFMU airwaves every Tuesday night with bizarre tales from a fictional town called Newbridge, New Jersey, and the desperate denizens that inhabit it.

Included inside this definitive collection are 75 calls over 16 compact discs, edited by Scharpling & Wurster (more than 50 of them previously unreleased or unaired), a 108-page hardcover book with cover art by Joe Matt that features essays by Patton Oswalt, Julie Klausner, Damian Abraham (lead singer of F*cked Up), and Best Show associate producer Michael Lisk (aka A.P. Mike), a definitive interview with Scharpling & Wurster by Jake Fogelnest, notes on the evolution and inspiration behind each bit written by Scharpling & Wurster, a USB drive with all of the calls plus 4 hours of bonus material, a fold-out map of Newbridge, Philly Boy Roy & Timmy von Trimble Paper Dolls, postcards, and temporary tattoos with The Best Show catch-phrases.

16 CD Box Set

Perk Badger “Do Your Stuff” b/w “Part 2”

The Mighty Pearstine “Perk” Badger cut a handful of sides for Wax-Wel and his own Hit Sound (and Hit Bound) labels in the late 1960s and early 1970s, including a low-fidelity attempt at the anthemic “Do Your Stuff.” A few years later, Perk took another stab, enlisting the help of Arnold Albury’s Rising Sons, a major force in Henry Stone’s TK operation. The results were raw, magical, heavy-hitting funk. It is debatable whether or not the reworked single ever saw distribution, but it would become his closest thing to a hit in 2014 when it found its way from a deep cut on Eccentric Soul: The Outskirts of Deep City to an international Nike ad campaign. Issued here on a bright replica Suncut label with bottom-heavy refurbished sound.

45/Digital

Still fresh:

NUM052.75 Ned Doheny: To Prove My Love 45/Digital
NUM056 Ultra High Frequencies: The Chicago Party CD+DVD/2LP+DVD/Digital
NUM707 Ork: Complete Singles 16x45
NUM1232 The Notations: Still Here 1967-1973 CD/LP/Digital
NUM1238 Bedhead: Live 1998 CD/LP/Digital
ES-049 Funkafize: Because You’re Funky 45/Digital
NBR004 Low’s In The Mid ‘60s LP/Digital

On the way:

NUM202.5 Unwound: Empire 4LP/Digital
NUM1233 The Scientists: S/T LP/Digital
NUM1234 The Scientists: Blood Red River

hey, what's this? some kind of non-numbered dylan bootleg series thing?:

http://www.amazon.com/Dylan-Cash-The-Nashville-Cats/dp/B00VBES6Q4/

Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Working with the city s unmatched session musicians, Dylan produced a rock & roll masterpiece and went on to record two more albums there. Dylan s embrace of Nashville and its musicians the Nashville Cats inspired many other artists, among them Neil Young, Joan Baez, and Leonard Cohen, to follow him to Music City. Around the same time, Johnny Cash was recruiting folk and rock musicians including Dylan to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium, home of the Grand Ole Opry.

The exhibit at the Country Music Hall of Fame looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City. This 2CD set is the companion release to this exhibit.

Disc: 1
1. Absolutely Sweet Marie (Bob Dylan)
2. Harpoon Man (Charlie McCoy & the Escorts)
3. It Ain't Me, Babe (Johnny Cash)
4. Down In The Flood (Flatt & Scruggs)
5. The Way I Feel (Gordon Lightfoot)
6. I'll Be Your Baby Tonight (Bob Dylan)
7. You Ain't Goin' Nowhere (The Byrds)
8. This Wheel's On Fire (Ian & Sylvia)
9. Gentle On My Mind (John Hartford)
10. Some Of Shelly's Blues (The Monkees)
11. Turn Around (The Beau Brummels)
12. I'm So Lonesome I Could Cry (Tracy Nelson)
13. If You Don't Like Hank Williams (1968 Demo)(Kris Kristofferson)
14. Bird On The Wire (Leonard Cohen)
15. Hickory Wind (The Byrds)
16. Blowing Down That Dusty Road (Country Joe McDonald)
17. The Boxer (Simon & Garfunkel)
18. Stone Fox Chase (Area Code 615)
19. The Byrds Sweetheart Of The Rodeo Radio Ad (Bonus Track)
Disc: 2
1. Girl From The North Country (Bob Dylan with Johnny Cash)
2. Driftin' Way Of Life (Jerry Jeff Walker)
3. Behind That Locked Door (George Harrison)
4. Crazy Mama (J.J. Cale)
5. Beaucoups Of Blues (Ringo Starr)
6. Going To The Country (Steve Miller Band)
7. Heart Of Gold (Neil Young)
8. If Not For You (Previously Unreleased Version) (Bob Dylan with Lloyd Green)
9. City Of New Orleans (Steve Goodman)
10. The Night They Drove Old Dixie Down (Joan Baez)
11. Blue River (Eric Andersen)
12. Seven Bridges Road (1972 Nashville Version) (Steve Young)
13. Will The Circle Be Unbroken (Nitty Gritty Dirt Band)
14. Sally G (Paul McCartney & Wings)
15. Silver Wings (Earl Scruggs with Linda Ronstadt)
16. A Six Pack To Go (Leon Russell, as Hank Wilson)
17. Matchbox (Live On The Johnny Cash Show) (Derek & The Dominos with Johnny Cash and Carl Perkins)

seems intriguing!

on a similar note bear family's now-into-four-volume series on country-rock (called "truckers, kickers, and cowboy angels" or something like that) is really, really good. well, the first two volumes are. the second two volumes (covering 1970 and 1971) are not as good.

btw you can get bear family CDs for pretty cheap on that ernie b's reggae website.

actually now that i look at it, it's kind of a predictable compilation of country-rock stuff from the later 60s/early 70s

the sony dylan/cash thing i mean

would that they actually released the dylan/cash sessions from 1968 on a bootleg series volume! i'm sure that'll come, though.

(re Bear Family)Cool, thanks!
That double w Dylan etc. is tied in with the exhibit I posted about way upthread, which also involves panels discussions with Nashville cats who played w Dylan, Byrds, Cohen, etc., and concerts comimg from different directions: for inst, Jon Langford performed with some cats, and some of his paintings of country-historical figures (kinda like R. Crumb's portraits of early blues etc. artists) are now in the exhibit, I think. More info about the whole thing here (it's been going on a while now, and apparently is pretty popular)
http://countrymusichalloffame.org/exhibits/exhibitdetail/dylan-cash-and-the-nashville-cats-a-new-music-city#.VW-uhEakQS0

Whether anything is revealed, dunno, but the Country Music Hall of Fame is fun tourist-bait.

A bit more like news, to me, anyway---from Anthology:

Andrew Kidman
Litmus ( 20th anniversary edition)
August 14, 2015
Anthology Recordings

Listen to track "Rain" HERE
https://www.youtube.com/watch?v=h013n-65ZYo&feature=youtu.be

By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture.

Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.

Andrew Kidman
Glass Love
August 14, 2015
Anthology Recordings

Andrew Kidman’s Glass Love (2006) serves as an evolution from his first avant-garde surf film, Litmus (1996). Kidman followed the same filmmaking technique from ten years prior: write and record the songs, then set the mise-en-scène to match the rustic, moody, balletic rock. Thanks to Litmus, experimentation in board design had progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today.

Andrew Kidman
Litmus + Glass Love Box Set
August 14, 2015
Anthology Recordings

Andrew Kidman / Windy Hills will performing music from Litmus / Glass Love with film montage screening:
6.12 - Bird's Surf Shed - La Jolla, CA **
6.13 - La Paloma Theatre - Encinitas, CA **
6.14 - Mollusk Surf Shop - Venice Beach, CA
6.15 - Mollusk Surf Shop - Silverlake, CA
6.18 - Fremont Theatre - San Luis Obispo, CA
6.19 - Rio Theatre - Santa Cruz, CA **
6.20 - TBA - San Francisco, CA **
6.22 - Chop Shop - Long Island, NY
6.23 - Union Pool - Brooklyn, NY **
6.24 - Paramount Theatre - Asbury Park, NJ
6.26 - Pilgrim Surf + Supply - Amagansett, NY **
6.28 - Solid Sound Festival - North Adams, MA

All of the dates include a screening of his latest film, Spirit of Akasha.
** indicates the shows where Kidman will screen Litmus/Glass Love montage + he and his band will perform selections from the films.

xpost

the country music hall of fame is a lot of fun. i don't much like contemporary country music, so i was pleased that anything post-1970 is basically relegated to one big room at the end.

Didn't it get closed down for a while either because of flood or some more important downtown development that forced it out?

So sorry, was thinking of What is your favorite item in the Musicians Hall of Fame and Museum in Nashville? (Not a POLL)

Drag City:

Royal Trux fans, rejoice! Your sick fantasies have actually been true all these years! Royal Trux's Twin Infinitives dry run, Hand Of Glory, is being exhumed from the dim-n-dank crow's nest of DCHQ and is once again seeing the light of day! In these revitalized days of Royal Trux fandom with reissues and reunion in the air, what could be more stim'latin' than a cache of dark age Royal Trux tapes? That's what's coming back - Hand of Glory is a missing piece of the Royal Trux puzzle, circa 1989-90.

Hand Of Glory was originally slated to be released following the seminal "Hero Zero"/"Love Is" 7" single (DC1, yo!). Hand of Glory is both bad-ass and half-arsed, upping the ante on what Royal Trux was capable of by doing LESS, somehow. For longer! With fewer people - therefore fewer people to pay. Newly relocated to San Francisco, Neil and Jennifer took advantage of their strange new climate by ignoring it, spending all their time indoors, pouring TONS of time and energy into this Trux direction. With black, white and blue magic floating around it, the Hand of Glory juju is dark and distinctly American, circa the end of the decade horribalis that was the 1980s (just kidding - the 90s were far worse!).

Sometime in 2000 or 2001, Neil Hagerty went to his parents' home to Virginia,where his father reminded him about a mysterious locked trunk in the basement. When Neil popped the lock on the trunk, he found the Hand of Glory tapes, stashed for around a decade there. "Domo des Burros" was complete and mixed but "The Boxing Story," was still on 4 or 5 little 1/4" reels. They were all supposed to be played on their own tape machines simultaneously. The boxes were marked and notated so he was able to piece them together and mix them down. Drag City even had the original artwork design in the office. First released in 2002 as the final nail in the Trux coffin, this essential, exo-stential collection of material will now be available once again in the confusion and desire that follows the Royal Trux reunion show at Berserktown in August. Reach for a Hand of Glory on August 28th, 2015.

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/825646284047.jpg

THE SISTERS OF MERCY

Four-LP Boxed Set Combines The Band's 1985 Classic
First And Last And Always With Three EPs From That Era

180-Gram Vinyl And Digital Versions Will Both Be Available July 24

LOS ANGELES - The Sisters of Mercy mastered the art of dark and foreboding rock in 1985 with the band's influential major-label debut, FIRST AND LAST AND ALWAYS. To commemorate the album's 30-year anniversary, Rhino will release a vinyl boxed set that includes the original album together with three 12" EPs from that era: Body And Soul, No Time To Cry and Walk Away.

FIRST AND LAST AND ALWAYS VINYL COLLECTION will be available at retail outlets on July 24 for a suggested retail price of $74.98. The set contains four LPs, all pressed on 180-gram vinyl, and comes packed in an attractive card slipcase. On the same day, the set will also be released digitally. The album and EPs that make up the set will also be available for download individually.

When The Sisters of Mercy signed with WEA in May 1984, the band consisted of Andrew Eldritch (vocals), Gary Marx and Wayne Hussey (guitars), Craig Adams (bass), and a drum machine named Doktor Avalanche. The group's first release for the label was the 12" EP Body and Soul . Eldritch once described the release as: "a vision of heaven with everyone on speed." Two of its four-tracks-"Body Electric" (1984 Version) and "Afterhours"-have only been available on the original 12". This new release makes these songs available digitally for the first time ever.

In March 1985, almost a year after Body And Soul, The Sisters of Mercy released its landmark album, First and Last and Always . It climbed to #14 on the album charts in the band's native England. Among the standout tracks are "Marian," "Rock And A Hard Place," and the ominous "Black Planet," which was released as a single in the U.S. Even though the album was enthusiastically embraced by goth rock culture, Eldritch has steadfastly rejected the label, saying the band has more in common with classic rock from the Sixties than the post-punk scene of the Eighties.

Also featured in this set are two singles from First and Last and Always that were issued as 12" singles with multiple b-sides. "Walk Away" was backed with "Poison Door" and "On The Wire." With was followed by "No Time To Cry," which was backed with "Blood Money" and "Bury Me Deep."

http://4ad.com/uploads/news/621_c_w_450_h_450.jpg

Following last year’s represses of Cocteau Twins’ Blue Bell Knoll and Heaven or Las Vegas, this July will see their combined EPs of Tiny Dynamine / Echoes In A Shallow Bay and long out of print, early-80s compilation, The Pink Opaque, officially released on 17th July.

With a history of releasing singles between albums, the two EPs of Tiny Dynamine and Echoes In A Shallow Bay were originally released two weeks apart back in November 1985. Seen as companion pieces, they acted as a precursor to their fourth studio album, Victorialand. 30 years later, they’re now being married together on to one piece of vinyl, completed with reformatted artwork.

A year later The Pink Opaque was compiled to bring together the best of the Cocteau Twins’ early works to become the band’s first official release in the US. Already a cult band on college radio, some classics like ‘Pearly-Dewdrops' Drops’ and ‘Aikea-Guinea’ were given new mixes for this release, while it’s noted for also featuring ‘Millimillenary’, the first run out for incoming band member Simon Raymonde. To this day, it remains a great entry point to a wonderful band.

Using new masters created from high definition files transferred from the original analogue tapes, both these albums will receive 180g vinyl pressings this July. HD audio downloads of both albums will be made available through specialist retailers at the same time.

very nice

http://d31hzlhk6di2h5.cloudfront.net/20150609/75/7d/5d/70/233217ffd3ae78bec9c84d9d_280x280.jpg

THE MUFFS’ CLASSIC POP-PUNK DEBUT ALBUM
REMASTERED AND EXPANDED,
SET FOR AUGUST 14 RELEASE ON OMNIVORE RECORDINGS
Reissue features ten bonus tracks and liner notes by the band.
Special guests include Jon Spencer and Korla Pandit.
The Muffs (photo by Vicki Berndt)
LOS ANGELES, Calif. — The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros. Records. Entering the studio with David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993. According to renowned critic Jim DeRogatis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.”
The quartet rips through the album’s 16 tracks, ranging from an Angry Samoans cover to the college-radio smash “Lucky Guy.” In addition, alt-rock superstar Jon Spencer (Pussy Galore and his own Blues Explosion) adds some theremin (“I Need You”), and the Godfather of Exotica, Korla Pandit, contributes Hammond organ (“From Your Girl”). The album includes a 31-second version of the Angry Samoans’ “Stupid Jerk.” The beverage Fruitopia caught the Muffs buzz, using the track “Everywhere I Go” in a popular television campaign.
This reissue, released with full cooperation from the band, contains the original album and adds a whopping 10 bonus tracks: a radio remix of “Lucky Guy,” a version of “Everywhere I Go” that was only available on the cassette of The Muffs album, and eight previously unissued demos from the band’s vocalist and lead guitarist, Kim Shattuck — who filled the role of departed Kim Deal on the Pixies’ 2013 tour. Street date for the reissue is August 14, 2015 via Omnivore Recordings.
Shattuck and bassist Ronnie Barnett provide new liners, and they have opened their archives for photos and other ephemera.
According to Barnett in the notes: “This album did find its audience, if not a huge one. It’s the first album Rob Cavallo produced (his second one was called Dookie by some buddies of ours from the Bay Area who were fans). It has its flaws, but it’s never gone out of print. It may or may not have too many songs, and there may have been too many cooks in the studio, but it is what it is — our first album. It had heart, it had songs, and is the basis for our ongoing — after all of this time — career. Kim and I used to dismiss this album, but I now think it’s time to embrace it.”
Last year the band reunited and issued their first new release in a decade, garnering critical lauds and playing to enthusiastic crowds. Now it’s time to go back to where it all started. It’s time for the Muffs!
Track Listing:
1. Lucky Guy 

2.Saying Goodbye 

3.Everwhere I Go 

4.Better Than Me 

5.From Your Girl 

6. Not Like Me 

7.Baby Go Round 

8.North Pole 

9. Big Mouth 

10. Every Single Thing 

11. Don’t Waste 
Another Day 

12. Stupid Jerk 

13. Another Day 

14. Eye To Eye 

15. I Need You 

16. All For Nothing 


Bonus Tracks:
17. Lucky Guy (Radio Remix)
18. Everywhere I Go (Cassette Version)

Even More Bonus Tracks (4-Track Demos)
19. All For Nothing *
20. Do You Want Her *
21. I Don’t Expect It *
22. My Face *

23. Something On My Mind *

24. Ethyl My Love *
25. Not Like Me *
26. Saying Goodbye To Phil *
*Previously unissued
http://d31hzlhk6di2h5.cloudfront.net/20150609/18/16/96/f6/98fe82fa5bb6d34154d53a55_242x280.jpg
(photo by Vicki Berndt)

http://i1.cmail2.com/ei/r/67/BD8/241/csimport/CF-059cover.175329.jpg

The Fresh & Onlys Premiere "Sunglasses" on Stereogum
Announce Early Years Anthology on Castle Face - 8.31

Listen to "Sunglasses" on Stereogum
http://www.stereogum.com/1804737/the-fresh-onlys-sunglasses-stereogum-premiere/mp3s/

When Tim Cohen and friends formed the Fresh & Onlys in 2008 they certainly weren't the first hazy garage rock band to usher in the revival that would define the SF underground scene of the mid-00's on, but they were one of the best and one of the few earlier acts to grab national attention and help legitimize the application of such a word like "revival" or "scene." It's fitting then that longtime friend and another progenitor of that era, John Dwyer, has gathered some of the Freshies earliest unreleased work here for a look back at one of the Bay Area's finest ongoing outfits.

“These were carefree times.
We were young enough to put our bodies to the test every night on the 7 x 7 mile patch of the bay
The endless wars seemed less at home
Songs were hanging off the branches heavy, plump and threatening to rot on the vine if they weren’t polished and put to tape

The band was on their 3rd live drummer but the line up in The Fresh & Onlys recording tower was a consistent group of pop soldiers writing, working, and whiling away the hours
A beeramid of cheap cans, endless dope smokery and a pretty strong vibe of dudes who would play together into oblivion.
388 rolling
Tape spilling over itself
Drum kit covered in mufflers
A chest of shitty percussion toys
Lots of ideas and multiple secret weapons at their disposal:

Shayde Sartin: the beast from out east, the thud of a heavy slow bomb…the best bass player in the bay
Unaccredited infinite times on records that were made better by his finely crafted skills.
I can pick him out on records instantly.

Wymond “the count”: you can almost smell his hair on his hooks
If there was a stage monitor in your living room his fence-climber boot would be on it
Wymond always had the riff that made the jets of the song take off.
Listen and you’ll see what I mean

Tim Cohen: the man behind the beard
Some would say the leader. In the game as long as Bette Midler
Cohen writes great songs in his sleep I think
Once referred to by a buddy as “like 3 weirdos in one”

Think of these as basement tapes, a companion to the first F+Os castle face release (which itself deserves another listen)
I remember watching some of these tunes get banged out live in a sweat pit in Oakland
The sound guy so gacked out that there was no sound guy basically

ah memories…” John Dwyer, Feb 16th 2015

Early Years Anthology will be out and their debut LP The Fresh & Onlys will be back in print on Castle Face Records August 31st.

I can't help but rmde @ reissuing shit that's less than a decade old

Seaking of xpost St. Jude, a couple of things have turned up on YouTube, kinda glam---I'm not that crazy about his voice, but
overall track, if you're way into this kind of cratedigging:
http://www.youtube.com/watch?t=63&v=NlF3nLLRJiI

overall track is okay, I meant to say.

Round-up of rarities (not bootlegs) from way down in the well of The Sadies, a Canadian combo whose take on "roots" can range from tremolo showdowns to feedback stampedes to the last jukebox and more (live and recording with for inst Jon Langford, Neko Case, and John Doe, as well as all alone). More info, audio here:
http://lightintheattic.net/releases/1831-archives-vol-i-rarities-oddities-and-radio-1995-2015

Hadn't heard of these early Grace Jones + Tom Moulton sides: apprentice works, it sez here, but also worth checking out: http://www.thelineofbestfit.com/reviews/albums/grace-jones-disco

Speaking of disco http://www.worldmusic.net/media/releases/fullsize/RGNET1338.jpg

Release Date: 31 July 2015
Cat No: RGNET1338CD
Barcode: 605633133820
Format: CD & Digital Download

From its underground roots in the nightclubs of 1970s New York, disco music had strong connections to the city’s Latino community. They provided many musicians, producers and labels making the music, as well as a large section of the audience dancing to it. Latin percussion instruments were at the heart of the disco sound and the strong influence of salsa can be heard in many tracks.

Disco music boomed for less than a decade and by the early 1980s it faded as newer musical styles came along. However, disco would not be forgotten and it was the inspiration and foundation for the next great global dance movement to emerge in the late 1980s, namely house music.

From the 1970s, we feature five tracks from the legendary Salsoul Records. These include two from Latin soul singer and disco pioneer Joe Bataan (‘La Botella’ and ‘Latin Lover’), plus two from the Salsoul Orchestra (‘Salsoul Hustle’ and ‘Ritzy Mambo’), the label’s in-house band and huge disco stars in their own right. The final Salsoul track is ‘Dancin & Prancin’’ from master Cuban percussionist Candido, released in 1979 at the peak of disco’s popularity.

Of the non-Salsoul 1970s classics, we include ‘Sunny’ by New York salsa/funk band Yambu (a cover of the Bobby Hebb song), US-based Cuban flute legend Fajardo’s hustle inspired single ‘C’mon Baby, Do The Latin Hustle’, and Colombian artist Wganda Kenya’s cover of Carl Douglas’s 1974 disco-soul hit ‘Kung Fu Fighting’, translated into Spanish as ‘Combate A Kung Fu’.

Post-2000, with the nu-disco movement in full swing, a host of new young artists began to produce music heavily influenced by the classic 1970s Latin disco sound. We present four of these new generation bands on the compilation – three from the UK (Grupo X, Malena and Los Charly’s Orchestra), and one from California (Jungle Fire). These tracks feature the trademark Latin disco sound – a four-to-the-floor beat, fingerpopping basslines, scratchy syncopated rhythm guitar, heavy Latin rhythms and sweeping strings. All proof that Latin disco is still alive today four decades on since it first exploded in the clubs of 1970s New York.
https://soundcloud.com/world-music-network

Track List

Listen
Joe Bataan: La Botella (The Bottle) (3:35)
Listen
Salsoul Orchestra: Salsoul Hustle (5:12)
Listen
Yambu: Sunny (4:31)
Listen
Jose Fajardo: C'mon Baby, Do The Latin Hustle (4:58)
Listen
Wganda Kenya: Combate A Kung Fu (2:42)
Listen
Salsoul Orchestra: Ritzy Mambo (7:41)
Listen
Candido: Dancin' & Prancin' (6:53)
Listen
Joe Bataan Mestizo Band: Latin Lover (4:49)
Listen
Grupo X: X-Perience (6:36)
Listen
Malena: No Llores Mas (7:12)
Listen
Jungle Fire: Firewalker (3:52)
Listen
Los Charly's Orchestra: Everlasting Love (4:23)

https://www.youtube.com/watch?v=B5VjUoedUeo

Real Gone Music is putting out a 2CD compilation of all Steppenwolf's ABC/Dunhill singles in August, with track-by-track liner notes by John Kay.

Here's the relevant section of the email:

What was the hardest-rocking band ever to notch three Top Ten hits? By most any yardstick, it’s Steppenwolf. Formed from the Canadian band The Sparrow (including Dennis Edmonton a.k.a. Mars Bonfire), and led by vocalist John Kay, Steppenwolf scored with “Born to Be Wild,” “Magic Carpet Ride” and “Rock Me” in the space of nine months back in 1968-1969, and hit the charts eleven more times up though the mid-‘70s. Often tagged as a biker band—mostly due to their prominent presence on the soundtrack to Easy Rider—Steppenwolf was actually a socially-conscious, highly political outfit, never more so than on their controversial LP Monster, one of 14 charting albums released by the band over a 20-year period. This ability to enjoy commercial success on both the single and album fronts puts them in a very rare category in the annals of rock and roll; and, unsurprisingly, their albums have been well represented in the CD reissue era. Their singles, however, have largely been unavailable on CD in their original 45 mixes, as the tapes for the singles have long been missing (legend has it Dunhill label chief Jay Lasker discarded all the label’s multi-track tapes and mono masters after having deemed them too expensive to store). But, just like on our critically-acclaimed Grass Roots singles set, engineer Aaron Kannowski has, after a worldwide search, rounded up the best sources available and put together The ABC/Dunhill Singles Collection, a two-CD set that doesn’t just include the A and B-side of every Steppenwolf single on the ABC/Dunhill label (featuring, for the first time ever, a decent-sounding “Magic Carpet Ride”), but of every John Kay solo single as well! And, speaking of John Kay, he sat down with co-producer Ed Osborne for a thorough, track-by-track review for the liner notes (John also requested that we use the album version of “Monster” rather than the single version, because the single is such a pieced-together “Frankenstein” job…pun intended). At 38 tracks, and featuring photos by long-time band photographers Henry Diltz and Tom O’Neal nee Gundelfinger, this is the ultimate Steppenwolf collection—one long dreamed of by the band’s fans—and it’s finally here after years of preparation from Real Gone Music.

Oh yeah, that's intriguing. Never heard a lot of it, especially the solo stuff, although I seem to recall a fairly gnarly version of "I'm Movin' On," solo-wise. The first Steppenwolf album had some good stuff besides "Born To Be Wild"---I think, although I mainly remember "You know the Dealer is the man/With the love grass in his hand/But the Pusher is (something something)"--chorus: GOD! DAMN! The Pusher-Man" (repeat several times).

In a somewhat different vein, from Tell All Your Friends PR:
http://i1.cmail2.com/ei/r/8A/A19/813/csimport/unnamed-8.181557.jpg

'Best Of Laurice Vol. 2' LP Out June 16th On Mighty Mouth Records
Similar to Nikola Tesla, Leif Erikson and Kalashnikov – trail-blazers who received either nothing or ridicule for the pioneering efforts – Welsh musician/producer Laurice went unnoticed and was forced to watch from the terraces as an entire genre’s worth of musicians made millions passing through the hole he opened in the border fence separating tuff psychedelia and camp glam rock. Known to collectors for a handful of some of the most aberrantly catchy yet lyrically un-commercial 45s of all-time (sample titles: ‘Flying Saucers Have Landed,’ ‘I’m Gonna Smash Your Face In', Laurice’s signature style and approach anticipated both punk thrash and post-punk disco trash. And, unlike Bowie and Bolan, Laurice wasn’t just pouting and putting on make-up for the camera.

Now, nearly 50 years later, Laurice shows no signs of stopping and is back with a second installment of demo material deemed unfit for mass consumption in the soft, straight, progressive 70s. These songs have finally been given their green light to assault the virginal ears of the world. Amazing, self-spun gems cut as demos in studios like Apple and Abbey Road. And don’t think the divine Mister L doesn’t have more in his personal peepshow booth to tease you with either. Later this year, Laurice will unleash an album of all-new material, reverently and respectfully entitled G.A.Y.D.A.R. Look for it from Mighty Mouth Music.

From the man himself:

Hi There and Welcome!

Enter the amazing world of LAURICE, known primarily in North America for his dance and smooth jazz hits. Formerly Canada's Number One male dance vocalist for two years running, what is not generally known is that before he left the UK for greener pastures in North America in the mid-70's, LAURICE recorded a lot of incredible rock material that he wrote for various record companies as a session singer, songwriter and producer in London.

His most notable success, of course, was the underground 1973 pre-punk hit When Christine Comes Around/I'm Gonna Smash Your Face In that he recorded under the band name Grudge for the Black label, and has become an underground punk rock classic to this day. LAURICE has always said that he was doing punk before punk was really thought of, and current record sales of this classic bear this out.ventured into rock/blues territory with That's Nice, scream rock with Ain't Got Enough To Give and romantic rock with Shy Baby, all having a heavy updated retro 60's rock sound that only enhanced their popularity. You can hear the sheer force and vitality of these 70's classics on this album.

LAURICE was influenced by the works of rock leather icon Lou Reed with his Walk On The Wild Side and Vicious hits. So a move to Toronto, New York and Los Angeles in the mid 70's had this versatile artist challenging himself further with macho rock gems such as Rock Hard, highlighting very controversial material for the time in the form of He's My Guy, Born to Serve (S&M) and Wild Sugar, with highly sexualized lyrics and singing style. Much of this material was aimed at the leather subculture and is included on this album. Lou Reed would have been proud.

LAURICE went on to conquer the dance and smooth jazz worlds of the 70's, 60's and 90's, but his treasure trove of early to mid 70's rock standouts can't all be fitted onto this one album by any means, so look out for further LAURICE releases from MIGHTY MOUTH RECORDS in the near future.
http://www.lauricenow.com/

'Best Of Laurice Vol. 2' LP Tracklisting

1. Flying Saucers Have Landed
2. Wondrin'
3. You Gotta Take The Good With The Bad Times
4. Baby Tomorrow
5. Dark Side Of Your Face
6. Diamonds Are Forever
7. A Little Bit Of Lovin'
8. Spaceship Lover
9. Take Me Down To The Riverside
10. Boston City
11. Goin' Home

My notes on first listening to this collection:

Laurice is a trip, kind of a Freddie Mercury voice, but I had several things pegged as 60s, not 70s (listening before I read the press sheet, to get the freshest impression). Especially "Baby Tomorrow," and "Dark Side of Your Face," which seemed like they could be lost Lee Hazlewood compositions (desolate, bitter, B-movie imagistic, more than a touch on the morbid side). And "You Gotta Take The Good With The Bad," with its hyperventilating hook on the chorus, had me thinking of Gene Pitney (and even pre-rocker Johnnie Ray, The Atomic Swami,The Prince of Wails, as they called him in the early 50s). Also like the airport-suitcase spin of "Boston City," the soldier song "Goin' Home" (Freddie Mercury/Gene Pitney as hell), "Flying Saucers Have Landed," some others may grow on me.

Similar to Nikola Tesla, Leif Erikson and Kalashnikov

that's pretty good press-release trolling

Yeah. Boy, this xpost Rough Guide To Latin Soul is pretty damn good, for the most part. So far, the first three tracks feature compressed busywork, and seem like generic knockoffs, kinda timid, but "C'Mon Baby Do The Latin Hustle" is confident and tight, with good flute, synth, guitar picking---purposeful and spacious enough for detail, with no filigree.
"Combate A Kung Fu" is the right flavor of cheese, and the shortest track, a true appetizer.
"Ritzy Mambo": cross-influences w Dr Buzzard crew?
"Dancin' & Prancin': just enough electronics for texture: the vibrant contours of all things tonight
"X-Perience," "the song already in your mind," approximately, the answers already half-known, the me you recognize, disco mystic parts the invisible curtains, sax and timbales build (fade, no climaxes disturb the groove)
"No Llores Mas," luminescent babe voices, second wind between the strata, moving right along to (two rhythm guitars w own distinctive sounds) "Firewalker," and "Everlasting Love," which is not the one you're thinking of, I don't think.
Dancing in my headphones: "Must---get---timbales!" Yes.

Latest on the Ork box, orig mentioned on National Record Store Day thread:

Where in the mythos of punk is there room for a frizzy-haired cinephile San Diegan? How could the defining rock attitude and look of the late 1970s get brainstormed by two go-nowheres from a boarding school in Hockessin, Delaware - a D student and kid voted Most Unknown by his senior class?

Forget the worn-out yarns about London gobbers and safety-pin piercings - the true story of the birth of punk rock on 45 is the story of Ork Records, captured by Numero Group on four hefty LPs (or two shiny compact discs) and told across 120 high-gloss pages filled with insider photos and sordid details. Naturally, this piece of history will be released on Orktober 30th.

It is a story populated by iconic names like Television, Alex Chilton, Lester Bangs, Richard Hell, the Feelies, Patti Smith, Talking Heads, Brian Eno, Blondie and the Ramones. And it's a tale told from the hallowed grounds of CBGB, Max’s Kansas City, and Ardent Studios.

This a story so glorious and important that it’s shocking to think that it’s never been told until now. Only the Numero Group could properly tell it, as it is a tale of imploding ambitions and underdog hustlers with a litany of heartbreaks and financial straits—a tale of indispensable rock 'n' roll made by people unjustly dispensed by history and the masses. For all the Record Geek Valhalla names mentioned earlier, there are even more forgotten heroes involved in this narrative that measure up to those Hall of Famers.

The legend began on wax with Television’s “Little Johnny Jewel,” the poetic head-splitter spread across two sides of a 45 in 1975. But it all began, in fact, with Terry Ork, a Jewish SoCal film nerd enthralled by Andy Warhol’s posse as they made a transgressive surfing flick, who moved cross-country to manage a movie memorabilia shop on the grubby streets of the Lower East Side. Made in the shadows of disco and dereliction in late-‘70s Manhattan, Ork Records: New York, New York is not just the genesis of punk, it is the birth of the New York City scene and indie culture as we know it.

WATCH A TRAILER FOR ORK RECORDS: NEW YORK, NEW YORK
http://youtu.be/G_fQsTyh4xA

That looks cool, anyone have the tracklisting?

Here's the press release I posted on National Record Store Day, for the ltd. ed. 7" version. I assume the LP/CD version has a lot of this, maybe all, maybe more, but check numero's site.

https://files.ctctcdn.com/62ea251b001/0d95d805-db75-4023-945c-775a75dd2367.jpg

NUM707

Ork: Box

At the epicenter of New York's most significant music scene was an instantly-forgotten record label; Ork Records, the first punk label and the original "indie." For the first time ever, the monumental output of this explosive imprint's 1975-1979 run is all in one place. Sixteen singles that birthed punk, no-wave, power pop, and the next four decades of indie rock, including the debut releases from Television, Richard Hell, Richard Lloyd, Cheetah Chrome, Alex Chilton, the DBs, and Chris Stamey, future nuggets by the Revelons, Student Teachers, Prix, Marbles, Idols, Mick Farren, and Link Cromwell, and previously unreleased singles from the Feelies and Erasers. This is a limited edition of 2000 carefully replicated 7" sleeves ensconced in a custom box modeled on period-specific Ork mailing labels.

01. Television - Little Johnny Jewel Pt. 1

02. Television - Little Johnny Jewel Pt. 2

03. Richard Hell - Another World

04. Richard Hell - Blank Generation

05. Richard Hell - You Gotta Lose

06. Marbles - Red Light

07. Marbles - Fire And Smoke

08. Alex Chilton - Free Again

09. Alex Chilton - The Singer Not The Song

10. Alex Chilton - Take Me Home & Make Me Like It

11. Alex Chilton - All The Time

12. Alex Chilton - Summertime Blues

13. Prix - Girl

14. Prix - Everytime I Close My Eyes

15. Prix - Zero

16. Mick Farren - Play With Fire

17. Mick Farren - Lost Johnny

18. Link Cromwell - Crazy Like A Fox

19. Link Cromwell - Shock Me

20. Chris Stamey - Summer Sun

21. Chris Stamey - Where The Fun Is

22. Chris Stamey & The dBs - I Thought You Wanted To Know

23. Chris Stamey & The dBs - If And When

24. The Feelies - Fa Ce'La

25. The Feelies - Big Plans

26. Richard Lloyd - Get Off My Cloud

27. Richard Lloyd - Connection

28. Erasers - Funny

29. Erasers - I Won't Give Up

30. Idols - You

31. Idols - Girl That I Love

32. Revelons - The Way You Touch My Hand

33. Revelons - 96 Tears

34. Cheetah Chrome - Still Wanna Die

35. Cheeta Chrome - Take Me Home

36. Student Teachers - Christmas Weather

37. Student Teachers - Channel 13

I've talked about this before to some degree, the engineer who recorded those Ork Feelies sessions is Brooke Delarco. She came over years ago and played me that stuff and more and I tried really hard to get the band to let Acute release a pre-Crazy Rhythms Feelies comp, and this was before the reunion or the reissuing of the original LPs, but they decided against it at the time. So I've always considered myself at least lucky enough to have been able to hear this stuff. The version of Forces at Work I have seems different than the one here, but both of them are drastically different than what appeard on Crazy Rhythms, and totally killer. There was another song from that session called Big Plans that's not listed here. I see it listed on a press release for the singles box, was it on that or did they replace it with Forces at Work?

Also from the catalog of Acute failures, I emailed w/ David from the Student Teachers back in 2003 and gathered all their stuff but in the end didn't feel like the quality was good enough (fidelity-wise) and gave up on it. Happy to see it here and happy to get my hands on Channel 13, which has been one of my favorite songs ever since hearing it on a Chuck Warner comp.

Damn, may have to buy this after all. Forgot about those Marbles trax!

Tracklisting was linked to in a thing I got from Facebk yesterday so I'll up it when I get to my computer. Can't cut & paste on this phone.

Dan, it was replaced with Forces At Work, I think there was some discussion on the Feelies thread maybe?

Sorry forgot about this this morning, wound up reading a few things while my previous post apparently wasn't posting so by the time I came to my computer my mind was on other things but this is what Rolling Stone has

http://www.rollingstone.com/music/news/early-television-richard-hell-songs-to-feature-on-new-box-set-20150624
Ork Records: New York, New York Track List:

1. Television - "Little Johnny Jewel"
2. Feelies - "Fa Ce La"
3. Richard Hell - "(I Belong to the) Blank Generation"
4. The Revelons - "The Way (You Tough My Hand)"
5. Erasers - "I Won't Give Up"
6. Alex Chilton - "All of the Time"
7. Chris Stamey and the dBs - "(I Thought) You Wanted to Know"
8. Prix - "Zero"
9. Marbles - "Red Lights"
10. Alex Chilton - "Take Me Home & Make Me Like It"
11. Prix - "Girl"
12. The Idols - "Girl That I Love"
13. Mick Farren and the New Wave - "Lost Johnny"
14. Cheetah Chrome - "Still Wanna Die"
15. The Idols - "You"
16. The Student Teachers - "Christmas Weather"
17. Erasers - "It Was So Funny (The Song That They Sung)"
18. Richard Hell - "(I Could Live With You) (In) Another World"
19. Chris Stamey - "The Summer Sun"
20. Alex Chilton - "Free Again"
21. Richard Lloyd - "(I Thought) You Wanted to Know"
22. The Student Teachers - "Channel 13"
23. Chris Stamey - "Where the Fun Is"
24. Prix - "Everytime I Close My Eyes"
25. Feelies - "Forces at Work"
26. Marbles - "Fire and Smoke"
27. The Revelons - "97 Tears"
28. Cheetah Chrome - "Take Me Home"
29. Richard Hell - "You Gotta Lose"
30. Chris Stamey and the dBs - "If and When"
31. Mick Farren and the New Wave - "Play With Fire"
32. Richard Lloyd - "Get Off My Cloud"
33. Alex Chilton - "The Singer Not the Song"
34. Richard Lloyd - "Connection"
35. Alex Chilton - "Summertime Blues"
36. Mick Farren and the New Wave - "To Know Him Is to Love Him"
37. Link Cromwell - "Crazy Like a Fox"
38. Link Cromwell - "Shock Me"
39. Kenneth Higney - "I Wanna Be the King"
40. Lester Bangs - "Let It Blurt"
41. Alex Chilton - "Bangkok"
42. Peter Holsapple - "Big Black Truck"
43. Prix - "She Might Look My Way"
44. Alex Chilton - "Can't Seem to Make You Mine"
45. Prix "Love You All Day Long"
46. Alex Chilton - "Shakin' The World"
47. Prix - "Love You Tonight"
48. Lester Bangs - "Live"
49. Kenneth Higney - "Funky Kinky"

Thanks, Stevo! Glad that Numero did indeed add more tracks for this second edition of the box.
Speaking of the Feelies thread, I posted comments there re hot live sets downloadable on ilxor Tylerw's blog:
http://doomandgloomfromthetomb.tumblr.com/Tumblr's search function doesn't always work so well, but look 'em up on Google Advanced Search, good stuff.

Raw Meat track premieres from forthcoming compilation of long-lost proto-metal/stoner rock
L.A.'s Permanent Records & RidingEasy to issue collection of vintage 60s-70s heavy rock tracks

Hear & share Raw Meat's "Stand By Girl" HERE.
https://soundcloud.com/easyriderrecords/a6-raw-meat-stand-by-girl/s-4pOYu

http://files.ctctcdn.com/c58a551d001/4c3d3f98-9752-4c9e-b8db-1dbb194fb00d.jpg

Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid: The First Trip.

Lance Barresi, co-owner of L.A.-cum-Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the 11-track compilation. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long.

"I essentially go through Hell and high water just to find these records," Barresi says. "Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved." Rather than simply bootlegging the tracks, when all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

"All of (these songs) could've been huge given the right circumstances," says Barresi. "But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were."

Raw Meat, for example, one of the stomping standouts from the compilation, is a band about which precious little is known even by the owner of the label and producer of the band's original 1969 single, Richard Paul Thomas -- two of its tracks reissued as a 7" teaser single for the compilation on July 14th, 2015 via RidingEasy Records. The trio was from north of Milwaukee, WI, but not much more information remains available. "They were one of the tightest trios around at the time and had a fairly large repertoire of their own material," Thomas says. "The only thing that sticks in my mind was the band's bumper sticker 'Raw Meat Is Good For You'. Our offices were on Lincoln Avenue just next door to the Federal Meat inspectors offices."

Brown Acid: The First Trip opens with the slithering buzzsaw guitars and hard-rock howl of Zeke's' "Box", a monster that gives Blue Cheer a run for their leaden blues. Snow sways into "Sunflower" with a touch of Steppenwolf's swagger and wind-in-their-hair wildness. Elsewhere, Zebra proves they were "Wasted" with a soul-inflected groove, while Bob Goodsite leans in on his wah-wah and phaser pedals, determined to out-Hendrix Jimi himself on "Faze." Raw Meat's "Stand By Girl" serves up a fierce, stomping riff intercut with Iron Butterfly style operatics. Bacchus kicks out a hostile sounding boogie, demanding to "Carry My Load." Josefus caps it all off nicely with a hooky power-pop meets Bob Seger System meets Lollipop Shoppe anthem with the undeniably catchy chorus, "hard luck - keep truckin'!"

It's a solid set of unknown hits you can't believe failed to connect back in their heyday due to various unfortunate circumstances. But now in 2015, Brown Acid: The First Trip gives these long-lost gems their well deserved moment to shine.

Brown Acid: The First Trip will be available everywhere on LP, CD and download on August 11th, 2015 via RidingEasy Records.

http://files.ctctcdn.com/c58a551d001/6bd8b1ae-b1b8-4c09-989f-e42ba5844634.png

01. Zeke's "Box"

02. Snow "Sunflower"

03. Tour "One of the Bad Guys"

04. Zebra "Wasted"

05. Bob Goodsite "Faze 1"

06. Raw Meat "Stand-By Girl"

07. Punch "Deathhead"

08. Bacchus "Carry My Load"

09. Lenny Drake "Love Eyes (Cast Your Spell On Me)"

10. The Todd "Mystify Me"

11. Josefus "Hard Luck"

Cool looking comp. Raw Meat and Josefus have been comped before but looking forward to it anyway.

man those covers are ugly tho

although i like the concept. i had a friend in college who played this kind of stuff on his radio show a lot, way before any of it was on CD.

yeah, the execution looks like somebody got their kid to do it

Lance is good people - love stuff on Permanent & really look in forward to snagging this.

Yeah notice the partnership with RisingEasy, think the '69 visual aesthetic connects with that of Easy Rider Magazine, for and/or about bikers; also thinking of those drive-in movies like Hells Angels On Wheels, and Raw Meat peers like Blue Cheer, who had biker connections, I think.
So that xpost Muffs debut reissue: "pop-punk," some call them, and I've seen comparisons to Joan Jett and the Blackhearts, but Kim Shattuck sometimes relies more on on vocal scrunchies than hooks---still, good some good chord changes and textures, with a few guest sounds, like theramin and organ: part of the variety of arrangements *eventually* shaking up the 16 tracks of the original album.
But the 10 bonus tracks, mostly four-track demos, provide a lot more breathing room for vocals and guitar, like maybe the studio sessions were more labored, sometimes (not so many direct comparisons; several of these songs didn't show up on the finished product). It might help that most of the demos have only a tambourine behind the slightly echoing, gnarly jangle (but one of the best, "Ethyl My Love," has what sound's like a full trap set). I'd say that, if you like the original album or the band as you knew them, or, even if you haven't heard them, but are into what turns out to be indeed pop-punk, with even a bit of power-pop---but more get-lost gusto than moony romance---then the demos make this worth checking out, for sure

I like most of the orginal album too. But could've been 12 instead of (these) 16 tracks, I suspect. Guess it was just unthinkable to use a 4-track demo as a master in those days, eh?

ROSE McDOWALL (STRAWBERRY SWITCHBLADE)
TO RE-ISSUE CUT WITH THE CAKE KNIFE LP
LISTEN TO THE TITLE TRACK SET TO A SLIDESHOW OF ARCHIVAL PHOTOS
VIA THE FADER
https://www.thefader.com/2015/07/01/strawberry-switchblade-rose-mcdowall-cut-with-the-cake-knife-sacred-bones
OUT 9/18/15 ON SACRED BONES (U.S.) & NIGHT SCHOOL (UK/EU)

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/e3400ce8-dd26-4334-95cf-e24a565938a5.jpg

Born in times of difficulty and adventure, Cut With The Cake Knife is the debut album from Rose McDowall, solo-artist and ex-member of cult pop group Strawberry Switchblade. Originally recorded in 1988-89 and now re-mastered and getting the re-issue treatment from Sacred Bones Records (U.S.) & Night School Records (UK, EU)

Marking the beginning of an extensive archive project spanning Rose’s 34 year career, Cut With The Cake Knife will include unreleased recordings alongside unseen photographs and detailed new sleeve notes.

Recorded in various locations around the UK and Iceland following the break up of Strawberry Switchblade, the original 9-track Cut With The Cake Knife album featured songs written and demoed for the group’s fabled second album.

Rose McDowall began her career in her hometown of Glasgow, operating within the nascent punk scene with her first group The Poems. After a meteoric rise to pop stardom, which saw Strawberry Switchblade achieve chart success, world tours and global fame, McDowall’s relationship with partner and friend Jill Bryson disintegrated. The aftermath of her pop career saw McDowall earn a new reputation as an underground artist, collaborating with Coil, Felt, Current 93 and Nurse With Wound among others. Cut With The Cake Knife was recorded against this tumultuous backdrop and is one the most affecting collections of direct pop songwriting committed to tape.

The album opens with one of McDowall’s most heartfelt, honest moments: Tibet; a simple song written with absolute truth about the loss of friendship. For errant Switchblade fans it’s a prime example of why McDowall’s legacy is so important: shorn of unnecessary ornament, it’s one of many songs here that speak loudly and clearly about universal emotional states. Production values throughout lie somewhere between glossy, 80s studios and home-recorded demos but it’s a sound that only heightens the poignancy in McDowall’s voice: her best instrument and one that can evoke vulnerability, as in the near-angelic harmonies on Sixty Cowboys or swirling excitement as in the number 1 hit that never was, Crystal Nights. But perhaps her prowess is best summed up by the album’s title track, written for the 2nd Switchblade album yet thriving here, in which Rose projects a powerful protagonist, tinged with violence but still playful. At the heart of even the most upbeat, transcendently “pop” moments is a beautiful melancholy, a nagging heartache McDowall can call her own.

As Rose writes in the 2015 edition sleeve notes: “They’re real sad songs, about real life.”

Cut With The Cake Knife is out September 18th on Sacred Bones (U.S.) / Night School (UK / EU)

https://www.youtube.com/watch?v=u8K1UDOr9TY&feature=youtu.be

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/25f3e8f9-5c99-40f8-a919-f62ed0175124.jpg

1. Tibet
2. Sunboy
3. Wings Of Heaven
4. Sixty Cowboys
5. On The Sun
6. Cut With The Cake Knife
7. Crystal Nights
8. Soldier
9. So Vicious
10. Don’t Fear The Reaper (Bonus Track)
11. Crystal Days

oh hell yeah

https://c1.staticflickr.com/1/317/19346504142_d0d95dbc08_z.jpg
http://mapacherecords.com/shop/mike-fiems-i-would-dream/ Produced by Vernon Wray and released on his own Vermillion Records in 73? I like this record.

Wow, sunshine folk pop from Arizona, goes with the picture--intriguing, thanks. Kind of an acquired taste for me, but I'll have to alert Edd Hurt, who enabled my acquisition (he's probably all over it, but still)

Er, that xpost Fresh And Onlys Early Years Anthology is---one for the fan club, I guess, as the title suggests, but didn't convert me. Starts with the sympathy-inducing "Tongue In Cheek," which the singer acknowledges is so firmly lodged, "If I had a secret I could keep it," confessional and regretful--he knows he ain't that deep---so they turn up the music, but bringing in elements of "I Can't Turn You Loose," and he orders, "Push it down, push it out," determined to find *something* in there after all, which, in hindsight, is not so wise, because a lot of the following tracks highlight words that don't sustain interest (and standard jaded/resigned mid-Atlantic male hipster vocals don't help), Can still listen around the words, and do okay that way, sometimes, but best when the words are challenged by onslaughts (or semi-onslaughts, but at least noisy, in a good way), especially on "Don't Look Down" and, best of all, "Deviants Within," with hordes of other voices pressing in from thee other side).
Otherwise, you'd be better off going over the Pavement family tree again, ditto Spoon, Black Lips...

But! Good musical use of alienation and ennui--times palpable anger, so much more de facto flower punk than these FAO tracks usually manage---can be found on the xpost Litmus soundtrack. The movie, which I haven't seen, is a supposedly "avant garde" vintage surfing doc, with recordings by the auteur's Val Dusty Experience blending seamlessly and variously with newer contributions from Galaxie 500, Yothu Yindi, The Screaming Orphans, maybe more (no annotations yet).
There's an eerie flute, calmly noting the smoggy sunrise, while a female voice is calling---

a sun bouncing like a red rubber ball over dang-a-dang human juice harp, not waiting to be told about no Tuvan throat-singing---

a big ol' smogfest for Wicker Man fans, with females making something else out of "Black Is The Colour"---

a nerdy male folkie voice (prob the filmmaker's; he's all over the terminally plaid "folk-rock" soundtrack of Glass Love, the Litmus sequel) is put to good use here: he bleats "Wanna be a cow," while a sardonic surfer voice (the manly, nasal kind heard so much in that other surfing doc, The Endless Summer) drawls out all the things that can happen to a cow nowadays(an increasingly tasty list, I say).

There's also (female voice again)"Elizabeth, you're so gorgeous and tall," tyme to get real, in a world of world-destroying illusions (think Lou Reed would like this and others, however grudgingly, given his view of "California trash").

Also a very poised, somewhat grizzled Brit male voice, very tuneful and articulate re sailing away from lands where "the ghettos are concentration camps," and all the captains have gone missing, but no prob on the horizon, the voyage is under way. Sufficient gravitas, but much less solemn than "Wooden Ships," also no "sil-ver/pee-pul," nothing "ver-ree free 'n' easy," none of that stoner shit, just the sea and all that goes with it ("Come along if you can," is the implication, of course).

Speaking of The Wicker Mansoundtrack, there's a new repress (on white vinyl) of the very ltd. 40th Anniversary Ed. from '13:
http://lightintheattic.net/releases/1765-the-wicker-man-40th-anniversary-edition

https://light-in-the-attic.s3.amazonaws.com/uploads/release_image/17455/image/thumb_325_tmp_2F1430345135128-p5sjfv0qdk5ljtt9-eef3897c3644d6021bd4c7142922de0f_2F738572144074.jpg

oh numero tweeted en passant that they're reissuing the Scientists, but too cool to mention dates yet(just some time in August); will let yall know when they do

more on site
http://cdn.numerogroup.com/images/artist_images/web/the-scientists.jpg

The Scientists went through many incarnations in their 9 year history but are remembered mostly for the lineup that existed from 1981 to 1985. Kim Salmon, Tony Thewlis, Boris Sujdovic and Brett Rixon together had the peculiar chemistry that produced the classics, Swampland, Happy Hour, the Blood Red River mini LP and We had Love. With a sound that was swampy, primal and modern-urban all at once - as much in the tradition of rock and roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. They were about what it was like to be young and living in modern times in an Australian urban/suburban environment. The themes of getting wasted on alcohol and drugs, driving round in hotted up cars, being trapped in crap jobs and paranoia were their subject matter. Machine throb bass and drums with jagged car wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures along with other peoples modes of embellishment. They rejected the contemporary sound and look and so consequently were never able to carry around baggage that would allow them to date.

"The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!"—Jon Spencer

"They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?"—Warren Ellis

"The Scientists proved to me that rock n roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real."—Thurston Moore
The Scientists Appears on:

The Scientists S/T LP, MP3, FLAC
The Scientists BLOOD RED RIVER FLAC, MP3, LP
audio samples:
http://www.numerogroup.com/artists/the-scientists

"Every known composition":
http://www.factmag.com/2015/07/09/nicolas-jaar-to-release-live-recordings-from-teenage-jesus-and-the-jerks/

Oh and now a couple of shows (go):
https://numerogroup.wordpress.com/2015/07/09/australian-punk-icons-the-scientists-announce-melbourne-and-sidney-shows/

That Scientists thing is interesting but http://cdn.numerogroup.com/images/artist_images/web/the-scientists.jpg" class="noborder"> isn't the line up being talked about. That guy at the back of the photo was the drummer they had after Brett. I think his name was Phil and he came from Canada.
He was playing with them in '85 when I saw them at the Paradiso in Amsterdam.
I think Brett who had long hair like the other band members and seemed to have perfected a near motorik drumming style quit a bit earlier.

From Soul Jazz Records:

http://www.soundsoftheuniverse.com/mailouts/img/main/657/w/sjrcd311disco2cover.jpg

Released worldwide this Fri 17th July in all good retail and internet stores on 2CD/2 volumes of 2xLP/Worldwide Digital or direct from us right now!

This is a second selection of independent disco records featuring rare and classic tracks originally released in the USA between the halcyon years of 1977 and 1985.

This release features only the finest disco, modern soul and boogie and is compiled by Disco Patrick who put together for Soul Jazz Records the mighty 'Disco - An Encyclopedic Guide to the Cover Art of Disco Records' 400+ page deluxe book, as well as the first installment of 'Disco - A Fine Selection of Independent Disco, Modern Soul and Boogie.'

If you want to know how rare these are check out Anita Maldonado's 'What Can I Do To Make You Dance' selling for $2,600 on e-bay last month! Here

This album is released as a double CD, as well as two separate volumes of double vinyl (plus free download codes) and a worldwide digital release.

Rare, classic and in-demand tracks from the mighty vaults of labels such as New York's Salsoul and Miami's TK Records - which during the main disco era became the main competitors to the major established record industry - through to killer virtually unknown tracks released on tiny bespoke one-off labels, now impossible to find either in the history books or record shops of the world.

All the music on this album has been sonically and digitally remastered with love and is presented complete with sleevenotes, original label artwork and full-length extended disco editions.

Full Tracklisting:

CD1/2xLP RECORD 1:

1. Stevo - Pay The Price (4:24)

2. High Frequency - Summertime (6:32)

3. Dunn Pearson Jr. - Groove On Down (8:20)

4. Mad Dog Fire Department - Cosmic Funk (6:20)

5. Needa - Rock-A-Freak (4:57)

6. Cream De Coco - Disco Strut (7:55)

7. Anita Maldonado - What Can I Do To Make You Dance (16:47)

8. The Shades Of Love - Come Inside (7:51)

9. Skip Jackson & The Natural Experience - Micro Wave Boogie (8:27)

CD2/2xLP RECORD 2:

1. Jahneen - Everybody's Dancin' (7:17)

2. Montego Joe - Freestyle (5:16)

3. Timmy Thomas - Africano (4:37)

4. Paper Doll - Get Down Boy (7:34)

5. Jazz - I Feel Like Love (TBA)

6. Paco and Flaco and Coco - He's Here (6:17)

7. Ripple - Victorious (4:29)

8. Universal Love - Moon Ride (7:23)

9. Panache - Jam On (6:17)

10. Otis Brown's Grade A - Strut On (13:11)

more info, audio etc here:http://www.souljazzrecords.co.uk/index.php

That's the sequel to this (more audio etc) http://www.souljazzrecords.co.uk/releases/?id=39893

From Forcefield PR:

Wolf Eyes share rare albums via Bandcamp,
announce East Coast tour dates

STREAM: "Undertakers Pt. 2 - Side Two"

SoundCloud https://soundcloud.com/wolfeyes-tripmetal/wolf-eyes-undertakers-pt2-02-undertakers-pt2-side-two

/ Bandcamp https://wolf-eyes.bandcamp.com/

http://files.ctctcdn.com/fad5d549001/4db0df9e-da21-422a-a848-f689d208f00a.jpg

Photo Credit: ALIVIA ZIVICH - (Click Image for High Res)

From the depths of the history-basement archives like a possessed witch trapped sleeping in a hidden cabin: locked & unfed in the jam-dungeon ala WOLF BASEMENT (from volumes of primitive studios all over eastern Michigan throughout the late 90's to present) has been thrown some raw rough scraps and is slowly creeping black to LIFE- Barnabas Collins style. From nearly half a thousand releases secretly sleeping in dust in private vaults: a new WOLF EYES Bandcamp emerges: full re-releases from WOLF EYES home base labels = AMERICAN TAPES, HANSON, AA, GODS OF TUNDRA and OTHERS -dating back to some of the earliest experiments to current demos. There will be FIVE a month leaking out radiation style into the digital world and soaking into the street seams of daily electronic social life to morph your brain permanently. All taken from the master tapes & direct audio: the closest you can get to a FULL ORIGINAL DOSE OF BURNING YOUR HOUSE DOWN = the onslaught tidal wave of WOLF INZANITY has begun!!! ALWAYS THE SAME: ALWAYS DIFFERENT: NEVER ENOUGH - NEVER AN END. Dive in and EX/IMPLODE!!!!

Bandcamp Reissues - July

LIVE SCUM (Hanson Records)
LIVE FRYING: Boston Radio February 19 2001 (American Tapes)
UNDERTAKERS PT.2 (Polyamory)
LUNG MALFUNCTION (Gods of Tundra)
LOWER DEMOS (AA)
POWERLESS (American Tapes) - FREE

WOLF SUMMER LIVE FROM THE BOILER TOUR 2015 -

The Wolf Eyes has taken MICHIGAN BOIL to the east coast this month for a full fester of new songs and ideas that have mis-grown thru the radiation of SPRING - now ready to POLLINATE society from the stage via MICHIGAN SLOW DAMAGE. Many first time compositions hit the pavement and if live ELECTRONICS from the year 2298 when music has been over sine 2088 if your platter, stuff your gullet with this dose of HOMEMADE RADIATION.

Tour Dates:

7/16 - Columbus, OH - Mint Collective

7/17 - Pittsburgh, PA - Spirit Hall
7/18 - NYC, NY - Union Pool [Free Show]

7/18 - Brooklyn, NY - Aviv (TRIP METAL INZANE ALL-STARZ only)

7/19 - Portsmouth, NH - Artspace

7/20 - Albany, NY - The Low Beat

7/21 - Buffalo, NY - Sugar City
7/22 - Cleveland, OH - Now That's Class

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With regards to the Ork Records New York, New York compilation mentioned earlier, info on the Numero Group release page also contains this:

Bonus 45 features two previously unreleased tracks by the Feelies. "The Boy With The Perpetual Nervousness" is an unreleased studio cut from 1978, while the flip is a cover of the Bacharach and David classic "My Little Red Book,” recorded live at CBGB December 14, 1976. Limited to 2000 copies.

According to this site, which is the most comprehensive i've found but a pain in the neck to load, 12/14/76 was tom petty and earth opera. 12/14/77 was feelies/erasers.

http://thisaintthesummeroflove.blogspot.com/2012/12/remember-that-one-time-at-cbgbs.html

Thanks! Good thing I didn't already set the time machine. Early Tom Petty and Earth Opera (Rowan and Grisman's group---protest chamber-folk-rock, right?) would be good to check, but Feelies first. Were the Erasers good? Describe please.

Thought Earth Opera were 60s only, hmm. Maybe they weren't 60s at all, chronologically.

Limited to 2000 copies.

grrrr

From Drag City (sunglasses x novocaine for reading)

http://files.ctctcdn.com/0ae5b439401/f126fbf4-d698-4a69-bd98-1141798510e7.jpg

BACK THROUGH

THE GLORY 'HOLE

Kee-ris'! 25 years and counting (say, 27? - numerological ed.) and it's just nothing but wormholes anymore. Everywhere leads somewhere else - and of course, we love it, but it's hard just to say that you love something without also making it sound like you don't. Funny thing! Anyway, by the time we have the reissued vinyl for Hand of Glory ready for you, Royal Trux will have played their Second Coming show at Berserktown on August 16th. Then it's back beyond the blue horizon for them (until someone flashes the GREEN) - but for us here at the motherboard, a quick trip back to not only 2002, but ALSO 1989 and 1990 at the same time. That's the way it goes in the town called Drag City anymore. Hand of Glory is tapes for an album put together while preparing to eventually make Twin Infinitives - a quick listen to "Domos Des Burros (Two Sticks)" will allow the anointed ears of hardcore Truxheads to grok the shared space with TI's "(Edge of the) Ape Oven", which it apparently preceded by some unknown slice of eternity. The flip side of Hand of Glory is a compilation of mixdowns that they were calling "The Boxing Story" back in the day. Before Twin Infinitives, the idea was to put these two pieces together and call it their second album. But other forces intervened and the tapes got lost for a decade, surfacing only as the Trux were calling it a day. Typical perversity made the idea of some of their earliest recordings being released last seem very appealing. So that's how 2002 got into it. Now its thirteen years later, and now the original recordings are - 27? - years old, and that's just weird. The music's just weird, anyway - but it's somehow more amazing than it was when we first heard it around the turn of the century. Royal Trux music has a way of aging extremely well. Come August, reach for the Hand of Glory to help pull you toward the future! On LP and CD one more time.

I'm curious about that Earth Opera reference too. Another group with the same name? The original is Boston late 60s band who should have been long gone by '76? I like their first album a lot.

OMNIVORE RECORDINGS TO RELEASE DR. JOHN’S
THE ATCO/ATLANTIC SINGLES 1968–1974, FEATURING
LEGENDARY MUSICIAN’S BIGGEST CHARTING HITS — AND B-SIDES
22-song collection features A- and B-sides from all U.S. and U.K. singles,
plus liner notes by Gene Sculatti. Street date is September 18, 2015.
LOS ANGELES, Calif. — Dr. John’s Atco and Atlantic sides were clearly the right-place right-time recordings. They put Mac Rebennack on the map and into the ears and minds of music enthusiasts the world over. On September 18, 2015, Omnivore Recordings will release the 22-song compilation Dr. John: The Atco/Atlantic Singles 1968–1974.
The collection contains the six-time Grammy® Award winner and Rock ‘n’ Roll Hall of Fame inductee’s A- and B-sides recorded for the Atlantic labels from 1968-74, among them some of Dr. John’s best-known songs: “Right Place Wrong Time,” “Iko Iko,” “Cold Cold Night,” “Gris-Gris Gumbo Ya Ya,” “Loop Garoo,” “I Walk on Gilded Splinters” and more. Included also are “A Man of Many Words,” featuring accompaniment from Buddy Guy and Eric Clapton, and the mono short version of “The Patriotic Flag Waver.”
Arrangers and producers include Allen Toussaint, Harold Battiste, Tom Dowd, Jerry Wexler, Eric Clapton, Ahmet Ertegun and Michael Cuscuna. Writers include Willie Dixon, Huey Smith, Buddy Guy Allen Toussaint, Quezerque Gaines, Earl King, James “Sugar Boy” Crawford, Alvin Robinson, Jessie Hill and Mac “Dr. John” Rebennack himself.
Musicologist Gene Sculatti wrote the compilation liner notes.
From Sculatti’s notes: “Dr. John has proven to be one of music’s foremost generalists, a primary-care cat whose practice extends back some 60 years. His expertise encompasses rock ’n’ roll, swamp pop, New Orleans, R&B, funk, jazz, and the Great American Songbook — and he’s made worthy contributions to recordings by the Stones, B.B. King, Van Morrison, Frank Zappa, Buddy Guy & Junior Wells, Buffalo Springfield, Gregg Allman, and others. The awards (six Grammys and counting) and accolades long ago validated the quality of his output, but it’s the range of what he’s done that truly impresses.
“These Atco and Atlantic sides were clearly the right-place right-time recordings. They put Dr. John on the map and into the ears and minds of music enthusiasts the world over.”
Track Listing:
1. The Patriotic Flag Waver (Mono Short Version)
2. Mama Roux
3. Jump Sturdy
4. I Walk On Gilded Splinters (Part I)
5. I Walk On Gilded Splinters (Part II)
6. Gris-Gris Gumbo Ya Ya
7. Loop Garoo
8. Wash Mama Wash
9. Iko Iko
10. Huey Smith Medley: “High Blood Pressure” “Don’t You Just Know It” “Well I’ll Be John Brown”
11. Wang Dang Doodle
12. Big Chief
13. A Man Of Many Words (Buddy Guy With Dr. John & Eric Clapton)
14. Right Place Wrong Time
15. I Been Hoodood

16. Such A Night

17. Cold Cold Cold
18. Life
19. Let’s Make A Better World

20. Me-You=Loneliness

21. (Everybody Wanna Get Rich) Rite Away
22. Mos’ Scocious
# # #
Watch (and feel free to post) the Dr. John trailer:
http://youtu.be/zhEVfT6ZYFI

Could have also mentioned Beck's "Gilded Splinters" sample in "Loser."

Think it's from Johnny Jenkins' cover version (with Duane Allman's accompaniment in the sampled bits)
https://www.youtube.com/watch?v=udAJV4dVNyY

Unwound: Empire

The climactic entry in our four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, Washington, trio. On 1998's Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They'd abdicate entirely just three years later with 2001's Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilarating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked "Who Cares"? The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the '90s, indie rock, Unwound, and civilization as we know it.

While struggling to book European dates during their Challenge tour, Unwound took an invite to record sessions for BBC DJ legend John Peel. On May 24, 1998, the trio taped "Side Effects of Being Tired" and "Hexenszene" from New Plastic Ideas, plus "Kantina/Were, Are and Was or Is" from Fake Train. They're all included on this disc, a pre-order only product pressed for just the top 1000 most rabid Unwound disciples. John Peel, however, was never included. "I think we all thought that's what a Peel Session was: You go and record with John Peel. And it was just some other guy."

Order Now: 4LP or Digital

The Numero Guide to Bonus Records:

Catherine Howe "In The Hot Summer" b/w "Let's Keep It Quiet" 45
Available with the first pressing of NUM012 LP. 21 copies discovered.

Boys: Circuit Overload 10"
Available with NUM024 LP. Still in print.

Pieces "A Flower For All Seasons" b/w "In The Summer The Grape Grows"
Available with first pressing of NUM029 LP. Out of print.

The Deacons "Sock It To Me" b/w Fabulous Fascinators "Is It Because I'm Black" 45
Available with NUM032 LP. Out of print.

Sonny Wimberly & the Sunglows "Moe And Joe Part 1 & 2" 45
Available with NUM033 LP. Out of print.

LIZARD! CD
Available with NUM034 CD or LP. 67 copies discovered.

Mod Squad: Live From Trejbal Dairy LP
Available with NUM035 LP. Out of print.

Special Fourth Class Disc CD
Available with NUM035 CD. 52 copies discovered.

Soul Walkers "I'm Tired of What People Say Or Do" b/w "Never Say You Don't Have It"
Available with NUM045 Box. Out of print.

Supa Chief "Red Brained Woman" b/w "Animal Woman"
Available with NUM048 Game. Still in print.

Twin City Rappers "Twin City Rap" 45
Available with NUM050 LP or CD. Still in print.

Eccentric Soul: The Way Out Label Bonus LP
Available with NUM053 LP. Still in print.

Codeine "Pick Up Song" b/w "New Year's" 45
Available with NUM201 LP. 29 copies discovered.

Unwound: 7/26/2001 LP
Available with NUM202.2 LP. 21 copies discovered.

Unwound: Faked Train LP
Available with NUM202.3 LP. Fewer than 50 copies.

Unwound: Reykjavik, Iceland 6/30/1999 LP
Available with NUM202.4 LP. Fewer than 100 copies.

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FACES: YOU CAN MAKE ME DANCE, SING OR ANYTHING
(1970-1975)

The Collection Includes Newly Remastered Versions Of All Four Studio Albums
With A Bonus Disc Of Rarities And Will Be Available On August 28 From Rhino

Limited Edition Vinyl Version Boasts Remastered Sound Cut From The Original Analog Masters And Packaging That Meticulously Recreates The Original Albums

LOS ANGELES - Faces squeezed a lifetime's worth of rock 'n' roll into just five years. But despite their relatively short time together, Kenney Jones (drums), Ronnie Lane (bass/vocals), Ian McLagan (keyboard), Rod Stewart (vocals) and Ronnie Wood (guitar/vocals) have earned a spot on the short list of the world's greatest rock bands.

Rhino Records will release a boxed set with newly remastered versions of all four of the Faces' studio albums, plus a bonus disc of rarities. All of the music has been remastered from the original analog tapes, making the collection the best-sounding version of the band's music ever released. YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) will be available on August 28 from Rhino Records for a list price of $54.98 on CD and $39.99 digitally.

A beautiful limited edition vinyl version of the collection will also be released the same day. To deliver superior audiophile quality, each album was cut from the original analog master tapes directly to lacquers and pressed on 180-gram heavyweight vinyl. The records will come packaged in sleeves that accurately recreate the original release. For instance, when you push the sleeve for Ooh La La, the man's eyes move and his mouth opens, creating a look that's reminiscent of Terry Gilliam's animation work with Monty Python. This special set will be available for a list price of $129.98.

The YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) CD set includes: The First Step (1970), Long Player (1971), A Nod Is as Good as a Wink...to a Blind Horse (1971), and Ooh La La (1973), and features unreleased bonus tracks included with each album. Despite their hard-partying reputation, the band was a formidable powerhouse and could play it all-blues, soul, funk, country and boogie. These albums showcase that incredible range from bar stool anthems like "Had Me A Real Good Time," "Miss Judy's Farm," and "Stay With Me," to tender ballads that will leave you crying in your beer like "Ooh La La," "Love Lives Here" and "Glad And Sorry."

In addition to the studio albums, the collection also features a bonus disc that gathers up nine essential tracks that didn't appear on proper albums, including the 1973 single "Pool Hall Richard," a live performance of the Temptations' "I Wish It Would Rain" from the 1973 Reading Festival, and "Dishevelment Blues," a song that came free as a flexi-disc in copies of the British music publication, New Music Express.

The Faces came together in 1969 when former Small Faces Ian McLagan, Kenney Jones and Ronnie Lane hooked up with ex-Jeff Beck Group vocalist Rod Stewart and guitarist Ronnie Wood. The group's impact on music has only deepened since its break up in 1975. In recognition of the Faces' influence, the Rock and Roll Hall of Fame inducted the group in 2012.

YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975)
Track Listing:

THE FIRST STEP
1. "Wicked Messenger"
2. "Devotion"
3. "Shake, Shudder, Shiver"
4. "Stone"
5. "Around The Plynth"
6. "Flying"
7. "Pineapple And The Monkey"
8. "Nobody Knows"
9. "Looking Out The Window"
10. "Three Button Hand Me Down"
11. "Behind The Sun" (Outtake) *
12. "Mona - The Blues" (Outtake) *
13. "Shake, Shudder, Shiver" (BBC Session) *
14. "Flying" (Take 3) *
15. "Nobody Knows" (Take 2) *

LONG PLAYER
1. "Bad 'n' Ruin"
2. "Tell Everyone"
3. "Sweet Lady Mary"
4. "Richmond"
5. "Maybe I'm Amazed"
6. "Had Me A Real Good Time"
7. "On The Beach"
8. "I Feel So Good"
9. "Jerusalem"
10. "Whole Lotta Woman" (Outtake) *
11. "Tell Everyone" (Take 1) *
12. "Sham-Mozzal" (Instrumental - Outtake) *
13. "Too Much Woman" (Live) *
14. "Love In Vain" (Live) *

A NOD IS AS GOOD AS A WINK...TO A BLIND HORSE
1. "Miss Judy's Farm"
2. "You're So Rude"
3. "Love Lives Here"
4. "Last Orders Please"
5. "Stay With Me"
6. "Debris"
7. "Memphis"
8. "Too Bad"
9. "That's All You Need"
10. "Miss Judy's Farm" (BBC Session) *
11. "Stay With Me" (BBC Session) *

OOH LA LA
1. "Silicone Grown"
2. "Cindy Incidentally"
3. "Flags And Banners"
4. "My Fault"
5. "Borstal Boys"
6. "Fly In The Ointment"
7. "If I'm On The Late Side"
8. "Glad And Sorry"
9. "Just Another Honky"
10. "Ooh La La"
11. "Cindy Incidentally" (BBC Session) *
12. "Borstal Boys" (Rehearsal) *
13. "Silicone Grown" (Rehearsal) *
14. "Glad And Sorry" (Rehearsal) *
15. "Jealous Guy" (Live) *

BONUS LP
1. "Pool Hall Richard"
2. "I Wish It Would Rain" (With A Trumpet)
3. "Rear Wheel Skid"
4. "Maybe I'm Amazed"
5. "Oh Lord I'm Browned Off"
6. "You Can Make Me Dance, Sing Or Anything (Even Take The Dog For A Walk, Mend A Fuse, Fold
Away The Ironing Board, Or Any Other Domestic Short Comings)" (UK Single Version)
7. "As Long As You Tell Him"
8. "Skewiff (Mend The Fuse)"
9. "Dishevelment Blues"

* previously unreleased

JAWBOX S/T BACK ON LP AND CD SEPTEMBER 22

Jawbox was formed in Washington, DC in 1989 by guitarist/vocalist J. Robbins, bassist Kim Coletta, and drummer Adam Wade. The trio released their debut 7” in 1990 as a split between Dischord Records and their own label, DeSoto. Over the next three years, Jawbox put out two albums and three 7” singles. Grippe, released in ’91, was the band’s first full-length. Second guitarist/singer Bill Barbot joined the line-up in time to record ’92’s Novelty. Both albums were released on Dischord. Zach Barocas took over drumming duties that same year, performing on For Your Own Special Sweetheart, which was released in 1994 on Atlantic Records.

Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band’s fourth and final album.

If Sweetheart presented the band’s music in a straightforward and unembellished state, Jawbox found the group more open to experimentation. Arrangement-wise, it contains some of the band’s densest compositions (“Chinese Fork Tie”), but also some of its most concise and tuneful songwriting (“Excandescent”). While the basic tracks were recorded more or less live, the songs were later augmented with sounds – toy drum kit, Hammond B3 organ, and saxophone – that were outside of the band’s established palate.

“I feel like that’s our kind of kitchen sink record,” says Robbins. “Sweetheart was bare-bones – just the best, most perfectly played representation of the band playing those songs. By the end of that recording process, we had a groove on who was going to do what and we thought, ‘now we can consciously incorporate our weird influences from other places.'"

By the time S/T was released via the Atlantic subsidiary TAG in 1996, it had become clear that Jawbox was beginning to wind down. “That record coincided with us starting to really burn out,” says Robbins. “We didn’t even know what label we were on at that point. We had toured the USA to the extent that we were ever going to feel like we were doing something new.”

The band toured the album throughout the remainder of the year, but ultimately decided to call it quits, performing its final show in Rochester, NY on February 14th 1997.

“I think that we thought of it as our best record,” says Robbins. “Every other Jawbox record was, like, ‘We have 12 songs, lets go record.’ This was the one record where we had the sense that ‘Are we ready?’ – we had a vision about how things should be, followed it through, and pushed the envelope aesthetically for ourselves.”
Long out of print, Jawbox has been remastered by Dan Coutant at Sunroom Audio and will re-issued on vinyl, CD, and digital download on September 22nd by Dischord and DeSoto Records.

Tracklist:
1) Mirrorful
2) Livid
3) Iodine
4) His Only Trade
5) Chinese Fork Tie
6) Won't Come Off
7) Excandescent
8) Spoiler
9) Desert Sea
10) Empire of One
11) Mule/Stall
12) Nickel Nickel Millionaire
13) Capillary Life
14) Absenter

RASTAFARI - THE DREADS ENTER BABYLON 1955-83

http://www.soundsoftheuniverse.com/img/news/492/w/rastafarislve.jpg

Soul Jazz Records new album Rastafari: The Dreads Enter Babylon 1955-83 charts the many links between reggae music and the Rastafarian religion.

Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Ras Michael and The Sons of Negus, Bongo Herman, Roy Ashanti (The Congos), Earth & Stone, Mutabaruka and many more, this is an in-depth look at some of the most unique and righteous music ever made and comes complete with a 40+ page outsize booklet, containing exclusive photography and extensive historical and contextual sleevenotes.

The new religion of Rastafari emerged in Jamaica during a time of intense political and social change in the 1930s. The first stirrings of anti-colonialism and workers’ rights were in motion, while Marcus Garvey’s Back-to-Africa movement was beginning to wane. But the pivotal catalyst to the birth of the Rastafari faith was the crowning of a black king in Africa in 1930.

One of the earliest mentions of Ethiopia in Jamaican music can be found on mento singer Lord Lebby and the Jamaican Calpysonians’ 1955 recording ‘Etheopia’. In the song Noel Williams, aka Lord Lebby, discusses Ethiopianism, the political movement that calls for a return to Africa for black people.

The 1960s saw the emergence of the first Rastafarian music on record with Count Ossie’s Rastafarian drummers. The visit of Haile Selassie to Kingston in 1966 was like an electric current throughout Kingston’s music scene – many of who had become adherents to the Rastafari faith. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, led by the success of Bob Marley and The Wailers.

At the source of the music of Rastafari is the figurehead master drummer and leader Count Ossie, who first bought the deeply spiritual nyabinghi and burro rhythms heard and played at sacred Rastafarian grounation (reasoning) sessions into popular Jamaican music through his many collaborations and performances with artists – from The Skatalites to The Folks Brothers - and producers – including Clement Dodd, Prince Buster and Harry Mudie.

At the start of the 1970s Count Ossie formed the Mystic Revelation of Rastafari with saxophonist Cedric Brooks, which immediately became the most significant group of the Rastafari faith, bringing together authentic rasta nyabinghi drumming together with spiritual and avant-garde jazz influences of Sun Ra, John Coltrane and Albert Ayler into a truly unique and groundbreaking sound.

As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.

This album comes in three separate formats: Deluxe CD with slipcase and 40-page outsize booklet, deluxe limited-edition heavyweight gatefold-vinyl edition + free download code (w/full sleeve notes etc) and as a worldwide digital release.

Tracklisting:
1. Count Ossie and The Rasta Family - Africa We Want Fe Go (1.27)
2. Johnny Clarke - None Shall Escape The Judgement (3.37)
3. Laurel Aitken - Haile Selassie (3.14)
4. Count Ossie and The Mystic Revelation Of Rastafari - Tales Of Mozambique (5.37)
5. Ras Michael and The Sons Of Negus - Booma Yeah (5.39)
6. Mutabaruka - Say (1.13)
7. Bongo Herman and Jah Lloyd - African Drums (3.32)
8. Ashanti Roy - Hail The Words Of Jah (3.49)
9. Count Ossie and The Mystic Revelation Of Rastafari - Sam's Intro (3.36)
10. Bongo Herman, Les and Bunny - Salaam (3.05)
11. Winston and Ansell - Zion I (3.44)
12. Techniques All Stars - Zion I Version (3.21)
13. Lord Lebby and The Jamaican Calypsonians - Ethiopia (2.59)
14. Count Ossie & Leslie Butler - Soul Drums (2.47)
15. The Heaven Singers - Rasta Dreadlocks (3.02)
16. Rod Taylor - His Imperial Majesty (3.12)
17. Q.Q. - Betta Must Come (3.48)
18. Earth & Stone - Jah Will Cut You Down (3.22)
19. Count Ossie & The Mystic Revelation Of Rastafari - Narration (9.03)
20. Ronald Downer and Count Ossie - A Ju Ju Wa (3.34)

Holy Moly, gotta check that, esp. any w Cedric Brooks.

On Monday, July 20th, we received the tragic news that Dieter Moebius had passed away. We at Grönland have had the pleasure to have worked very closely with Dieter in recent years and we will miss him dearly. We knew about his illness and despite this, he continued working closely on the box set with us. He and Grönland always wanted the box to be a statement of this incredible music and of life itself.

Dieter was not only an extraordinary musician, but also a wonderful person with a very special sense of humor.

Our thoughts go out to his family.

Grönland Records

********************

July 22, 2015
For Immediate Release

HARMONIA ANNOUNCE COMPLETE WORKS VINYL BOX SET, OUT OCTOBER 23RD ON GRÖNLAND

CONTAINS 5 RECORDS (ONE PREVIOUSLY UNRELEASED), 36-PAGE BOOKLET,
POSTER, POP-UP AND DOWNLOAD CODE

http://www.harmonia1973.com/

Few bands match the pastoral beauty and majesty of Krautrock supergroup Harmonia, the visionary German band that existed from 1973 to 1976 and brought together Dieter Moebius and Hans-Joachim Roedelius of Cluster, and Michael Rother of NEU!. Though Harmonia was not very well known during their lifetime in their native Germany, their music soon captured the attention of Brian Eno, David Bowie, and other high profile admirers overseas. Eno was so captivated by Harmonia — he once famously called them the “world’s most important rock group” — that he briefly joined the band, recording music with them in 1976.

On October 23rd, Grönland Records will release the entire Harmonia back catalog as a five vinyl box set, including previously unreleased material recorded 40 years ago at Harmonia HQ: Forst, Lower Saxony, Germany.

The box set includes all available records ever made by Harmonia:

Musik von Harmonia (1974)
Digitally remastered

Deluxe (1975)
Digitally remastered

Harmonia and Eno ‘76’s Tracks and Traces
Double vinyl including the "lost" Brian Eno recordings, which were found and originally released in 1997

Live 1974

Documents 1975
Previously unreleased recordings from Hamburg gigs and two studio tracks from Forst

Plus extras:
A lush 36-page booklet including previously unreleased photography documenting the history of Harmonia
The original Harmonia live poster
A beautiful pop-up artwork presenting the Harmonia headquarters in Forst
A download code for all of the songs in the box set


The story begins in 1971, when Dieter Moebius and Hans-Joachim Roedelius moved from Berlin to the wilds of Forst, deep in the countryside of Lower Saxony, next to the Weser River. In Forst, they made their homes within three grand, crumbling houses built several centuries ago. Michael Rother visited Forst in in early 1973. As he recalls, “When Klaus Dinger and I tried to put NEU! on stage in ’72 in Düsseldorf after releasing the first album, it was impossible to find the right musicians for touring because nobody understood our ideas. I remembered Cluster and their track ‘Im Süden,’ and because I saw similarities in the harmonic approach I decided to pay them a visit in Forst.” Rother brought his guitar along, and jammed with Roedelius. “The two instruments we played together immediately clicked, and so I decided to put NEU! on hold. Roedelius and Moebius were equally excited about the idea of the three of us working together and so six weeks later, I left Düsseldorf and NEU! behind and moved to Forst.”

Life in the rambling, rural environs of Forst was as much about surviving with little money as it was about making music. “It’s a very important part of the game that we were able to live at that place, in that beautiful island of silence and beauty, surrounded by cows and horses and geese and pigs,” says Roedelius. “Going to the forest and cutting wood and doing the gardens, that was part of it.” Indeed, the music of Harmonia is part and parcel of the lush landscape of Forst, and its communal spirit.

The differences in musical temperament between the three were clear from the outset. Rother was the only one who had something resembling musical training. Moebius, meanwhile, had noisier, more anarchic inclinations. Roedelius was more overtly romantic and melodic, but his approach to making music had more in common with Moebius than with Rother.

Harmonia released their debut album, Musik von Harmonia, in 1974. They recorded and mixed the album themselves in Forst. "We had three [tape] machines, Revox type, and a very primitive mixer,” says Rother. “The advantage was we could work whenever we wanted and didn‘t have a studio clock ticking away. The record sales, however, were very disappointing, our love for the music was not echoed by the public." The striking Pop Art cover of a detergent bottle, designed by Moebius, gave the band an instantly iconic and modern look.

Harmonia’s second album, Deluxe (1975), was co-produced by the brilliant producer and engineer Conny Plank, who had worked with NEU!, Cluster, Kraftwerk, and many other bands. Deluxe was recorded on Plank’s equipment in Forst in the summer of 1975, and mixed at his studio near Cologne soon afterwards. As described by Rother, “We didn‘t have to push [Conny] to experiment; we were all on the same level. Everybody was looking for new expressions, a new way of creating the sound . . . I remember some really wonderful moments, because he was so talented in picking up your ideas. We never theorized about music, we were intuitive players, musicians.” Deluxe is a breathtaking album, a clear departure in style. It was the most “pop” that Harmonia ever became, with tighter song structures than the more sprawling landscapes of Musik von Harmonia.

After struggling for months about the direction the music of Harmonia should take, Harmonia split up in 1976, but the group briefly reunited later that year to record in Forst with Eno. After the sessions with Eno, the group went their separate ways. Their music has inspired generations of musicians and these days it appeals to audiences, young and old, in a way Roedelius, Moebius and Rother couldn’t have imagined in the 1970s. Despite the differences, there was a shared vision with Harmonia, too. “We were all different individuals — that was clear from the beginning,” says Rother. “But we were similar in our wish for freedom: freedom in the way we chose to live, and in our wish to be independent from record companies and to live a free life.” Harmonia lives on as a document of that magical time in Forst.

Some more info, comments on this reissue:
http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=90668

Don't have a track listing yet, but Numero Group is doing a box of all of White Zombie's pre-DGC material. I have two hopes:

1) The unreleased songs from the early, early sessions (see Wikipedia for details);
2) Remastering from the original tapes (when DGC put out that Let Sleeping Corpses Lie set a few years ago, most of the early stuff was mastered from vinyl)

3) It's not priced so high that I wince and decide to just buy the CD box instead

http://www.superdeluxeedition.com/wp-content/uploads/2015/05/isley_box2-480x284.jpg

In August this year, Sony’s Legacy Recordings will release a massive 23-disc box set: The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-1983).

This will feature newly remastered versions of The Isley Brothers’ 21 albums released for both labels, nearly all of which are expanded with rare mixes and tracks making their CD and digital debuts. In total this new collection includes 84 rare and previously unreleased bonus tracks.

One of the most significant inclusions is the ‘lost’ live-in-the-studio album Wild In Woodstock: The Isley Brothers Live At Bearsville Sound Studio 1980. This is newly restored and for the first time it is being released in its entirety.

As can be seen from the image above, the CDs come in card sleeves accompanied by a booklet with everything residing in what looks like a clamshell box. This Isley Brothers anthology was compiled and produced by Leo Sacks, with the help of Jeffrey James and Jeremy Holiday. The music has been newly remastered from the original analog tapes by Mark Wilder at Battery Studios.

The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-83) will be released on 24 August 2015.

In the box…

The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-1983)

* denotes the inclusion of bonus tracks)

• Shout! (RCA Victor, 1959)*
• It’s Our Thing (T-Neck, 1969)*
• The Brothers: Isley (T-Neck, 1969)*
• The Isley Brothers Live At Yankee Stadium (T-Neck, 1969)
• Get Into Something (T-Neck, 1970)*
• In The Beginning…The Isley Brothers & Jimi Hendrix (T-Neck, recorded 1964-1965; remixed/released 1971)*
• Givin’ It Back (T-Neck, 1971)*
• Brother, Brother, Brother (T-Neck, 1972)*
• The Isleys Live (T-Neck, 1973)
• 3+3 (T-Neck, 1973)*
• Live It Up (T-Neck, 1974)*
• The Heat Is On (T-Neck, 1975)*
• Harvest For The World (T-Neck, 1976)*
• Go For Your Guns (T-Neck, 1977)*
• Showdown (T-Neck, 1978)*
• Winner Takes All (T-Neck, 1979—2 CDs)*
• Go All The Way (T-Neck, 1980)*
• Wild In Woodstock: The Isley Brothers Live At Bearsville Studios 1980 (previously unreleased)*
• Grand Slam (T-Neck, 1981)*
• Inside You (T-Neck, 1981)*
• The Real Deal (T-Neck, 1982)*
• Between The Sheets (T-Neck, 1983)*

That Isley Brothers box was originally about £40 on Amazon, hesitated about ordering (a lot of IBs for a newcomer!) and it's now £80. Still a pretty good deal but will wait.

There was an original albums series about 5 years ago that covered the T Neck years stuff. Not sure if it was easily available before that.

Tempted for the '71 remix of tracks w Jimi in particular, but some other goodies in there as well, the few I'm familiar with, at least

from Rhino:

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/0825646077038.jpg

SISTERS OF MERCY

Four-LP Set Combines The Band's Influential Second Album Floodland With
12" Versions Of "This Corrosion," "Dominion" And "Lucretia My Reflection"

180-Gram Vinyl And Digital Versions Will Both Be Available September 25

LOS ANGELES - The Sisters of Mercy broke up soon after the band finished the tour for its 1984 debut, First and Last and Always. Undaunted, the group's founder and frontman Andrew Eldritch kept the name and continued to make music with his faithful drum machine Doktor Avalanche. The Sisters of Mercy came back stronger than ever in 1987 with its second album, Floodland , a commercial and artistic breakthrough.

Earlier this year, Rhino released a vinyl boxed set that focused on the music surrounding the band's first album. Continuing that trend, the next set will spotlight the group's influential sophomore album, and will include a trio of 12" singles from that era: "This Corrosion," "Dominion" and "Lucretia My Reflection."

FLOODLAND ERA VINYL BOX SET will be available at retail outlets on September 25 for a suggested list price of $74.98. The set contains four LPs, all pressed on 180-gram vinyl, and is packed in a handsome card slipcase. On the same day, the set will be released digitally, and all the songs will be available for download individually.

The second incarnation of The Sisters - which featured bassist Patricia Morrison of Gun Club - explored new sonic avenues on Floodland. The tone was still dark and moody, but now the loud guitars shared space with keyboards and the rich orchestrations of producer Jim Steinman (Meat Loaf) on tracks like "This Corrosion" and "Dominion/Mother Russia." When the album was released in November 1987, it climbed the charts in England where it reached the Top Ten.

Along with the studio album, FLOODLAND ERA VINYL BOX SET also includes essential music released during that time, including the 12" version of the first single, "This Corrosion." It features a different mix of the title track, along with the B-sides "Torch" and "Colours."

The 12" version of the second single "Dominion" also appears in this set. It contains a different mix of "Dominion," as well as three additional tracks: "Untitled," "Sandstorm" and "Emma." The third single, "Lucretia My Reflection" is represented here by the 12" version from 1988 that features the B-side "Long Train." This new boxed set marks the digital debut for all the songs featured on the 12" singles.

Crazy price, esp. consid. that three of the four "albums" AKA 12" singles.

yeah was just trying to work out how they equated 12" to lp. I thought it had more to do with playing duration and the 4 12"s together might just equate to one lp. But there you go.
Maybe its just newfangled people not used to the old style medium of vinyl?

I think I can live with CDs of Some Girls Wander and the Essential Albums set (or whatever it's called - $13 and includes the first three albums with bonus tracks)...

https://www.dropbox.com/s/3mw6vj2f0we102a/SPLPS%20copy.JPG?dl=0

Whats Your Rupture and Terminal Records are thrilled to announce the reissue of two albums by The Sunday Painters—Something to Do (1982) and 4th Annual Report (1985).

The Sunday Painters were wide-ranging DIY art-punks. Operating out of Wollongong, Australia in the early 80s, they seemed to want to be every band from the Velvet Underground to King Crimson to the Sex Pistols to Throbbing Gristle. And they wrote catchy, often beautiful, songs, the greatest of which are also commentaries on the costs of containing such multitudes.

The Painters were formed in late 1978 by Peter Raengel and Peter MacKinnon. They released three singles on their own Terminal Records between 1979 and 1981 (collected in January, 2015 on the In My Dreams LP). Then, with a new bassist, Dennis Kennedy, they recorded their first album, Something To Do, which came out in 1982 as a run of 500 copies, also on Terminal. It’s as diverse a record as art-punk ever delivered, from the recessional dirge of its title track to the blitzkrieg minute of “Emotion Sickness” to “ECT,” the seven-part, industrial-punk-prog piece that closes the album.

Recording for 4th Annual Report began soon thereafter, and most of it would be finished by the end of 1983; however, the record did not come out until 1985, when a pair of songs were added. Out in a run of just 250 copies, it is the dense work of a band that had absorbed the full range of DIY and industrial sounds. At its heart is one of the great pop moments of Post Punk—“Love Factory,” which launches itself with a beat that would do the Ronettes proud, then throws a couple songs simultaneously beneath a proto-jungle skitter.

Included with each album are booklet inserts and download codes for all tracks, plus bonus live material.

For fans of the Homosexuals, Total Control, SPK, Swell Maps

http://whatsyourrupture.bigcartel.com

https://www.dropbox.com/s/3mw6vj2f0we102a/SPLPS%20copy.JPG?dl=0

Looking fwd! US Amazon's got vinyl pre-release sales, and they've already got an mp3 version of 4th Annual Report, apparently downloadable today---does the reissue edition in your post add tracks?

The vinyl has only the original LP tracks, but the download also includes a live set.

4th Annual Report gets a live radio broadcast from December 1982:

1. DISCIPLINE (Throbbing Gristle)
2. LET’$ BE MODERNE
3. CONCERTINA
4. DO THE LOTUS
5. PLEASE KILL ME
6. SANG-FROID
7. IMAGEND
8. DESERTS OF LOVE
9. REBEL REBEL (Bowie)
10. LOVE FACTORY

While Something To Do gets the hour-long live cassette, Any Port in a Storm, which was recorded also in '82 and came out that year in a run of 100 copies:

1. DO THE LOTUS
2. FLESH
3. OLD WORLD (Modern Lovers)
4. SELF-CONTROL
5. USA
6. BE OBJECTIVE
7. PATHS OF GLORY
8. TOO SAD TO CRY
9. EMOTION SICKNESS
10. MANTRA
11. SOMETHING TO DO
12. REMA-REMA (Rema Rema)

Some sample audio files:

"Something To Do"

https://soundcloud.com/krazypunx/sunday-painters-something-to-do

And "Through A Shattered Lens"

https://soundcloud.com/krazypunx/sunday-painters-shattered-lens

Thanks! Will check.

LATE LOST-SOUL SINGER-SONGWRITER
DENNY LILE’S DEBUT ALBUM AND STORY
EMERGE AFTER 40 YEARS IN THE VAULTS
VIA CD + DVD SET FROM BIG LEGAL MESS ON OCTOBER 16.
Hear the Bang: The Life and Music of Denny Lile spotlights
a masterful-but-obscure artist whose music foreshadowed Americana

LOUISVILLE, Ky. — Denny Lile was a local legend — a gifted songwriter, singer and guitarist who seemed poised for fame, but his once-rising star sputtered out in a tragic spiral that ended with his death from alcoholism at age 44 in 1995. The new CD-and-DVD set Hear the Bang: The Life and Music of Denny Lile blends Lile’s brilliant and visionary unreleased debut album with a documentary film that tells his ultimately tragic story. Within its fabric lie 16 songs that foreshadow the arrival of the Americana genre and were recorded at the same time as Neil Young’s foundational Harvest album. Lile’s story also stands as a broader fable. It parallels that of many other formidable regional talents who lived and died in obscurity within the sprawling landscape of American popular music. The set will be released on October 16, 2015 on Oxford, Mississippi’s Big Legal Mess Records.
When Big Legal Mess head Bruce Watson — who, as co-owner of Fat Possum Records, has specialized in resurrecting and releasing obscure-but-great music from the South since the early ’90s — first listened to Hear the Bang, the debut full-length that Lile recorded in 1972, his reaction was typical of those who get their initial earful of the brilliant singer, songwriter and guitarist’s work. “I thought, ‘My God, I can’t believe nobody’s heard this,’” he recalls. “‘This guy’s a great singer-songwriter who never got his due. I’ve got to put this out!’”
Lile’s recordings, which spent four decades entangled in a web of legal issues, reveal an artist of subtlety and depth, with a streak of melancholy. His songs, including the haunting title track and the country-rocker “Looks Like the Feeling’s Slowly Fading,” often deal with lost love and its complexities: longing, alienation, issues unresolved. But with his honey-and-butter voice and shimmering lightning-strike guitar, even the bitter pills go down sweetly. As with Harvest, the songs on Hear the Bang — which was recorded when Lile was just 21 years old — are filled with imagery from the American landscape: rivers, freight trains, blue jeans and tee shirts, sun-dappled spring days. Also like Harvest, the instrumentation blends acoustic and electric elements — including Lile’s own six-string and dobro — mostly played by musicians who performed with Lile in various Louisville-area bands: the Matchbox, Soul Inc., Elysian Fields, Otis and Puddinfoot. Of course, there are also unqualified love songs, like the moon-eyed “Rag Muffin” and the soaring “Oh Darlin’.” And “’Cause You’re Mine” taps the era’s psychedelic vein with its ringing raga-like chords.
As these musical gemstones reveal, and Lile’s surviving bandmates and one-time song publisher attest in the documentary DVD, melody and lyrics were the cornerstones of his art. He polished them until they gleamed, sometimes working on a song for more than a year before revealing it even to his closest collaborators. Forty-three years later, these tunes are still radiant and remarkably undated.
The film was made by Lile’s nephew Jer, a 39-year-old Zionsville, Indiana-based custom guitar and amplifier maker. Denny has hung over Jer’s life and his own career in music like a specter. By the mid-’80s Denny, battling alcoholism, was largely estranged from Jer’s father Dwight and his family. So the movie is as much the tale of Denny Lile’s rise and fall as an attempt by Jer to get to know and understand his uncle as a man and an artist.
Including interviews with Denny’s friends, bandmates, business associates, ex-wife and daughter, and a Ken Burns-like assemblage of still photos and artifacts, the doc begins with Denny’s childhood, which was fractured by his parents’ divorce. The break-up greatly affected Denny’s outlook, which was already emotionally insulated due to their style of parenting. “We were expected to take care of ourselves,” Dwight explains. “Mom and dad were not nurturing.”
Melancholy and insecure, Denny nonetheless rose to fame around his native Louisville with a series of bands and had numerous near-scrapes with the big time, including a major-label signing that crumpled before he entered the studio to cut an album and a disastrous no-show at Nashville’s annual country music confab Fan Fare, where Denny was unable to take the stage after drinking too much in an effort to calm his perennial stage fright. Denny’s biggest break arrived when Waylon Jennings recorded his song “Fallin’ Out” and it became a top 10 single on Billboard’s Hot Country Singles & Tracks chart in 1987. He built a studio and bought a conversion van with the money. As his relationship with his wife and daughter fell apart due to his alcoholism, that van became his home. It was also where he died, alone.
Jer Lile described the process of making the film as both enlightening and heartbreaking to Insider Louisville writer David Serchuk. “I’ve talked with all these people to get a better sense of who he was, and that kind of makes the sense of loss a little more intense, more defined … I can’t tell you how often I’ve cried during this process.
“If I could have dinner with anybody, he’d be at the top of my list,” Jer told Serchuk. “I’d want to find out why … why couldn’t you kick it? You had people that loved you, talent and all these opportunities to succeed. It seemed like every time he made a step forward, he took two steps back.”

CONCORD MUSIC GROUP TO REISSUE CLASSIC SOUNDTRACKS:
AMADEUS, ONE FLEW OVER THE CUCKOO’S NEST
AND J.R.R. TOLKIEN’S THE LORD OF THE RINGS.
Deluxe vinyl box sets available September 11;
features include 180-gram vinyl, new liner notes and film ephemera
LOS ANGELES, Calif. — Concord Music Group is proud to introduce the Original Soundtrack Classics series, a limited-edition line of vinyl reissues, each designed with both the music lover and the film buff in mind. To kick off the series, three scores from the Fantasy Records archives will be reissued on September 11, 2015 in deluxe, 180-gram vinyl LP box sets: Amadeus, One Flew Over the Cuckoo’s Nest and J.R.R. Tolkien’s The Lord of the Rings.

Though Amadeus was a widely acclaimed hit film, taking home eight statues at the Academy Awards (including Best Picture), the overwhelming success of the classical soundtrack was a surprise hit when it was released in 1984. The score, which received a GRAMMY Award for Best Classical Album, astonished music executives worldwide as it jumped up the Billboard album charts — matching record sales of some of the biggest popstars of the day, and becoming one of the most popular classical releases of all time. This Original Soundtrack Classics box set will mark the first time that the entire score is available on vinyl, in one collection. The three discs are each housed in their own unique sleeves, featuring new artwork. Completing the package is a 23” x 36” theatrical poster and a 16-page booklet, complete with new liner notes by the score’s esteemed conductor, Sir Neville Marriner, plus original liner notes by music historian Grover Sales, detailed information on each track, an annotated plotline and stills from the film.

Next in the collection is the Academy and GRAMMY Award-nominated score from the 1975 hit film One Flew Over the Cuckoo’s Nest. Composed by prolific producer and musician Jack Nitzsche (Phil Spector, the Rolling Stones, Neil Young), the soundtrack has long been praised for its edgy and effective nature (including the eerie instrumental use of a saw in the opening and closing themes). Inside the Original Soundtrack Classics box, fans will uncover the LP in a reproduction of its 1975 gatefold jacket. Accompanying the score is a 24” x 36” poster which was included in the original packaging; two collectible pin-back buttons (“Beware Big Nurse” and “McMurphy Rules”); as well as a 16-page booklet containing rarely seen stills from the film, insightful notes by director Miloš Forman and an essay on Nitzsche by documentarian Kristian St. Clair.

Completing the initial set of Original Soundtrack Classics reissues is the timeless score to the 1978 animated feature J.R.R. Tolkien’s The Lord of the Rings, from Academy Award-winning composer Leonard Rosenman (East of Eden, Rebel Without a Cause, Barry Lyndon). This highly collectible, 2-LP box set is filled with a wealth of ephemera, and will be a must-have for fans of the landmark film.

The album is housed in a reproduction of the soundtrack’s original gatefold jacket, and includes a 24” x 36” alternate theatrical poster, featuring Gandalf, as well as a lobby car — both reproduced from 1978 marketing materials. Also in the box is a map of Middle-Earth, as well as a production cel and a sticker — all reproductions of items previously available only to Tolkien Fanclub members in the 1970s and ’80s. A 16-page booklet rounds out the collection, featuring stills from the animation and behind-the-scenes photos, all contextualized with liner notes by Tolkien Enterprises’ Laurie Battle, plus a new Rosenman appreciation by Jon Burlingame, the nation’s leading writer on the subject of music for films and television. Music historian and box set producer Bill Belmont also offers a backstage look at the making of the film.

Additional titles will be announced in 2016 from the Original Soundtrack Classics line.

Sorry, I left out this Denny Lile link:
HEAR an exclusive track ("Fallin' Out") via Blurt: http://bit.ly/1eK4EgV

BEAR FAMILY RECORDS READIES DEFINITIVE
TENNESSEE ERNIE FORD SET,
DUE OUT IN U.S. SEPTEMBER 25
Five-CD, 154-track musical selection
augmented by 124-page hardcover book.
Fall 2015 marks 60th anniversary of Ford’s iconic “Sixteen Tons.”
VOLLERSODE, Germany — Inarguably a major recording act, Tennessee Ernie Ford (1919-1991) sold an estimated 90 million albums worldwide, and charted 17 Top Ten country singles and four Top Ten pop singles over a 35-year recording career. And he played significant — and pioneering — roles in radio and television broadcasting.

On September 25, 2015, Bear Family Records will release Tennessee Ernie Ford: Portrait of an American Singer (1949-1960). The deluxe 12x12x1.5-inch box set contains 154 tracks on five CDs including all of the secular-themed studio recordings from the first dozen years in the career of one of the most important crossover acts in the history of American popular music. The package also contains a 124-page hardcover book with newly written essays, track-by-track album notes, a discography, label scans, and many rare photographs and illustrations. The book was authored by three-time Grammy Award-nominated music historian Ted Olson, Ph.D., from the department of Appalachian Studies/Bluegrass, Old-Time and Country Music Studies Program at East Tennessee State University. Olson also produced the reissue.

The set contains early country hits including the chart-topping “Mule Train” (1949) and the pioneering “hillbilly boogie” smash “The Shotgun Boogie” (1950), as well as Ford’s first major crossover hit, the 1950 duet (with Kay Starr) “I’ll Never Be Free.” There are classics such as “Rock City Boogie” (with the Dinning Sisters, 1951) and “Blackberry Boogie” (1952) as well as such overlooked delights as the train song “Tennessee Local” (1952), and Ford’s 1953 interpretation of Willie Mabon’s R&B hit “I Don’t Know.”

This boxed set includes a never-before-released song (“Slow Down”), numerous singles and album tracks not previously reissued on CD, and several rarities, including Ford’s 1955 recitations of Davy Crockett tales, as well as his 1958 public service jingles to promote the U.S. Marine Corps’ Toys for Tots charitable program.

Ford’s hit “hillbilly boogie” singles from 1949 to 1953 — including “Smokey Mountain Boogie” (1949), “The Shotgun Boogie” (1950), “Rock City Boogie” (1951), and “Blackberry Boogie” (1952) — blended black and white stylistic influences and are widely considered to have been pioneering rock ’n’ roll records.

In the early months of 1955, Ford’s version of “The Ballad of Davy Crockett” was a top five hit on the country chart as well as on the pop chart, foreshadowing the artist’s ultimate crossover achievement. Also that year, his hit “Give Me Your Word” was the #1 pop single in the U.K. And toward the end of ’55, Ford’s smash single “Sixteen Tons” topped both charts simultaneously, and rose to #1 in the U.K., selling more than four million copies and proving to be one of the most influential singles of the 1950s, reaching #1 on the country chart for ten weeks, and #1 on the pop chart for eight weeks. Long considered Ford’s signature song, “Sixteen Tons” was eventually inducted into the GRAMMY® Hall of Fame and into the National Recording Registry.
This boxed set provides a thorough exploration of Ford’s first dozen years (1949-1960) as a recording act, and listeners today can marvel at the range of his repertoire and (considering that for much of that period he was a musician part-time and a television host full-time) at the extent of his productivity.

Although he spent his career in California, Ford was from Bristol, Tennessee, which has been called “The Birthplace of Country Music” for its role is hosting the legendary 1927 recording sessions in which Jimmie Rodgers and the Carter Family were first recorded. (Bear Family Records released the definitive version of the so-called Bristol Sessions in 2011.)

In 1984 Ford became the first country artist to receive the Presidential Medal of Freedom, the highest governmental award given to a civilian. He was inducted into the Country Music Hall of Fame in 1990 and into the Gospel Music Association’s Gospel Hall of Fame in 1994.

The wide range of artists who have specifically cited Ford as a formative influence on their own music include American musicians such as Bob Dylan, Elvis Presley, Johnny Cash, The Everly Brothers, Glen Campbell, Micky Dolenz, Odetta, Della Reese, Dolly Parton, Tom Waits, Steve Young, Tom Petty, Meat Loaf, and the bands ZZ Top and They Might Be Giants, as well as British musicians including John Lennon, Eric Burdon, Tom Jones, Jeff Beck, Billy Fury, Elton John, Nick Lowe, and the Clash.

Ford made innovative and influential recordings, all of which can be heard in Portrait of An American Singer.
According to producer Olson, “In recent years Tennessee Ernie Ford has been primarily remembered for his mid-1950s crossover smash hit ‘Sixteen Tons’ and for some of his gospel records. But the singer made many other exciting recordings, and Bear Family Records and I decided it was time to showcase Ford’s influential early studio recordings in order to make a case for his enduring significance as a compelling popular recording artist. Presenting all of Ford’s secular-themed recordings from the most influential period (1949-1960) of his long career while providing a written and illustrated narrative of his varied and pioneering roles in the entertainment industry, this new box set, we hope, will help people realize that Ford was not only a figure of historical importance but also an inimitable American singer who left us many timeless and delightful recordings.”

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**Listen now to a previously unreleased Tennessee Ernie Ford track via The Wall Street Journal's SpeakEasy: http://on.wsj.com/1IXqgEk

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A definitive collection of Billy Cobham’s early career as a bandleader on Atlantic, lavishly packaged, remastered and featuring unreleased material, as well as singles.

• Clamshell Box
• Unreleased material and singles included
• Each Atlantic album in a mini-LP CD cardboard replica sleeve with spine of the original artwork
• 60-page, perfect-bound booklet, with period photos and liner notes

Disc 1: Spectrum
1. Quadrant 4
2. Searching For The Right Door
3. Spectrum
4. Anxiety
5. Taurian Matador
6. Stratus
7. To The Women In My Life
8. Le Lis
9. Snoopy's Search
10. Red Baron
11. All 4 One (Outtake)
12. Stratus - Pt. I (Mono)
13. Stratus - Pt. I (Stereo)
14. Stratus - Pt. II (Stereo)

Disc 2: Crosswinds
1. Spanish Moss - A Sound Portrait: Spanish Moss
2. The Pleasant Pheasant
3. Heather
4. Crosswind
5. Crosswind
6. Le Lis

Disc 3: Total Eclipse
1. Solarization: Solarization / Second Phase / Crescent Sun / Voyage / Solarization - Recapitulation
2. Lunarputians
3. Total Eclipse
4. Bandits
5. Moon Germs
6. The Moon Ain't Made Of Green Cheese
7. Sea Of Tranquility
8. Last Frontier
9. Moon Germs

Disc 4: Shabazz
1. Shabazz (Recorded Live in Europe)
2. Taurian Matador (Live in Europe) (Revised)
3. Red Baron (Live in Europe) (Revised)
4. Tenth Pinn (Live in Europe)

Disc 5: A Funky Thide Of Sings
1. Panhandler
2. Sorcery
3. A Funky Thide Of Sings
4. Thinking Of You
5. Some Skunk Funk
6. Light At The End Of The Tunnel
7. A Funky Kind Of Thing
8. Moody Modes
9. Neu Rock N' Roll (Outtake)

Disc 6: Life & Times
1. Life & Times
2. 29
3. Siesta / Wake Up!!! That's What I Said
4. East Bay
5. Earthlings
6. Song For A Friend, Pt. 1
7. On A Natural High
8. Song For A Friend, Pt. 2
9. Natural Essence
10. Natural Essence

Disc 7: Magic
1. Hip Pockets
2. Ivory Tattoo
3. Space Lady
4. Almustafa The Beloved
5. Do What Cha Wanna
6. Frankenstein Goes To The Disco
7. Sweet Wine
8. Juicy
9. Do What Cha Wanna
10. Hip Pockets

Disc 8: Inner Conflicts
1. Inner Conflicts
2. Muffin Talks Back
3. Nickels And Dimes
4. El Barrio
5. Arroyo

I'm kinda tempted by this, for the new remasters and the bonus tracks, but I bought an Original Album Series box that has the first 5 albums from this set (minus the single edits, etc.) not two months ago. So I don't know.

Another missed opportunity to call one of his releases "Ham on the Cob"

My friend Jason has compiled a beautiful set of 14 country songs, all taken from 45's and all custom releases, or private press. I can not recommend this enough!
http://lightintheattic.net/releases/1946-small-town-country-vol-1

Wow! I think I'm in.

Bikini Kill: Revolution Girl Style Now

Reissue Featuring Three Unreleased Songs
Available For The First Time On Vinyl, CD & Digitally
September 22 via Bikini Kill Records

Revolution Girl Style Now Video Trailer Released Today,
ft. Exclusive Band-Made & Original Live Footage
https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/492e63e5-8139-424e-9cb9-72bfef392065.jpeg
Photo Credit: Allison Wolfe

Bikini Kill is the infamously fierce, riot grrrl band featuring feminist punk pioneers Kathleen Hanna, Tobi Vail, Billy Karren and Kathi Wilcox. Bikini Kill’s first collection of work, Revolution Girl Style Now, will be released on vinyl, CD, and digital formats for the first time on September 22 via Bikini Kill Records. There will also have a limited edition replica version of the demo cassette available by mail order only.

The Revolution Girl Style Now reissue features three previously unreleased and mostly unheard tracks: “Ocean Song”, “Just Once”, and “Playground”. These songs feature a decidedly more grunge sound than the rest of the Bikini Kill catalog. Fun fact: the tape actually runs out as they’re recording “Playground”.

https://www.youtube.com/watch?v=pR-WxoUOQyM&feature=youtu.be
Watch the Revolution Girl Style Now Video Trailer featuring footage from Bikini Kill’s first Olympia, WA show
Filmed by Brian Ruff, edited by Kathleen Hanna and Kathi Wilcox.

The Revolution Girl Style Now demo tape was originally self released in May of 1991. The demo was recorded by Pat Maley at the ABC House in Olympia, WA earlier that year. Bikini Kill played one of their first shows at the house the night before and left their equipment set up to record the demo the next day. The songs were mixed by Guy Picciotto (Fugazi) and mastered by John Golden for this reissue.
Bikini Kill was a feminist punk band based in Olympia, WA and Washington DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar, and Kathi Wilcox played bass. Sometimes they switched instruments. Bikini Kill is credited with instigating the Riot Grrrl movement in the early 90’s via their political lyrics, zines, and confrontational live show.

Bikini Kill Records was started in 2012 by Bikini Kill to document and reissue their back catalog. They are exclusively distributed by Dischord Direct.

Track listing:
1) Candy
2) Daddy’s L’il Girl
3) Feels Blind
4) Suck My Left One
5) Carnival
6) This Is Not A Test
7) Double Dare Ya
8) Liar
9) Ocean Song*
10) Just Once*
11) Playground*

* = bonus tracks

https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/6118a97f-1dc7-49ed-94f5-f04efbfb9f6c.jpg
Good backstory and recent interview here:

http://www.rollingstone.com/music/premieres/bikini-kill-on-riot-grrrls-legacy-taping-over-nirvana-cassettes-20150818?utm_source=newsletter&utm_content=daily&utm_campaign=081815_16&utm_medium=email&ea=YmFtYWxsYW1hQGFvbC5jb20=

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Artist: John Renbourn
Title: The Attic Tapes
Catalogue No: TUGCD1089
Barcode: 605633008920
Label: Riverboat Records
Release date: 16 October 2015

Lovingly remastered from a series of long lost tapes dating back to the early 1960s, The Attic Tapes, is a vintage collection of previously unreleased recordings and early works by John Renbourn, one of guitar music’s truly great innovators. Due for release by Riverboat Records on 16th October 2015, The Attic Tapes represents in John’s own words, “what was happening to me at the time and a reflection of the general scene” These recordings were made in the two or three years before his first ever official release for Transatlantic Records, released in February 1966.

The 20 tracks include many true classics, all brilliantly performed and with particular care taken over the sound quality despite the rudimentary sources. There are a number of songs written by Renbourn (‘Judy’, ‘Plainsong’) alongside his unique interpretations of classic tracks which remained in his set throughout his life (‘Candyman’, ‘Can’t Keep From Crying’, ‘Come Back Baby’) plus others written by his contemporaries including Jackson C Frank’s ‘Blues Run the Game’ and Davy Graham’s ‘Anji’. This latter is a particular find: “What’s curious is that the date on the tape box is 1962,” says Renbourn in his notes, “which would make it a very early recording of Davy Graham’s classic….” Renbourn had first heard ‘Anji’ via his friend and guitarist Mac MacLeod; it was MacLeod who discovered the tape box in his attic, which began the chain of events and further discoveries that led to this invaluable new collection.

John Renbourn is accompanied on two tracks by MacLeod and by others on the scene at the time including Davy Graham and Beverley Martyn whose two tracks were recorded at a gig they shared with visiting American Spider John Koerner (one third of Koerner, Ray & Glover). Beverly Kutner, as she was at the time, was a powerful blues singer, then playing folk clubs usually as part of The Levee Breakers and several years before meeting John Martyn. Another unique track on The Attic Tapes captures John Renbourn performing with one his most inspirational heroes, Davy Graham, on a version of ‘Nobody Knows You When You’re Down and Out’, sung by Davy and recorded at an arts centre in Stamford. “It was a treasured moment for me,” writes Renbourn in the notes.

His wonderful reminiscences provide another highlight of this album, written only very shortly before his death in March 2015. They capture the times brilliantly, written in John’s warm, self-deprecating way. “Mostly it’s me plunking – occasionally in the company of friends from way back.” He had put a lot of time into this project and over the last couple of years had carefully selected tracks, cleaned them and was looking forward to the release with great enthusiasm.

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‘Unfortunately we were due to send over the finished artwork to him the day after he passed away, so it’s really sad that he never got to see the finished product... He was also going to do some further digging to see if he could find out the dates, so unfortunately we will never know exactly when most of these recording were made’. – Neil Record and Brad Haynes from Riverboat Records

John Renbourn has long been regarded as one of the world’s greatest contemporary acoustic guitarists. Over the last five decades he has pursued a remarkable musical journey - dedicated to innovation and technical mastery. His unique guitar style - often called folk-baroque - fuses English and Celtic folk music with jazz, country blues and pre-Renaissance, together with influences from Western and Eastern classical traditions.

John Renbourn was born John McCombe in Marylebone, London in 1944: his father, Robert, was killed in the second world war, and his mother, Dorothy (nee Jopling), married Edward Renbourn, a physician, in 1952, when John’s surname was changed by adoption. The family moved to Surrey, where John had piano lessons and was introduced to early music. He took grade examinations in classical guitar, which influenced his later folk and blues guitar arrangements. He attended Kingston Art School in the early 1960s while living on a boat before acquiring a Scarth guitar and performing at clubs around London, most famously Les Cousins in Soho. Through the American singer, Doris Henderson, who he later recorded two albums with, Renbourn met T-Bone Walker, John Lee Hooker and Memphis Slim. In 1964, Renbourn was introduced to his lifelong friend and musical collaborator, Bert Jansch. In 1967, Pentangle came together through gigs at a club begun by John the year before at The Horseshoe, off Tottenham Court Road. Releasing their debut album in 1968, Pentangle would achieve considerable world-wide acclaim before disbanding in 1973. John continued to record solo and with the John Renbourn Group and Ship of Fools, and continued touring around the world. Having lived in America for some years John returned to the UK and in the mid-1980s studied for a degree and took up a teaching post at Dartington College in Devon. In later years he toured regularly, often in company with Stefan Grossman, Robin Williamson and Wizz Jones who he was touring and recording with at the time of his death. John’s last official album was 2011’s Palermo Show, itself his first album in 13 years, which makes this new collection of vintage, unheard and unreleased recordings all the more desirable.

John Renbourn was a brilliant exponent of the guitar, and despite considerable successes, never fully received the recognition he deserved. He was a very modest man and never seemed to mind. He was much admired and is greatly missed.

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New LITA Release | Françoise Hardy 5-Album Reissue Series

We all know and love the cool, glamorous French yé-yé girls of the ’60s, but one of them stands out from the pack: Françoise Hardy. With her brunette hair and alluring bangs, she was one of the few girls at the time who wrote her own songs, and she did so from a place of depth and subtlety. Though she was a muse to the likes of Bob Dylan, Mick Jagger and husband Jacques Dutronc, Hardy was wary of fame, preferring privacy and modesty. She was a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon incredulous of others’ admiration of her.

We are so proud to present our Françoise Hardy reissue series of the five French-language albums she released yearly between 1962-1966. We’ve remastered each release from the original tapes, in their original French format, to sound better than ever!

The liner notes for these releases include an exclusive new interview with the illusive songstress. As Hardy has rarely been involved with prior reissues, this is quite a coup!

All five albums are available for preorder on both CD & deluxe LP now.

CDs will be out October 16th.
Deluxe LPs will be out January 29th, 2016.
There is also an option to collect all five in one format at a discounted price! This option is available on each album release page.

The complete CD set is $50.
The complete LP set is $90.

Should be enough motivation, finally, for me to check her out. LITA my life!

Numero provides more detail re those xpost Scientists:

Scientists: S/T (Pink Album)

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled “Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

“They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?”—Warren Ellis

Scientists: Blood Red River

After trekking east from the suburbs of Perth to take new root in Sydney, in 1983 the Scientists hooked up with producer Chris Logan, who’s credited with the album’s imposing sonic girth and rumbling low end, and premier Aussie punk label Au Go Go for an album that would define their unmistakably swampy, psychotic aura. These six songs revisited band leader Kim Salmon’s interest in the Cramps and the Stooges, while adding in the repetitive dementia of Suicide and elements of cow punk twang, with Salmon’s distinctly unrefined Australian accent snarling tales of lust, confusion and angst.

“The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!”—Jon Spencer

New Numbers

Syl Johnson: The Complete Twinight Singles 2LP

Saved & Sanctified: Songs of the Jade Label LP

Royal Jesters: English Oldies 2LP/CD
Next Numbers

Elyse Weinberg: Greasepaint Smile LP/CD

Edge of Daybreak: Eyes of Love LP/CD

Unwound: Empire

Endangered Numeros:

NUM005 Fern Jones: The Glory Road CD

NUM022 Brotherman: OST LP

NUM025 24-Carat Black LP

NUM035.5 Local Customs: Burned At Boddie CD

VELVET UNDERGROUND:
LOADED: RE-LOADED 45TH ANNIVERSARY EDITION

Classic Album Expanded As A Six-Disc Set With Stereo, Mono And Surround Mixes, Rarities, And Live Recordings, Including An Unreleased 1970 Club Performance

Available From Rhino On October 30

LOS ANGELES - Jenny's life was saved by "Rock and Roll" in the classic Velvet Underground song of the same name. A similar fate has befallen many of those who've heard Loaded, the 1970 album that included the song. In 1997, the album's legend grew when Rhino introduced Fully Loaded, a double-CD with unreleased versions of every song on the original, and more.

This fall, one of the greatest albums of all time will return as a six-disc collection that includes:
- The original album remastered in both stereo and mono.
- A generous selection of demos, early versions and alternate mixes from that era.
- A newly remastered/re-edited version of Live At Max's Kansas City.
- Two high resolution mixes, plus a surround sound mix in DTS and Dolby Digital.
- An unreleased May 1970 concert recorded in Philadelphia.

LOADED: RE-LOADED 45TH ANNIVERSARY EDITION will be available on October 30 for a suggested retail price of $79.98.

Remastered stereo and mono versions of the album fill out the first two discs, along with various outtakes, and the mono mixes for the unissued singles: "Rock & Roll" and "Lonesome Cowboy Bill." The third disc explores the creative process behind many of the songs on the album with more than 20 demos, early versions and alternate mixes.

Also included is a remastered version of Live At Max's Kansas City, which was recorded at the storied New York nightclub on August 23, 1970, the day Lou Reed left the band. Along with the performances from the original 1972 album, the disc includes additional performances selected from the expanded version of the album that Rhino introduced in 2004.

Fans will be excited to hear the unreleased club performance featured on the fifth disc. It was recorded on May 9, 1970 at the Second Fret in Philadelphia by Bob Kachnycz, a fan who hitchhiked to the show and recorded it on reel-to-reel. The band was down to a trio that night: Lou Reed, Sterling Morrison and Doug Yule, who alternated between bass and drums to fill in for Moe Tucker, who was pregnant at the time. Loaded, which came out six months after the show, is well represented with seven songs, including: "Cool It Down," "Oh! Sweet Nuthin'" and "Sweet Jane."

The final disc is an audio only DVD that features three different mixes of Loaded:
- Surround Sound Remix in DTS and Dolby Digital
- 96/24 High resolution Stereo Downmix
- 96/24 High resolution Original Stereo Mix

For the Surround Sound and Stereo Downmix, the original track listing has been re-sequenced slightly to include the segue that was originally planned for "I Found A Reason/Head Held High."

LOADED: RE-LOADED 45TH ANNIVERSARY EDITION

Disc One: Loaded Remastered
1. "Who Loves The Sun"
2. "Sweet Jane" - Full Length Version
3. "Rock & Roll" - Full Length Version
4. "Cool It Down"
5. "New Age"
6. "Head Held High"
7. "Lonesome Cowboy Bill"
8. "I Found A Reason"
9. "Train Round The Bend"
10. "Oh! Sweet Nuthin'"
Session Outtakes:
11. "I'm Sticking With You" - New Remix
12. "Ocean"
13. "I Love You"
14. "Ride Into The Sun"

Disc Two: Loaded Remastered
Promotional Mono Version
1. "Who Loves The Sun"
2. "Sweet Jane" - Full Length Version
3. "Rock & Roll" - Full Length Version
4. "Cool It Down"
5. "New Age"
6. "Head Held High"
7. "Lonesome Cowboy Bill"
8. "I Found A Reason"
9. "Train Round The Bend"
10. "Oh! Sweet Nuthin'"
Singles and B-Sides
11. "Who Loves The Sun"
12. "Oh! Sweet Nuthin'"
13. "Rock & Roll" *
14. "Lonesome Cowboy Bill" *

Disc Three: Demos, Early Versions and Alternate Mixes
Demos
1. "Rock & Roll" - Demo
2. "Sad Song" - Demo
3. "Satellite Of Love" - Demo
4. "Walk And Talk" - Demo
5. "Oh Gin" - Demo
6. "Ocean" - Demo
7. "I Love You" - Demo
8. "Love Makes You Feel Ten Feet Tall" - Demo Remix
9. "I Found A Reason" - Demo
Early Versions
10. "Cool It Down" - Early Version, Remix
11. "Sweet Jane" - Early Version, Remix
12. "Lonesome Cowboy Bill" - Early Version, Remix
13. "Head Held High" - Early Version, Remix
14. "Oh! Sweet Nuthin'" - Early Version, Remix
Alternate Mixes
15. "Who Loves The Sun" - Alternate Mix
16. "Sweet Jane" - Alternate Mix
17. "Cool It Down" - Alternate Mix
18. "Lonesome Cowboy Bill" - Alternate Mix
19. "Train Round The Bend" - Alternate Mix
20. "Head Held High" - Alternate Mix
21. "Rock & Roll" - Alternate Mix

Disc Four: Live At Max's Kansas City Remastered
1. "I'm Waiting For The Man"
2. "White Light/White Heat"
3. "I'm Set Free"
4. "Sweet Jane"
5. "Lonesome Cowboy Bill"
6. "New Age"
7. "Beginning To See The Light"
8. "I'll Be Your Mirror"
9. "Pale Blue Eyes"
10. "Candy Says"
11. "Sunday Morning"
12. "After Hours"
13. "Femme Fatale"
14. "Some Kinda Love"
15. "Lonesome Cowboy Bill" - Version 2

Disc Five: Live At Second Fret, Philadelphia, 1970*
1. "I'm Waiting For The Man"
2. "What Goes On"
3. "Cool It Down"
4. "Sweet Jane"
5. "Rock & Roll"
6. "Some Kinda Love"
7. "New Age"
8. "Candy Says"
9. "Head Held High"
10. "Train Round The Bend"
11. "Oh! Sweet Nuthin'"

Disc Six: Audio DVD
96/24 Hi-Resolution Surround Sound Remix
96/24 Hi-Resolution Stereo Downmix
96/24 Hi-Resolution Original Stereo Mix

*previously unreleased

The album famously reviewed in (I believe) Musician magazine as "GTR: SHT" is getting the deluxe reissue treatment...

‘GTR: 2CD DELUXE EXPANDED EDITION’
RELEASE DATE : FRIDAY, SEPTEMBER 18TH 2015

• NEW DELUXE AND EXPANDED 2 CD DIGIPACK EDITION OF THE 1986 ALBUM BY STEVE HACKETT & STEVE HOWE’S BAND GTR
• WITH BONUS 14-TRACK CD OF GTR LIVE IN LOS ANGELES IN JULY 1986 & THREE BONUS TRACKS TAKEN FROM RARE SINGLES & EPs
• NEWLY REMASTERED
• FULLY RESTORED ARTWORK AND ESSAY WITH NEW LINER NOTES

Esoteric Recordings are proud to announce the official release of a 2 disc deluxe edition of GTR, the self-titled 1986 album by Steve Hackett and Steve Howe’s band GTR.

GTR was formed in 1985 following guitarist Steve Howe’s departure from ASIA. Teaming up with the equally legendary guitarist Steve Hackett, GTR was assembled with the addition of vocalist Max Bacon, bassist Phil Spalding and drummer Jonathan Mover.

The band’s sole album was produced by Geoff Downes and was issued in July 1986 and was a US Top 20 hit album and also was a UK Top 50 hit. Two singles drawn from the record (‘When the Heart Rules the Mind’ & ‘The Hunter’) were also hits in the USA. Although a short lived group, GTR also toured to promote the album (with the addition of Matt Clifford on keyboards) performing material from the album, as well as songs such as ‘Roundabout’ and ‘I Know What I Like (in Your Wardrobe)’, made famous by YES and GENESIS respectively. Although GTR ceased to exist as a band in 1987, the group’s sole album is an important moment in rock music of the 1980s.

This Esoteric Recordings edition has been newly re-mastered and is presented here with the addition of a bonus 14-track CD of GTR live in Los Angeles in July 1986. There are also three bonus tracks taken from promotional 12-inch singles of ‘When the Heart Rules the Mind’ & ‘The Hunter’, two of which appear on CD for the first time.

This expanded deluxe edition of "GTR” also includes a booklet that fully restores the original album artwork and features a new essay.

DISC ONE: GTR REMASTERED
1. WHEN THE HEART RULES THE MIND
2. THE HUNTER
3. HERE I WAIT
4. SKETCHES IN THE SUN
5. JEKYLL AND HYDE
6. YOU CAN STILL GET THROUGH
7. REACH OUT (NEVER SAY NO)
8. TOE THE LINE
9. HACKETT TO BITS
10. IMAGINING

BONUS TRACKS
11. THE HUNTER (SPECIAL GTR MIX)
12. WHEN THE HEART RULES THE MIND (SINGLE VERSION)
13. THE HUNTER (SINGLE VERSION)

DISC TWO: GTR LIVE IN LOS ANGELES IN JULY 1986

1. JEKYLL AND HYDE
2. HERE I WAIT
3. PRIZEFIGHTERS
4. IMAGINING
5. HACKETT TO BITS
6. SPECTRAL MORNINGS
7. I KNOW WHAT I LIKE (IN YOUR WARDROBE)
8. SKETCHES IN THE SUN
9. PENNANTS
10. ROUNDABOUT
11. THE HUNTER
12. YOU CAN STILL GET THROUGH
13. REACH OUT (NEVER SAY NO)
14. WHEN THE HEART RULES THE MIND

Craw
1993–1997
Northern Spy Records
11 December 2015

Northern Spy reissues the first three records by Cleveland, Ohio, post-hardcore band Craw in a limited-edition vinyl box set, 1993–1997. All out of print for two decades or more, these full-lengths—1993’s self-titled debut, 1994’s Lost Nation Road and 1997’s Map, Monitor, Surge—complete a story that concluded on Bodies for Strontium 90, released in 2002 by Hydra Head Records. The new box set lovingly reintroduces these records in a deluxe package including three remastered double LPs and an exhaustive 200-page page book. The book, designed by the team behind one-of-a-kind visually driven label Aqualamb—who have also overseen visuals for the entire release—includes a wealth of unpublished photos and ephemera, an exhaustive oral history of Craw drawn from newly conducted interviews, and a detailed timeline of band activities, shows and releases, stretching from Craw’s 1988 formation to their 2002 break-up.

Thanks to the passion of writer and musician Hank Shteamer, who served as project organizer for the set and funded it through Kickstarter, Craw’s music finally receives the reissue it deserves. We hope that 1993–1997 will spur a reexamination of the band’s place in the lineage of aggressive, challenging, radically unorthodox underground rock and metal.

To celebrate the release of this epic set, Craw are reuniting for two special shows, taking place Friday, December 18, at the Grog Shop in their hometown of Cleveland, Ohio, and Saturday, December 19, at Saint Vitus in Brooklyn, New York. All band members that played on the albums included in 1993–1997 will be on hand at each show, participating in career-spanning performances drawn from these releases as well as Bodies for Strontium 90.

"Craw’s music is explosive, eerie and downright riveting, combining the visceral rush of metallic post-hardcore, the compositional majesty of progressive rock and the purposeful abstraction of experimental improv, while at the same time achieving a rare, insular coherence all its own.” — Hank Shteamer, writer, musician and project organizer

"Craw was one of those things where the first time I saw it, it just completely blew me away. I'd never heard anything quite like Craw up to that point. They were this strange mixture of noise-rock and metal with this very eccentric preacher-type character doing these weird pseudo sermons over the top of the music. It was just a very potent concoction of elements. Having a seen a band like that expanded the horizons of what was possible, so in that way, Craw definitely rubbed off on Isis." — Aaron Turner, Isis and Hydra Head Records

"What Craw will use as a moment in one song, another band might use as a theme for a whole album. Craw's sound is spread out across a universe of disparate musical genres. They never imitate. Other bands imitate them.” — Steve Albini

Label: Northern Spy Records
Street Date: December 11th, 2015
Formats: 6 LP box set, Digital
Packaging: Wrapped box with Wide Spine Jackets, 200 Page Book

On the band Craw

Craw were an underground band from Cleveland, OH, active from 1988 through 2002. Their sound touched on metal, post-hardcore and progressive rock while remaining wholly distinct from any movement. Anyone interested in dark, heavy, complex rock/metal—everything from Tool, Meshuggah and King Crimson to Neurosis, Don Caballero, Isis, Rodan, Kayo Dot and Gorguts—needs to know their work. Craw's final album, Bodies for Strontium 90, came out on the visible, well-respected label Hydra Head in 2002, yet their early discography, including the stunning full-lengths Craw (1993), Lost Nation Road (1994) and Map, Monitor, Surge (1997), is little known even among connoisseurs. A new Kickstarter-funded box set, 1993–1997, aims to remedy that.

Each of these albums, all beautifully recorded or co-recorded by Steve Albini, is an endlessly involving labyrinth in which elegiac beauty presses up against nightmarish ugliness. The records feature air-tight, ingeniously off-kilter riffs; vocals that range from a faint whine to a horrifying shriek; epic, multichapter song structures; intoxicating guitar textures; an immense dynamic range; and esoteric lyrical themes. The songs don't follow conventional patterns, but their internal logic is uncannily sound; they're scientific in their microdetail, yet at the same time, bracingly emotional.

These records aren't special merely because they're obscure; they're not second best to everything you've already heard from their era. We truly believe that these three LPs stand alongside acknowledged ’90s masterworks such as Slint's Spiderland, the Jesus Lizard's Goat and Shellac's At Action Park

Craw
1993–1997: Self-titled (1993)
Northern Spy Records

Recorded by Steve Albini in June, 1993, Craw was the band's debut album, originally issued by the Chicago label Choke, Inc. in October of that year. Craw is arguably the group's most intense and direct statement of purpose, a record that juxtaposes punishing heaviness and demented complexity with a remarkable attention to pacing and dynamics. Vocalist Joe McTighe uses the full range of his voice, from an eerie whine to a harrowing shriek, and some of the most strikingly unusual lyrics ever heard on a heavy rock album, to portray a variety of unsettling scenarios: a woman survives a plane crash only to be plagued by a stalker ("405"), a terrorist calling himself the Lord's Avenger attempts to assassinate an environmental activist ("Stomp," based on a true story). Clocking in at 69 minutes, Craw is a thrilling, unsettling epic.

Self-Titled
Chris Apanius - bass
Rockie Brockway - guitar
Neil Chastain - drums
David McClelland - guitar
Joe McTighe - voice
Craw
1993–1997: Lost Nation Road (1994)
Northern Spy Records

Also recorded by Steve Albini, one year after the session that yielded Craw, Lost Nation Road came out on Choke, Inc., in November of 1994. Craw's second full-length finds the band distancing itself somewhat from the metal and post-hardcore elements that featured prominently on its first LP. The sound here is murkier, more shaded and arguably richer and even more menacing than what came before. Driven by conservatory-trained drummer Neil Chastain and virtuosic new bassist Zak Dieringer, the band pushed their esoteric compositional sense into deeply outlandish realms, incorporating saxophones, samples, strange vocal effects and a heightened sense of dynamics.

"It's like this constantly surging, undulating thing that sucks you in," says Isis frontman and Hydra Head cofounder Aaron Turner of Lost Nation Road. "All the little guitar lines and intricate drum fills feel like these little tendrils that interlock with each other and overlap and wrap around inside your skull.”

Lost Nation Road
Rockie Brockway - guitar
Neil Chastain - drums
Zak Dieringer - bass
David McClelland - guitar
Joe McTighe - voice

The following appear on "Cholera, Botulism + Tarik" and "All This Has Made Me":
Marcus DeGrazia - alto saxophone
Matt Dufresne - baritone saxophone
Craw
1993–1997: Map, Monitor, Surge (1997)
Northern Spy Records

Map, Monitor, Surge was co-recorded by Steve Albini and esteemed Cleveland metal producer Bill Korecky at Korecky's Mars Recording studio in December of 1996. Craw's third album came out on Cambodia Recordings, a label owned by Craw guitarist and cofounder Rockie Brockway, in the spring of 1997. Map, Monitor, Surge is a strikingly different record than the two that preceded it. This record features new drummer Will Scharf—later known for his work in the crushing math-metal outfit Keelhaul—who brought a looser, more unhinged feel to Craw's music. The contrast between Scharf's intuitive, jazz-informed style and the guitarists' continued interest in wildly elaborate song structures yields some of Craw's most wired and visceral work, including a three-part suite of through-composed prog-punk miniatures and the 12-minute concluding journey "Days in the Gutter / Nights in the Gutter." Map, Monitor, Surge would be Craw's final album with cofounding guitarist David McClelland, whose texture- and noise-driven approach was an integral element of the band's early work.

Map, Monitor, Surge
Rockie Brockway - guitar
Zak Dieringer - bass
David McClelland - guitar
Joe McTighe - voice
Will Scharf - drums

https://www.youtube.com/watch?v=rYcZq5s1Sk4&feature=youtu.be

HERE WE GO:

Smog Veil Records announces a new series of archival and newly recorded material to be released individually and as bundled specials, called Platters du Cuyahoga, Series 1. The series will highlight and celebrate Cleveland's long running and rich history of challenging, culturally significant, and often bombastic music.

The initial three releases are: (1) X__X: Albert Ayler's Ghosts Live at the Yellow Ghetto (November 20, 2015 release date); (2) Robert Bensick Band: French Pictures In London (1975); (3) Mr. Stress Blues Band: Live At the Brick Cottage 1972 - 1973. All the releases will be formatted on vinyl as well as CD and download/streaming. A hallmark of the series will be that each release contains extensive liner notes, all carefully researched. Byron Coley (Forced Exposure, NY Rocker, Boston Rock, Spin, Arthur magazine column with Thurston Moore) penned the liner notes for X__X, and Nick Blakey (The Boston Phoenix, EQ, Chunklet, Your Flesh) wrote the liners for the Robert Bensick and Mr. Stress releases.

The X___X LP is on blue vinyl and contains lock grooves on both sides of the record. The Robert Bensick Band LP will also be pressed on colored vinyl. The Mr. Stress Blues Band LP contains a free download with extra tracks. X___X will ship to you on or before November 20, 2015. Mr. Stress Blues Band test pressings have been approved and art design is in the final stages. The Robert Bensick Band masters are done, art is nearly done, and will ship to you this winter.

The X__X release will feature new recordings from one of Cleveland's most notable late 1970s post punk outfits. The band plans live dates to coincide with this release, expect fireworks and power tools. The Robert Bensick Band album is an unreleased studio record recorded at Agency Recording Studio in 1975. Tapes were saved this year by Alan Howarth and Paul Hamann. The band and this release represent an important era of the downtown artist colony/apartment/hang out known as The Plaza and besides Robert Bensick features an all-star cast including Scott Krauss and Tom Herman (Pere Ubu), Albert Dennis, Michael Hronek, and Cynthia Black. Paul also engineered the Mr. Stress Blues Band never before released live set, culled from their rowdy sets at The Brick Cottage (aka, the Sick Brick).

Pre-sale is live for the 3 LPs and CDs that represent the first entry in the Platters du Cuyahoga series as well as the X___X LP and CD. The pre-sale ends on Thursday, November 5, 2015.

Thanks to all our fans for helping us clear our warehouse shelves and for finding new homes for many CDs that we had very few left. The vast majority of those are now gone, but there are still a few titles available, that is, until NOON, FRIDAY SEPTEMBER 4. After that, you still may be able to find some of these titles at places like Interpunk, but not for the insanely low sales price we offer. So, very last and final call for a number of CDs in stock with very low inventory.
If you notice releases missing at this page on the Smog Veil site, that means that title is all gone, forever, kaput. So, act now or forever be reduced to listening to these releases by download or stream.

Also, this month, hearpen.com has a new release. Here's what we know of it: this is Pere Ubu synthesizer Allen Ravenstine's first solo album, titled "the pharaoh's bee", recorded in 2015. He played the Moog Theremin and a Doepfer Dark Energy. William Blakeney helped produce and master the recordings. An extensive set of liner notes is included as a PDF file. Check it out here:

http://hearpen.com/hr182.html

I wrote about that Craw box back in May. There's an exclusive live track at that link.

Thanks, will check it out. Glad you got the news so early.

DFL

RELEASE 20th ANNIVERSARY EDITION OF 'PROUD TO BE'

AVAILABLE FOR THE FIRST TIME ON 12-INCH LP

OUT SEPTEMBER 11, 2015

Proud to Be, the Epitaph debut of Dead Fucking Last (referred at as DFL hereafter) will be released on 12-inch LP for the first time on September 11, 2015 to celebrate the album's 20th anniversary. Additionally, two bonus tracks "Decision" and "Follow the Leader" will be released digitally which were previously only available in a 1995 issue of Strength Magazine on flexi disc. There will also be a cassette version released by Burger Records. The band's guitarist and vocalist Monty M. states:

"Since we've gotten back together the response has been fucking out of control! We play old fashioned hardcore and we're stoked Epitaph is bringing our lo-fi sound to a new generation."

DFL's Proud to Be is a bombshell of hardcore energy; a missive from the days of when 20 tracks of adolescent guitar/vocal angst clocked in at 30 minutes. The album was produced by Adam Horowitz of the Beastie Boys, who also wrote the band's original. Read an excerpt here:

"In January 1995, I took a chance and called the group for an audition. I was overwhelmed by their showmanship…and their fresh, outgoing appeal…

The vital characteristics of Dead Fucking Last are their humour and the way each member of the group is able to relate in a spontaneous, witty way to the others.

Offstage, the boys are delightful companions. Onstage, this comes across. There is no jealousy, no individual vanity, and I can’t think of any other group in the U.S. which exceeds them in stage presence.
This is why I’m happy and proud to produce this album. We live in an age of groups, and by the time this album is tattered and worn out with playing, many of DFL’s contemporaries will have dissolved and vanished."

Adam Horovitz

P.S. We happened to get a sneak look at a copy of these notes. We think Adrock’s a gas, too.
Honest Tom and Monty

Proud to Be Track Listing:

1. Proud To Be DFL
2. Word Of Mouth
3. Lost Cause
4. Return Of The Knucklehead
5. Mr. Popular
6. Function At The Center
7. Home Is Where The Heart Is
8. Hit The Floor
9. Club Stupid
10. Minus Adam
11. Better Off Dead
12. S.B.C.G.
13. Free Haircut
14. Society's Pressure
15. Self Pity
16. Action Everybody
17. Sourpuss
18. Insane Authority
19. Good Cop, Bad Cop
20. What's The Difference

** Bonus tracks "Decision" and "Follow the Leader" available digitally.

For more information on DFL, visit:

https://www.facebook.com/proudtobedfl
https://twitter.com/proudtobedfl

Mentioned this Lizzy M Desloux reissue on the Ze thread (and Dow added his nice review from years back)

Press Color (1979)

Press Color has been reissued on Light in Attic

some coverage:

http://thequietus.com/articles/18663-lizzy-mercier-descloux-reissues-interview

http://www.villagevoice.com/music/a-new-reissue-illuminates-the-hidden-history-of-no-wave-pioneer-lizzy-mercier-descloux-7473354

Superior Viaduct continues to hit it out of the park, after a bunch of L Voag related releases, they've got two Ilitch LPs. I've been waiting to get 10 Suicides for well over 10 years.

yeah it is almost an embarrassment of riches at this point - not a complaint!

I just saw that they reissued Electricity by Peter Jefferies.

yeah, and they were involved with a US tour for him...until the dept of homeland security got involved.

Penetration and The Ruts each have 4cd "Virgin Years" box sets coming out on 10/9.

I'm having a hard time believing that Penetration has that much good material, but my ears will be open. I do like "Don't Dictate," especially the version from Race Against Time.

I also mentioned this on the jazz thread; coming November 6, John Coltrane, A Love Supreme: The Complete Masters. A 3CD set; here's the track listing:

Disc 1
1. The Original Stereo Album, Impulse! AS-77 Part I Acknowledgement
2. The Original Stereo Album, Impulse! AS-77 Part II Resolution
3. The Original Stereo Album, Impulse! AS-77 Part III Pursuance
4. The Original Stereo Album, Impulse! AS-77 Part IV Psalm
5. Trane's Original Mono Reference Masters Part I Acknowledgement
6. Trane's Original Mono Reference Masters Part II Resolution
7. Trane's Original Mono Reference Masters Part III Pursuance
8. Trane's Original Mono Reference Masters Part IV Psalm

Disc 2
1. Day 1: December 9, 1964 Part I Acknowledgement undubbed version
2. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 2
3. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 3
4. Day 1: December 9, 1964 Part II Resolution take 1 / breakdown
5. Day 1: December 9, 1964 Part II Resolution take 2 / breakdown
6. Day 1: December 9, 1964 Part II Resolution take 3 / breakdown
7. Day 1: December 9, 1964 Part II Resolution take 4 / alternate
8. Day 1: December 9, 1964 Part II Resolution take 5 / breakdown
9. Day 1: December 9, 1964 Part II Resolution take 6 / breakdown
10. Day 1: December 9, 1964 Part IV Psalm undubbed version
11. Day 2: December 10, 1964 Part I - Acknowledgement take 1 / alternate
12. Day 2: December 10, 1964 Part I - Acknowledgement take 2 / alternate
13. Day 2: December 10, 1964 Part I - Acknowledgement take 3 / breakdown with studio dialogue
14. Day 2: December 10, 1964 Part I - Acknowledgement take 4 / alternate
15. Day 2: December 10, 1964 Part I - Acknowledgement take 5 / false start
16. Day 2: December 10, 1964 Part I - Acknowledgement take 6 / alternate

Disc 3
1. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Introduction by M.C. Andre Francis
2. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part I - Acknowledgement (Live)
3. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part II - Resolution (Live)
4. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part III - Pursuance (Live)
5. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part IV - Psalm (Live)

Some of those alternate studio takes are performed by a six-piece band that includes Archie Shepp on second sax and Art Davis on second bass. This'll be my third copy of that live performance (Coltrane only performed ALS live the one time, but it was broadcast on radio), but I'm buying this thing anyway.

NEW YORK, NY, September 22, 2015- A Tribe Called Quest and Sony Legacy have announced a special 25th anniversary edition collection of the group's classic debut album Peoples' Instinctive Travels And The Paths of Rhythm will be released on November 13th. In celebration of the 25th anniversary, the album will be remastered from the original tapes by Grammy-Award winning engineer Bob Power, and re-released with exclusive new remixes by a few of today's biggest hip-hop artists who have credited A Tribe Called Quest as a major creative influence. Remixes will be announced in the coming weeks.This album will mark the debut release in a series of re-releases by A Tribe Called Quest over the course of the next few years.

#ATCQ25 teaser video and news story: http://pitchfork.com/news/61302-a-tribe-called-quest-announce-peoples-instinctive-travels-and-the-paths-of-rhythm-reissue/

"I had this album in my head for years before I did it. Looking at it overall, to see the thoughts of a 16 year old gain any kind of acknowledgement makes me feel like I have arrived... But to see it in this incarnation ... I'm humbled" - Q-Tip

"This album means a lot. It was the beginning of our careers; the beginning of our imprint; the beginning of seeing life the way we saw it, and being able to put it down in words and music." - Ali Shaheed Muhammad

People's Instinctive Travels And The Paths Of Rhythm made its debut in 1990 and came at a crucial time for hip-hop. The Queens-raised childhood friends-- Q-Tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi White-took the traditional hip-hop formula and threw it out the window. Like their contemporaries in De La Soul and the Jungle Brothers, all of whom would become known as the Native Tongues collective, their lyrical and musical influences were unlike any hip-hop group on the scene. While many built breaks around vintage soul and funk samples, ATCQ utilized samples of jazz and '70s rock. Their verses were conversational instead of confrontational, addressing socially conscious topics with laid-back candor and slightly off-kilter humor.

Critics and hip-hop audiences understood the sea of change ATCQ represented. The Source gave the album a perfect score of five mics (a first for the publication), while The Village Voice praised it as "upliftingly dope."

A TRIBE CALLED QUEST
Queens, New York natives Q-Tip , Phife Dawg , and Ali Shaheed Muhammad of Brooklyn, formed A Tribe Called Quest in 1985. The group is one of hip-hop's most legendary, beloved and revered groups of all time. Easily recognized for their unique approach to rap music by employing jazz infused soundscapes to Afro centric rhymes, ATCQ was largely responsible for the popularity of a new genre that dominated the East Coast sound of the early 1990s. Sonically, ATCQ was a decisive and welcomed tangent of jazz, bass-heavy rhythmic vibes and eclectic sampling when compared to the mundane recycling of soul loops, breaks and vocals of their contemporaries. Lyrically, emcees Q-Tip and Phife Dawg addressed social issues relevant to young blacks such as use of the n word and its relevance, date rape and other interpersonal relationships, industry politics and consumerism with infectious energy and fun and having a good time while still promoting positivity. ATCQ composed a number of successful singles and albums with their creative approach to rap music. In 1990, the group released Peoples Instinctive Travels and the Paths of Rhythm. Their sophomore effort, The Low End Theory, considered one of the greatest albums in hip-hop history that would solidify them as legends. In recent years, the anticipation for another ATCQ album has been building. The Abstract Poetic, Five Foot Assasin, and Mr. Muhammad have yet to grace the studio for another record, but have hit the road again. Today, the power of their music is still evident in their dynamic stage shows and in the reception of their adoring fans.

http://cdn.numerogroup.com/images/product_images/web/ork-records-new-york-new-york-2.jpg
NUM060 Ork Records: New York, New York 2CD+Book/4LP+Book

In August of 1975, the world's first punk record label was born. Ork Records: New York, New York is a tale of Terry Ork, a film-obsessed fugitive of Warhol's Factory set. Ork's impresario ear would pull damaged, literate new rock music from the pregnant Bowery grime of CBGB, resulting in debut 45s by Television and Richard Hell, as well as landmark recordings by the Feelies and Lester Bangs. It's a tale of Charles Ball, who'd steer Ork Records through solo exploits by Big Star's Alex Chilton and the dBs' Chris Stamey. And it's a tale told across 2 CD or 4 LPs s in scorching sides by Richard Lloyd, Marbles, Prix, Mick Farren, Cheetah Chrome, the Idols, the Erasers, the Revelons, Student Teachers, and more. Our deluxe 190-page hardback book features evocative, unseen imagery, a portal opened by on-the-scene photojournalists as crucial to documenting punk's conception in the squalid Lower East Side as the walls of CBGB itself. Ork Records: New York, New York is a v isionary glimpse of punk and new wave as invented, nurtured, feted, and forgotten by the street-level artisans who attended the genres' arrival.

Mail order junkies, we made something special just for you: A bonus 45 features two previously unreleased tracks by the Feelies! "The Boy With The Perpetual Nervousness" is an unreleased studio cut from 1978, while the flip is a cover of the Bacharach and David classic "My Little Red Book," recorded live at CBGB December 14, 1976.

Did you buy the 45 version? Guess what? This version includes 12 tracks not found in our limited Record Store Day box.

Buy Ork record right now and have it well before the release date. (Doesn't give date, other than "Orktober.")
Watch before you buy:
https://www.youtube.com/watch?v=422IF2TL9Yc

More from Numero:

http://cdn.numerogroup.com/images/product_images/web/edge-of-daybreak-eyes-of-love-1.jpg

NUM061 Edge of Daybreak: Eyes of Love CD/LP

Incarcerated funk has no right to feel this free. Musical convicts and actual convicts from across the Commonwealth, The Edge Of Daybreak's membership wrote and recorded Eyes Of Love while serving out sentences of six to sixty years. Set to tape inside Powhatan Correctional Center on the outskirts of Richmond, Virginia, these intimate 1979 sessions unlock the prison gates and peer into a collective consciousness concocted by a core of four confined artists. Assembled from distant love ballads and fanciful odes to freedom, Eyes Of Love is a prison letter composed by committee, recorded hastily, and circulated regionally amongst adventurous clientele willing to take a chance on these felonious talents.

ES-050 Otis Brown & the Delights "Southside Chicago"

An anthemic call to arms for all denizens of the second city residing south of the Loop, Otis Brown & the Delights' "Southside Chicago" swung and missed in the summer of '66. Forty years later, Sitting In The Park, Bob Abrahamian's crucial Chicago Soul program, would adopt this mid-tempo slice of crossover northern soul as its theme music. The flip, "I've Got Another," is a perfect night ender, the time to pull your lover close and dance until the lights come up. Many years in the making, this limited replica 45 is a tribute to both Numero's hometown and the late Bob Abrahamian.

ES-051 Mind & Matter "I'm Under Your Spell" 45

In March of 1977, Minneapolis nonet Mind & Matter booked time at Creation Audio on Old Shakopee Road in suburban Bloomington to record "I'm Under Your Spell" and "Sunshine Lady." Written by a teenaged Jimmy "Jam" Harris, these danceable numbers document the prolific songwriter taking baby steps as a budding super producer. Limited repress comes housed in a custom Numero sleeve.

finally we have (the beginning of the) Coil reissues, along with tons of bonus tracks, demos, comp tracks, etc. added on:

http://www.forcedexposure.com/Labels/THRESHOLD.ARCHIVES.UK.html

Opeth's Damnation and Deliverance are being reissued as a four-disc set (each album is remixed and remastered and you get a CD and 5.1 audio DVD version of each, in a little hardback book with new liner notes and archival photos). I've sampled a track from each album, and the difference is amazing. The drums on Deliverance (the loud one) are bigger; the guitars are clearer; Mikael's vocals are more forceful; everything has its own space in the mix. Damnation (the quiet one) sounds even more proggy and '70s than before (no surprise, since that one was remixed by Steven Wilson). When I first heard that these albums were going to be paired and sold this way, I thought it was a pure cash grab. Now that I've heard the results...well, it looks like they're gonna get my money again.

Always wondered about this---anybody heard it? I remember liking some of Writer and some other late 60s/ maybe early 70s, def pre-Tapestry stuff.

http://cdn.americansongwriter.com/wp-content/uploads/2015/10/tmp_2F1435336299700-6wkc8li3wqiio1or-307e30c7b66538175558701987ff3e62_2FLITA136_COVER.jpg

http://www.americansongwriter.com/2015/10/the-city-now-that-everythings-been-said-reissue/

not amazing but interesting to hear the songwriter's own take on songs I love like snow queen, wasn't born to follow

xpost Ork box in NYTimes: backstory, new interviews, even some description of music, if not nearly enough, and the author's passing mention of Bangs' music as "boozy lounge" is brainstem dim. Good pix & ace quotes, anyway:
http://www.nytimes.com/2015/10/25/arts/music/terry-orks-punk-rock-time-capsule-celebrates-a-nihilistic-niche.html?&moduleDetail=section-news-2&action=click&contentCollection=Music®ion=Footer&module=MoreInSection&version=WhatsNext&contentID=WhatsNext&pgtype=article

Smog Veil sale update:

HERE WE GO:

The sale continues until NOVEMBER 9, 2015 on our new series of archival and newly recorded material to be released individually and as bundled specials, called Platters du Cuyahoga, Series 1. The series will highlight and celebrate Cleveland's long running and rich history of challenging, culturally significant, and often bombastic music.

Plus, we are pleased to announce that if you pre-order the series or the X___X release, we will be sending you an extra special super secret bonus. Here's the deal: you have to pre-order by the end of the day on November 9. Anyone who has pre-ordered up until now will receive the bonus as will anyone who pre-orders by the deadline. The super secret extra special bonus will ship with the Mr. Stress Blues Band release. The bonus will never be for sale on the Smog Veil site or in stores. The only way to get it is to pre-order!

The initial three releases are: (1) X__X: Albert Ayler's Ghosts Live at the Yellow Ghetto (November 20, 2015 release date); (2) Robert Bensick Band: French Pictures In London (1975); (3) Mr. Stress Blues Band: Live At the Brick Cottage 1972 - 1973. All the releases will be formatted on vinyl as well as CD and download/streaming. A hallmark of the series will be that each release contains extensive liner notes, all carefully researched. Byron Coley (Forced Exposure, NY Rocker, Boston Rock, Spin, Arthur magazine column with Thurston Moore) penned the liner notes for X__X, and Nick Blakey (The Boston Phoenix, EQ, Chunklet, Your Flesh) wrote the liners for the Robert Bensick and Mr. Stress releases.

The X___X LP is on blue vinyl and contains lock grooves on both sides of the record. The Robert Bensick Band LP will also be pressed on colored vinyl. The Mr. Stress Blues Band LP contains a free download with extra tracks. X___X will ship to you on or before November 20, 2015. Mr. Stress Blues Band test pressings have been approved and art design is in the final stages. The Robert Bensick Band masters are done, art is nearly done, and will ship to you this winter.

The X__X release will feature new recordings from one of Cleveland's most notable late 1970s post punk outfits. The band plans live dates to coincide with this release, expect fireworks and power tools. The Robert Bensick Band album is an unreleased studio record recorded at Agency Recording Studio in 1975. Tapes were saved this year by Alan Howarth and Paul Hamann. The band and this release represent an important era of the downtown artist colony/apartment/hang out known as The Plaza and besides Robert Bensick features an all-star cast including Scott Krauss and Tom Herman (Pere Ubu), Albert Dennis, Michael Hronek, and Cynthia Black. Paul also engineered the Mr. Stress Blues Band never before released live set, culled from their rowdy sets at The Brick Cottage (aka, the Sick Brick).

Pre-sale is live for the 3 LPs and CDs that represent the first entry in the Platters du Cuyahoga series as well as the X___X LP and CD. The pre-sale ends on Monday, November 9, 2015.

THE PRE-SALE ENDS NOVEMBER 9, 2015! SONG SAMPLES AND ORDERING INFORMATION ARE HERE, FOR THE LP SERIES:

http://www.smogveil.com/collections/frontpage/products/platters-du-cuyahoga-series-1-lp-subscription

X___X has announced tour dates for this winter. Rocket From The Tombs has announced a series of live dates. Details below.

Also, hearpen.com has a new release. Here's what we know of it: this is Pere Ubu synthesizer Allen Ravenstine's first solo album, titled "the pharaoh's bee", recorded in 2015. He played the Moog Theremin and a Doepfer Dark Energy. William Blakeney helped produce and master the recordings. An extensive set of liner notes is included as a PDF file. Check it out here:http://hearpen.com/hr182.html

GIGS!

Be sure to get out and see a gig where you live.

X___X

Fri. Jan. 8- Louisville KY. - with Tropical Trash - Zanzabar 2100 S. Preston St. Louisville, KY 40217

Sat. Jan. 9-Knoxville TN. - Pilot Light 106 E Jackson Ave, Knoxville, TN 37915

Sun. Jan. 10-Winston Salem, NC - The Garage 110 W. 7th St. Winston-Salem, NC 27101

Mon. Jan. 11-Raleigh NC. - The Cave 452 W. Franklin Chapel Hill, NC 27516

Tues. Jan. 12-Athens GA. - Caledonia 256 W. Clayton St. Athens, GA 30601

Wed. Jan. 13- Atlanta GA. - The Earl 488 Flat Shoals Ave. SE Atlanta, GA 30316

Thur. Jan. 14 Jacksonville Fl. - Rain Dogs 1045 Park St. Jacksonville, FL 32204

Fri. Jan. 15- Orlando Fl. - Will's Pub 1042 N. Mills Ave. Orlando, FL 32803 -

Sat. Jan. 16-Tallahassee Fl - TBA

Sun. Jan. 17- NOLA - Siberia 2227 St. Claude Ave., NOLA 70117

Tues. Jan. 19-Houston TX with Snooty Garbagemen/Blaxxx - TBA

Wed. Jan. 20- Denton TX - Rubber Gloves 411 E Sycamore St, Denton, TX 76205

Thur. Jan. 21- Austin TX. - @Barracuda (Red7) 611 E. 7th St. Austin, TX 78701

Fri. Jan. 22- Memphis TN - Murphy's 1589 Madison Ave., Memphis, TN 38104

Sat. Jan. 23- Cincinnati, OH. - MOTR 1345 Main St. Cincinnati, OH 45202

Rocket From The Tombs
Tue, Dec 1

Chicago, The Empty Bottle

Wed, Dec 2

Pontiac MI, Crofoot Ballroom, Pike Room

Thu, Dec 3

Cleveland, Beachland Ballroom

Fri, Dec 4

Philadelphia, Johnny Brenda's

Sat, Dec 5

Jersey City NJ, Monty Hall

Sun, Dec 6

Brooklyn, Baby's All Right

Mon, Dec 7

Washington DC, Rock And Roll Hotel

Tue, Dec 8

Boston, Brighton Music Hall

Fri, Dec 11

Den Haag (NL), State-X New Forms Festival

Sat, Dec 12

London, The Brewhouse

Sun, Dec 13

Leeds, Brudenell Social Club

Tue, Dec 15

Wed, Dec 16

Diksmuide (B), 4AD

Paris, Festival Les Aventuriers

Updates for all the new stuff, reviews, mp3 samples and videos available daily at the Smog Veil Facebook fan page.

http://www.soundsoftheuniverse.com/mailouts/img/main/711/w/lowsjrcd323coxsonsmusicdigipackcopy.jpg

Coxsone's Music is a stunning new 3-CD/two separate double LP (+ free download) collection featuring over two and half hours of early Jamaican proto-ska, rhythm and blues, jazz, rastafari and gospel music - charting the earliest recordings produced by Clement Dodd, in the years before he launched the mighty Studio One Records, brought together here for the first time ever.

Clement Dodd's Sir Coxsone The Downbeat Soundsystem ruled Kingston's dancehalls during this era and these recordings strongly reflect the influences of American rhythm and blues and jump jazz on Jamaican music fans. By the time the new record company formed in Brentford Road, Kingston in 1963, the young Clement 'Sir Coxsone' Dodd had already managed to release an incredible wealth of recordings by the talented musicians and artists on the island of Jamaica and this collection reflects just that:

Featuring Don Drummond, Roland Alphonso, Derrick Harriott, Owen Gray, Clancy Eccles, Count Ossie, Monty Alexander, The Blues Busters, Ernest Ranglin, Rico Rodriguez and many, many more all captured here in their formative early years.

Before Studio One, Clement Dodd released this music on a variety of his early record labels such as Worldisc, All Stars, Coxsone, D Darling (named after Coxsone's mother, who received a production credit on the label), Muzik City (named after Dodd's record store on East Queen's Street), Port O Jam, Supreme and Sensational. Sleevenotes to this collection are by Studio One authority Rob Chapman, author of the Never Grow Old and Downbeat Special books cataloguing the many recordings of the label.

(Vinyl Double Record A is tracks 1-24, Vinyl Double Record B is tracks 25-46)(also: 3-CD set, mp3s available)

complete track list, audio samples here: http://www.souljazzrecords.co.uk/releases/?id=45164

https://www.bear-family.com/media/image/thumbnail/bcd17050_720x600.jpg

won't let me paste, but it's a Bear Family 40th Anniversary box: 3 CDS and a DVD (also a book, 308 pages). Not a label sampler, but all bears, all the time. Lots of promising titles, esp. "Teddy Bear's Luau" and "The Unbearable Longness of Boring." Hmmm, Swamp Dogg x Canned Heat---full track list etc.:
https://www.bear-family.com/various-40-years-bear-family-records-3-cd-1-dvd.html

The 21st century is defined in part by an overwhelming panorama of choices. Especially in the world of recorded music, of which the near-complete history is available in two or three clicks. Want to hear Carly Rae Jepson’s Emotion? Or Ray Charles’ complete Atlantic recordings? You can, and you should. But the question remains—how will you find out about Jimmy Carter & the Dallas County Green’s undeniable 1977 private country-rock masterpiece? And how will you experience it with something resembling the sense of excitement that accompanied those seven Columbia House selections for a penny, the ones you actually wanted? Isn't the predictability of unlimited choice part of what's turning us all into such jaded monsters?
And that is why in January 2016, the Numero Group is launching its own seasonal music club featuring twelve exceedingly rare or entirely unreleased LPs. Four albums of Eccentric Soul, four albums from Wayfaring Strangers, and four plucked from our Private Mind Garden. These records won’t be available in stores and they won’t be repressed. We’re not issuing them on CD and the only way you can buy them is by joining the club. And that club? It's limited to just a thousand members. You read that correctly: In a world of unlimited access, we’re exercising some small degree of restraint. Like some poor kid stuck in 1991, we want you waiting by your mailbox. We want you to love every record so much that you keep the custom box it came in.
Here’s how it works:
You subscribe to one, two, or all three series. Every quarter a record from each series goes out. We'll let you know by email when your record is on its way, along with a tracking number and a download code in case you just can't wait. It’s that simple. Don’t like one of them? Whine on twitter, wait a few months, and flip it on Discogs. Exercise your rights as a consumer, we won't judge.

We’ll be revealing all twelve titles in the coming weeks. For now, here are the first three:
Eccentric Soul
Our flagship series broken into digestible single artist LPs for the discerning collector. Twelve years into effectively remapping the American soul diaspora, we’ve created an alternate universe of motley and mishandled Motown acolytes. We now press our magnifying glass further into the dust, freeing four microbes that could have, should have, never did, but now might.
 94 East: The Cookhouse 5

In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities' insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife's nephew: a 16-year-old guitar prodigy named Prince Rogers Nelson. Known colloquially as "The Cookhouse 5" these recordings showcase Prince's instantly recognizable guitar playing, seasoning to perfection 94 East's short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One's expressive playing style, already evident in his teenaged years.

Private Mind Garden
Each of us has our own Private Mind Garden. Some are fertile, some are well-tended, some are thorny and overgrown, and some are full of exotic delights not to be found anywhere else. Such is the case with our latest bit of branding, the expression's originator unknown, borne from online message boards, where it has generally tended to denote getting lost in one's own world. It can mean folly and delusion, but we at Numero would like to cultivate a different interpretation, to describe that place from which the most challenging, singular, and personal musical creations spring.
 Circuit Rider: Photograph Attached

Beneath the shroud of mystery surrounding the Circuit Rider LP is its mercurial, difficult, and wildly creative producer, Thorn Oehrig. After turning his penchant for biker lore into an acid-scorched eponymous LP, he continued recording with a motley cast of musicians and collaborators over the next few years, plotting a follow-up that was never quite completed. The original buzz remains across this unheard blast of angel dust. Dark hobo tales and rambling tunes, etched in alrnately noisy, shambolic, and transcendent performances, channeling an alternate reality where Tom Waits is a mass murderer.

Wayfaring Strangers
In a record landscape blurred by one next great but ultimately disappointing private SSW hope after another, we’ve done our best to boil down the finest examples of this world into a handful of themed compilations. Here we dust off some of the truly brilliant and fascinating discoveries made along the path, long-playing documents of talents far bigger than a single track would merit.
 Jimmy Carter & the Dallas County Green: Summer Brings The Sunshine

Don't let the postcard-generic cover art fool you, Summer Brings The Sunshine stands head and shoulders above nearly any major label country rock album crowding mid-'70s record bins. Next to the hundreds or even thousands of slick productions flowing out of Nashville and Los Angeles, Jimmy Carter scoured his rural Missouri surroundings for farmhands and semi-pros alike to lay down eight farm-isolated originals in 1977. Tasty female backing vocals, languid pedal steel, and feisty guitar licks abound on this exalted and near-peerless slice of Cosmic American Music (Gram Parsons' phrase for what others called "country rock," a phrase he detested like he loathed the Eagles--ed.)

There's a 3cd set called "Complete Them 1964-1967" coming out early December. Looking forward to that, it seems like Them's stuff has been terminally OOP for years now.

The 2CD The Story of Them featuring Van Morrison has been easy to find since its release (1997, iirc). The new comp is basically the same thing, but with an added disc of BBC recordings and a few other rarities.

I guess I could've gotten that from Amazon or something, but none of our distributors ever carried it so I assumed it was out of print!

Story of Them did go oop, just like the rest of the Polydor-licensed Van titles, and like many of those was fetching a pretty penny online.

Just received the Andrew Hill Soul Note recordings box set. Two discs in and really happy with it. Price was right, too: only $35 from Dusty Groove.

Fun fact: Strange Serenade came about because Hill had arrived in Italy without a band/rhythm section. He sat in with Bill Dixon's group one night, and Bill suggested he use Freddie Waits (who also played on Stevie Wonder's "Fingertips Pt. 2," among others) and Alan Silva from his band.

Over the years, Bill and Andrew had talked about making a duo record; sadly, it never happened.

Strange Serenade is awesome. I'm excited to get to Shades because the combo of Andrew and Cliff Jordan.

Don't think I ever linked info re Pere Ubu's Elitism For The People 1975-1978
http://www.ubuprojex.com/elitism.html

I have a cassette of the 94 East thing. It's OK, there would be zero interest in it if not for Prince

I thought the remasters I got a decade ago sound fine but shrug, at least Chasing Shadows is available now.

http://louderthanwar.com/comsat-angels-waiting-miracle-2cd-deluxe-edition-album-review/

So Numero is reissuing Jimmy Carter & the Dallas County Green? I respect the work those guy put into their releases, But… I'm probably the odd man out here, but sometimes I wish these reissue labels would let things be. I've been waiting to find a copy of that record for 8 years now and I've enjoyed waiting. I will find a copy one day. That's why record collecting is thrilling, waiting digging, and finally finding something you want. I don't want a reissue of anything really.

So don't buy one, bro.

I mean, I kinda get what you're saying - I feel like I'm destined to find a copy of Jim Ford's Harlan County someday.

http://images.benchmarkemail.com/client67922/image2530894.jpeg
(namechecks Laughner etc. like mad, but no legends/stars on these particular tapes---lots of good taste in covers, though)
SMOG VEIL RECORDS ANNOUNCES
THE NEXT RELEASE IN THE PLATTERS DU CUYAHOGA SERIES
Mr. Stress Blues Band: Live At The Brick Cottage 1972 – 1973
Winter 2016 Release Date

November 24, 2015 (Cleveland, OH) – Smog Veil Records announces the next release in the Platters du Cuyahoga (PDC1) series: Mr. Stress Blues Band: Live At The Brick Cottage 1972 – 1973. "Bill "Mr. Stress" Miller [January 1, 1943 -- May 18, 2015] performed “thousands of gigs," the Cleveland Plain Dealer explains, "He played with Steppenwolf, the MC5, the James Gang. Jammed with 100-plus bandmates, including rock heroes such as Chrissie Hynde, Peter Laughner and Jimmy Fox." The record which features extensive liner notes will hit retail this winter, 2016 and will be available in digital format as well as CD and vinyl LP. Since this is an archival release there is no touring scheduled, although a record release event with surviving members may be announced.

The album is a collection of recordings taped live at the legendary Brick Cottage in Cleveland in 1972 and 1973. Peter Laughner, Cleveland proto-punk legend and brief member of the Mr. Stress Blues Band, initially got the band booked at the “Sick Brick.” The scene in and around the Brick was the stuff of legend replete with gun-toting regulars, junkies nodding out in front of the stage, and a feisty waitress named Monique that could and often did put certain customers in their place.

The band played regularly in Cleveland with numerous local performers and shared the stage with touring acts such as Otis Spann, Bonnie Raitt, James Montgomery, Rotary Connection, Joe Jackson, Little Steven, Steppenwolf, Nazz, and Three Dog Night and many others. Chrissie Hynde of the Pretenders even namedropped Mr. Stress in the popular Pretenders' song "Precious."

"As a bandleader, Miller fronted his iconic Mr. Stress Blues Band through numerous permutations," music researcher Nick Blakey explains in the band's bio. Some of the best and brightest musicians in Cleveland who passed through the band included Chrissie Hynde (Pretenders), Peter Laughner (Pere Ubu/Rocket From The Tombs), Anton Fier (Golden Palominos/The Feelies/Swans), Vito San Filippo (Tower of Power/The O’Jays), James Emery (String Trio of New York/Anthony Braxton), Glenn Schwartz (Pacific Gas & Electric/All Saved Freak Band), Alan Greene (Breathless/The Innocent), Ken Klimak (Dr. John), Chuck Drazdik (It’s A Beautiful Day), Kenny Ruscitto (15-60-75), no less than six members of The James Gang, as well as noted international journalist and writer Eric Ehrmann."

The album features the band performing live takes on songs by Howlin' Wolf, B.B. King, Muddy Waters, Slim Harpo, Jimmy Reed, Albert King, and more. Musicians on the recording include: Bill “Mr. Stress” Miller on vocals and harmonica; Charlie “Pontiac Slim” Drazdik on guitar; Tom Rinda on bass; Mike “The Professor” Sands on electric piano; Dr. Pete Sinks on drums (1972 tracks); Kenny Ruscitto on drums (1973 tracks).

Track listing:

Side One: (24:50)
1. How Many More Years (Chester Burnett) (Brick Cottage 1973) (9:35)
2. Walkin’ Through The Park (McKinley Morganfield) (Brick Cottage 1972) (4:12)
3. Good Time Charlie (Malone-Scott-Caple) (Unknown Location 1972) (3:49)*
4. Scratch My Back (Slim Harpo) (Brick Cottage 1973) (5:12)
5. Chicken Shack (Break Song) (Milburn-Cullum. arr MSBB) (Brick Cottage 1973) (1:50)

Side Two: (24:46)
1. Get Out of My Life Woman (Allen Toussaint) (Brick Cottage 1973) (7:02)
2. Big Boss Man (Jimmy Reed) (Brick Cottage 1973) (3:16)
3. I Feel So Bad (Chuck Willis) (Brick Cottage 1972) (4:19)
4. Sweet Little Angel (King-Taub) (Brick Cottage 1972) (9:59)

CD and LP download Bonus Tracks: (25:49)
1. Rock Me Baby (King-Bihari) (Kenny’s Last Stand at The Brick Cottage 1973) (4:51)
2. Crosscut Saw (R.G. Ford) (Brick Cottage 1973) (5:03)
3. Help Me (Williamson-Dixon-Bass) (Brick Cottage 1972) (6:00)
4. Black Night (Jessie Mae Robinson) (Brick Cottage 1972) (8:28)
5. Chicken Shack (Break Song #2) (Milburn-Cullum. arr MSBB) (Brick Cottage 1973) (1:27)

ABOUT SMOG VEIL RECORDS
Smog Veil Records was founded in Cleveland, Ohio in 1991 and focuses on underground, challenging and bombastic music. The label roster includes Rocket From The Tombs, Batusis (Cheetah Chrome and Sylvain Sylvain of New York Dolls), Peter Laughner, Pere Ubu, Complaints Choir, This Moment In Black History, OBNOX, The New Hope v/a compilation, Tin Huey, Easter Monkeys, Pistol Whip, Unknown Instructors (Mike Watt, George Hurley, Joe Baiza, Dan McGuire, Raymond Pettibon, David Thomas), Teacher’s Pet, Thor, Amps II Eleven, New Christs (featuring Rob Younger of Radio Birdman), Rubber City Rebels and others.

http://img2.ymlp209.com/utre_ScreenShot20150814at132434_3.png

MY MUSIC Presents
Close To You: Remembering The Carpenters

Remastered Documentary To Air On Public Television Nationwide on December 5th

People.com Premieres Unreleased Video Of The Duo's 1971 Hit "For All We Know"

Carpenters - The Complete Singles
Available Exclusively through Public TV Stations

On Saturday December 5th, the public television series MY MUSIC will present Close To You: Remembering The Carpenters, airing on Public Television stations nationwide. A look back at the lives and musical arc of the beloved brother-and-sister songwriting duo, the film stands as a testament to their enduring musical legacy. Featuring rare performances and extensive archival footage, this remastered documentary celebrates the timeless appeal of the Carpenters' unique sound, from Karen's warmly expressive voice to Richard's diverse talents as arranger, producer, pianist and composer. During their spectacular career, the duo was the recipient of three Grammy Awards, including Best New Artist of 1970, an American Music Award and over 20 gold records. Remembrances from friends and colleagues Herb Alpert, Burt Bacharach, Petula Clark and Paul Williams are also included.

Today People.com premieres a previously unreleased video of The Carpenter's smash hit "For All We Know." The song was a million-selling hit single for the duo in 1971, the same year they won their third Grammy Award for Best Pop Vocal Performance by A Duo Or Group. Reflecting on the song, Richard Carpenter observes, "'For All We Know' works beautifully for Karen's alto, our background harmonies and the fluid electric bass playing of Joe Osborn. The recording is as fresh to me in 2015 as it was in 1970." The video is currently streaming here:http://www.people.com/article/carpenters-for-all-we-know-performance-video"> http://www.people.com/article/carpenters-for-all-we-know-performance-video

TJL Productions' MY MUSIC series is proud to bring this program back to public television audiences. "Hearing Karen's intimate voice is like listening to our own inner voice, the music she and Richard made expresses every emotion we go through in this life," says Lubinsky, the series’ executive producer. "I felt that bringing the heartwarming story of the Carpenters to public television will help now for new generations to discover and us older fans to reflect on their extraordinary work.”

Made available as part of this television event, Carpenters – The Complete Singles is a new 3-CD box set that presents, for the first time in one collection, every A and B-side released in the United States on A&M Records between 1969 and 1989 in the form of their original single version. Included are timeless hits such as "Top of The World," "For All We Know," "Superstar" and "Close To You," as well as signature covers “Ticket to Ride” and “Please Mr. Postman.” With 66 tracks in total, the collection will be made exclusively available as a gift for viewers who make a pledge of support to their public television channel.

Additionally, a DVD of the Close To You special will be offered as a public television exclusive, with 60 minutes of extras including complete song performances from the duo, expanded from the documentary. Also included is "The Carpenters at The White House" featurette, shot when President Nixon was in office, other rare songs and footage and a stunning rendition of Karen and Richard performing "Ave Maria."

TJ Lubinsky is currently available to speak about the documentary and December 5th television broadcast event. Jim Pierson, an original producer of Close To You: Remembering The Carpenters, is also available.

http://email.forcefieldpr.com/sites/default/files/styles/artist_photo/public/playing%20the%20fiddle.jpg?itok=VZonQREH

Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War
Street Date, October 16th, 2015, Dust-to-Digital

Legendary collector Joe Bussard is putting records out once again! After running the last 78rpm label in the US (RIP Fonotone Records 1956-1974), Joe had relegated his efforts to promoting old-time music by making cassette tapes for people hungry to hear his rare treasures and producing his radio show Country Classics for stations in Georgia, North Carolina, Tennessee and West Virginia. But last year, Joe and his daughter Susannah Anderson had the idea to produce a compilation of Civil War tunes and they rang the office of Dust-to-Digital to gauge interest in producing such a compilation.

"Bussard's got shit that God don't have. It is one of the great glory holds, probably the finest in the world. He was canvassing earlier than most, and he's been at it longer, and he took everything: He recognized stuff that he really didn't even like at the time, but he recognized it as being good, and he kept it."
-- collector and musician Tom Hoskins, an authority on pre-World War II Delta blues, for the Washington City Paper
Description: CD in digipak with 36-page booklet. Includes introductory essay by Kevin Fontenot and liner notes by Tony Russell.

Tracklist
1. Ernest Stoneman – Pass Around the Bottle
2. Blue Ridge Mountain Singers – Lorena
3. Grant Brothers & Their Music – Johnson Boy
4. Red Mountain Trio – Dixie
5. Buell Kazee – The Faded Coat of Blue
6. G. B. Grayson & Henry Whitter – He Is Coming to Us Dead
7. Ernest Stoneman – Sweet Bunch of Violets
8. Ward & Winfield – In Those Cruel Slavery Days
9. Chubby Parker & His Little Old-Time Banjo – The Year of Jubilo
10. Da Costa Woltz’s Southern Broadcasters – John Brown’s Dream
11. Capt. M. J. Bonner (The Texas Fiddler) – Dusty Miller / Ma Ferguson
12. Cherry Lane Express – Rebels Hornpipe
13. Henry C. Gilliland and A. C. (Eck) Robertson – Turkey in the Straw
14. The Foreman Family – The Poor Old Slave
15. Asa Martin & James Roberts – Darling Nellie Gray
16. Henry C. Gilliland and A. C. (Eck) Robertson – Arkansaw Traveler
17. McGee Brothers & Todd – Old Master’s Runaway
18. Da Costa Woltz’s Southern Broadcasters – Richmond Cotillion
19. Fiddlin’ John Carson & His Virginia Reelers – Dixie Division

http://www.cargo-records.de/en/item/89208/katalog_art.123.html
Gong Radio Gnome Invisible trilogy plus asa box set on both vinyl and cd. Cd comes with a 4th cd with the debut 7" by the band on it.

JUsty had this pointed out to me though
http://planetgong.co.uk/news/current.shtml#statement

Ltd. ed. vinyl, never heard of the additional guitarist or female guest vocalist. "Walk With Me Sydney"!
http://www.discogs.com/Pink-Floyd-1965-Their-First-Recordings/release/7780256

It looks like a lot of the Sanctuary era Trojan sets are reappearing. Been seeing a lot of the Lee Perry ones locally.

Ltd. ed. vinyl, never heard of the additional guitarist or female guest vocalist. "Walk With Me Sydney"!

Rado "Bob" Klose was in Floyd in 1964-1965. These early sessions were his only recordings with the band, then he apparently left music until 2006, when he showed up on Gilmour's On an Island and a few Chico Hamilton records.

Juliette Gale was Rick Wright's first wife.

Thanks, my Floyd knowledge has many gaps. Meanwhile:

http://www.soundsoftheuniverse.com/mailouts/img/main/725/w/book2photo.jpg

Also, the accompanying compilation--- series links are messed up, but here are some individually (info and audio samples incl.):
The CLE set: http://www.souljazzrecords.co.uk/releases/?id=40922

Akron: http://www.souljazzrecords.co.uk/releases/?id=40918

Sick On You (Electric Eels, Crime, Cab Voltaire, further afield:
http://www.souljazzrecords.co.uk/releases/?id=36733

There Is No Such Thing As A Society (Johnny Moped, Disturbed, Television Personalities, Swell Maps etc)
http://www.souljazzrecords.co.uk/releases/?id=35137

Kill The Hippies! Kill Youself! America Destroys Its Young (Urinals, Theoretical Girls, Zeros, Flamin' Groovies (?), more from Cleveland, etc)
[url]http://www.souljazzrecords.co.uk/releases/?id=36733[url]

http://www.numerogroup.com/sendy/uploads/1448992622.jpg

After only 12 years in business, we’re finally, truly embracing the Christmas spirit (that is, exploiting a fundamentally spiritual holiday for material gain).

Despite our annual tradition of exploitation, wherein we spend 12 days peddling slightly-discounted stocking stuffers and various tree-obscuring box sets, we’ve never created an actual product to hoover up all those loose Christmasy dollars before. Perhaps our Scrooge McGrinch hearts are warming to the idea of all that holiday moolah, but here we are with our first seasonal product. Available for purchase only in the months of November and December, we’re bringing you the wonderful original single by Indiana girl-group The Shades.

Staying well within the seasonal spirit, we are also finally providing the lightly-satanic music of Medusa to the compact disc consumer, featuring three additional tracks and wrapped in the same velveteen ensconcement as the large-format edition. We've also released a repro of their original missives on 45 "Strangulation" b/w "Temptress". To celebrate the occasion, we've created a commemorative 3" embroidered patch featuring Medusa’s trademarked pentagram with claws of fire logo.

Keeping vaguely in theme with the holidays, we have the original motion picture soundtrack to Rick Alverson's new film Entertainment. The soundtrack, curated by the film's main character Gregg Turkington (aka Neil Hamburger), features co-star John C. Reilly turning in a truly bizarre rendition of Away In The Manger. It's sure to be one more thing for your family to argue about over the dinner table.

We'd be remiss not to mention our Numero Gift Cards and the newly launched subscription club, Project Twelve. Both make excellent holiday gifts for that discerning record collector in your life.

http://www.numerogroup.com/sendy/uploads/1448903377.jpg

The Shades

Santa Claus Is Coming To Town b/w Prancer's Got Some Red Spots

Girl group greatness for your holiday soiree! Figuring it would take a Christmas miracle to break them out of rural Indiana, the Shades––Cindi, Jannie, and Suzi––traveled to Chicago's RCA Studios in 1966 to cut the holiday perineal, "Santa Claus Is Coming To Town." Backed with the original "Prancer's Got Some Red Spots" and released on Indiana's tiny Fujimo label, the 2015 reissue comes housed in a festive pic sleeve featuring the teen trio at their most merry.

Add Some Holiday Cheer to Your Record Collection.

Medusa

Strangulation b/w Temptress

Prior to tracking First Step Beyond, Chicago proto-metal quintet Medusa headed three miles west to the Village of Oak Park and cut their debut 7” at Stephen Wilcox’s Pepperhead custom studio. The resulting versions of “Strangulation” and “Temptress” are a touch further unhinged than their sororal album twins, as phased-out scraps of psychedelia and bleeding solos maxed out Pepperhead’s 8-track rig. Pressed in a strictly limited quantity of 1000 copies. Also available with an extremely limited 3” Medusa patch that’ll add snake-haired credibility to even the crispest new denim jacket.

Get Tempted.
Medusa

First Step Beyond

You must physically hold this album, kneel at its altar; we will fail to describe it. Medusa’s First Step Beyond might have forever shifted the perception of Chicago rock history had it managed to make the leap from tape to its never-realized vinyl pressing. Instead, the conflagation of Sabbath, Hawkwind, and Amon Duul II remained petrified in the Corycian Caverns—otherwise known as the drummer’s basement. Self-produced on four track in 1975, this lone transmission from Medusa’s repertoire appeared on the extremely mysterious Pepperhead label, whose proprietor allegedly disappeared after a bad trip and was never been seen again. Forged in ceremonial mock-velvet, custom embossed in Gorgon-gold and blood-red, and art directed in accordance with the band’s elaborate original stage props and artwork, we have positioned this unreleased opus to finally reach its destination: the turntables of pot-smoking and leather-clad teenagers, young and old.

Embrace The Sorcerer's Magic.

Entertainment

Experience the soundtrack to Neil Hamburger's existential dread. Entertainment is the unnerving film account of a traveling comedian lost on the brink. A broken, aging comic tours the California desert, cast away in a sea of third-rate venues, novelty tourist attractions, and self-serving attempts to reach his estranged daughter. By day, he drags across the barren landscape, inadvertently alienating every acquaintance. At night, he seeks solace in the animation of his onstage persona. Fueled by the promise of a lucrative Hollywood engagement, he confronts a series of increasingly surreal and volatile encounters. This sonic companion to Entertainment comes straight from the record collection top-secret Neil Hamburger alter ego Gregg Turkington, an avid gatherer of privately pressed curios and the self-proclaimed #1 fan of Frank Sinatra Jr. Joining the Son of the Chairman of the Board on this limited edition LP is a cast of downtrodden personalities, including a emphatic ally Los Angeleno nun, a Italian-language folkie whose guitar laments the Vietnam war, and a Columbus, Ohio, civil rights activist and record man. Included are interstitial dialogue snippets, one of which lets co-star John C. Reilly supply a bizarre rendition of Away In The Manger.

Feel The Dread.

Project Twelve

Our seasonal music club featuring twelve exceedingly rare or entirely unreleased LPs. Four albums of Eccentric Soul, four albums from Wayfaring Strangers, and four plucked from our Private Mind Garden. These records won’t be available in stores and they won’t be repressed. We’re not issuing them on CD and the only way you can buy them is by joining the club. And that club? It's limited to just a thousand members.

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Numero Group Gift Proxy

If you wish to purchase a gift for the Numero Group collector/consumer/fan/friend/online stalker of your choice, but you'd prefer to avoid the risk of replicating an already acquired item number in our vast catalog, we offer the Numero Group Gift Proxy. Unlike your standard Gift Card or Gift Certificate, this is a physical item with mild to moderate functionality that will stand-in for what will become your recipient's actual gift, while not being entirely a piece of rubbish. The Numero Group Gift Proxy comes attached to a 7" single that could, if the recipient so desires, be filed with their other similar items in an already established collection. Whatever they do with it, they will love whatever gift they choose to redeem it for. (For a few bucks less you can do it all digitally.)

Go ahead, make their day.

Eccentric Snow: The Numero Guide to Holiday Funk.

Want us to do all the work for you? Just kick back in front of the ol' Yule Log, and click the link to fire up our holiday Spotify playlist: https://play.spotify.com/user/numerogroup/playlist/7aKmK6GwGsLFyFCmDNgTKW?play=true&utm_source=open.spotify.com&utm_medium=open

As always, any item purchased from our website gets an immediate digital download of the album. Orders ship within one to two business day and are packed with care by two qualified professionals. We apologize in advance for the US Postal Service’s inability to deliver an LP with out a crushed corner or a packing knife slash.

Acute licensed some stuff to those Punk 45 comps. Great series.

http://exclaim.ca/music/article/felt_gets_vinyl_reissue_campaign_through_captured_tracks

Glad to see these get reissued but i'm bummed I just dropped $$$ on the originals.

Your originals probably sound better and are still going to be worth more, if that makes you feel better.

Not music, but zany energy x blithe spirit

http://img2.ymlp331.com/6464Sunset_EAEKdrum600.jpg

SHOUT! FACTORY EXTENDS ERNIE KOVACS DISTRIBUTION DEAL THROUGH 2020

Library of Congress Acquisition of the Archive of Ernie Kovacs &
Edie Adams Estate Guarantees Preservation and Digitization of the Entire Archive from Television’s Original Genius & Muriel Cigar Girl

FOR IMMEDIATE RELEASE

LOS ANGELES, CA (THURSDAY DECEMBER 3, 2015) – Shout! Factory and Ediad Productions today announced an agreement extending the distribution of Ernie Kovacs visual archive that aired in the 1950s and early 1960s for five years through 2020. In addition to the continued sale of existing packages of television shows, a newly amassed physical set will be released to coincide with the Centennial of Kovacs’ birth on January 23, 2019. Entire episodes of previously unseen-since-broadcast shows from the Ernie Kovacs archive will be released digitally.

It was also announced today that the Library of Congress has acquired the entire physical archive of both Ernie Kovacs and Edie Adams including Kinescopes, videotapes, 16MM, Super 8 home movies and other media that provide a unique window into both the professional and personal lives of these two iconic entertainers. The intellectual property however remains with Ediad Productions. The collection will complement the Library’s existing collections of iconic humorists, including Bob Hope, Groucho Marx, Jerry Lewis, Danny Kaye, Lucille Ball and Desi Arnaz, Sid Caesar and Johnny Carson.

The Ernie Kovacs and Edie Adams Collection will be available to researchers in the Library’s Motion Picture and Television Reading Room in Washington, D.C. Processing of the collection continues, but much of it is currently available to researchers.

“The immense popularity of our three Ernie Kovacs releases during the first five-year period of this partnership justified the extension of this agreement with Shout! Factory,” said Joshua Mills, President of Ediad Productions. “To that end, the Library of Congress acquisition of the Ernie Kovacs and Edie Adams archive now guarantees the preservation and digitization of their work for future generations which was always Edie’s dream. As we push forward into the digital age, we will be introducing these shows to new audiences via streaming and mobile devices beginning shortly with Shout! Factory. ”

“We are delighted to continue being the home of the Ernie Kovacs Show, and we look forward to bringing more of his comic genius to fans of groundbreaking television,” said Jordan Fields, Vice President of Acquisitions at Shout! Factory.

The Library of Congress Collection highlights include:

• 2" videotape masters of all 8 of Kovacs' monthly specials for ABC (1961-62)
• 35mm kinescopes of 74 episodes of Kovacs' infamous morning show for NBC (1956)
• 2" videotape masters of 35 episodes of "Take a Good Look", Ernie's tongue-in-cheek panel quiz show
• Original 16mm elements of Kovacs' silent movie spoof “The Mysterious Knockwurst” made for his CBS morning show in 1953
• 2" videotape masters of all 21 episodes of "Here's Edie"
• Original 16mm kinescopes for "Ernie in Kovacsland" (1951)
• Test footage of matting effects for Ernie as "Superclod" et al
• Audio masters of (formerly) unreleased Percy Dovetonsils LP "Percy Dovetonsils…Thpeakth"

Ernie Kovacs, whose offbeat humor graced the airwaves for just a decade in the 1950s, and early 1960’s served healthy portions of the offbeat to his audiences, who had never seen anything quite like this cigar-wielding charmer. Wickedly funny but not offensive, Kovacs’ unique humor and flair for improvisation continues to attract audiences, influencing TV funnymen from Johnny Carson, Monty Python, Billy Crystal, Craig Ferguson, David Letterman, Pee Wee Herman and many Saturday Night Live cast members.

About Ediad Productions, Inc.
Formed by the late entertainer & Muriel Cigar girl Edie Adams and currently run by her son Joshua Mills, Ediad Productions is home to what is likely the largest independent archive of early American television in existence. With more than 150 half-hours of content from legendary comedian Ernie Kovacs as well as two seasons of Edie Adams’ prime time variety show from the mid-1960, Ediad Productions is a treasure trove of classic popular entertainment. Titles in the archive include, The Ernie Kovacs Show, Ernie in Kovacsland, Take A Good Look (clues), the Kovacs specials for ABC, The Edie Adams Show, Here’s Edie! and much more. Ediad Productions is based in Los Angeles, California.

About Shout! Factory
Shout! Factory, LLC is a diversified multi-platform media company devoted to producing, uncovering, preserving and revitalizing the very best of pop culture. Founders Richard Foos, Bob Emmer and Garson Foos have spent their entire careers sharing their music, television and film favorites with discerning consumers the world over. Shout! Factory’s entertainment offerings serve up feature films, classic and contemporary TV series, animation, live music and comedy specials. Shout’s audio division boasts GRAMMY®-nominated box sets, Broadway cast albums, new releases from storied artists, lovingly assembled album reissues and indispensable “best of” compilations. In addition, Shout! Factory maintains a vast digital distribution network which delivers video and audio content to all the leading digital service providers in North America. Shout! Factory also owns and operates Timeless Media Group, Biograph Records, Majordomo Records and Video Time Machine. These riches are the result of a creative acquisition mandate that has established the company as a hotbed of cultural preservation and commercial reinvention. Shout! Factory is based in Santa Monica, California. For more on Shout! Factory, visit shoutfactory.com.

About Library of Congress
The Library of Congress Packard Campus for Audio Visual Conservation is a state-of-the-art facility funded as a gift to the nation by the Packard Humanities Institute. The Packard Campus is the site where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of motion pictures, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation). The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board (www.loc.gov/film), the National Recording Preservation Board (www.loc.gov/rr/record/nrpb) and the national registries for film and recorded sound.

Founded in 1800, the Library of Congress is the nation’s first-established federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs, publications and exhibitions. Many of the Library’s rich resources can be accessed through its website at loc.gov.


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Record Collector Mag ‏@RecCollMag 28m28 minutes ago

#JanisJoplin Early And Rare is on Egg Raid, 4 Dec., and #SteeleyeSpan Catch Up 2CD is out via Park.
1 retweet 1 like
Record Collector Mag ‏@RecCollMag 2h2 hours ago

#MaynardFerguson The Ballad Style Of/Alive And Well In London is on BGO, 4 Dec., Bobbie Gentry The Definitive Collection 2CD is on Humphead.
0 retweets 0 likes
Record Collector Mag ‏@RecCollMag 2h2 hours ago

#JohnnyThunders In Cold Blood LP is on Easy Action, 4 Dec., Ben Webster The Complete Recordings 1952-59/59-62 4CDs on Enlightenment Series.
1 retweet 0 likes

Scott Seward posted that maybe his earliest memory was of being scared by Maynard Ferguson, live. Another ilxor responded, pronouncing MF "the Yngwie Malmsteen of jazz," which sounds right.
Haven't heard of In Cold Blood, what's it like?

Not sure if it's common knowledge but Nuno Canavarro's Plux Quba is back:
http://www.dragcity.com/products/plux-quba

Wasn't there some controversy about the last reissue of that being edited or remixed or something? Hmm.

Negativland’s latest release celebrates legacy of Don Joyce with 34 years of group’s “Over The Edge” radio program for download.

Called a “Mount Rushmore for sound collagists,” by Dangerous Minds, over 3200 hours of Joyce-helmed episodes are available now.

Negativland’s newest release is 34 years in the making, over 3200 hours long, and no human may ever be able to listen to it all! It is of course the audio archive of the legendary culture jamming group’s weekly radio show “Over The Edge” (Seeland 031).

Negativland’s live mix radio show “Over The Edge” is the longest-running block of free-form audio collage in radio history. With Negativland’s Don Joyce at the helm, the weekly show was broadcast from KPFA-FM in Berkeley, California from 1981 to 2015. The news of Joyce’s passing on July 22, 2015 received nearly 130,000 views on Negativland’s Facebook page, and with his death being memorialized by mainstream publications such as Rolling Stone and Billboard, the band members felt it was only fitting for this important and substantial portion of the group’s work to be made available immediately.

Access the “Over The Edge” Radio Archive here
https://archive.org/details/ote&tab=about

“Over The Edge”’s weekly themed mixes are made live and spontaneously on the air from a variety of formats and equipment used to do live sound cut-ups and collage while mixing, including the frequent use of the now long-dead analog technology of radio broadcast cart machines. On each themed episode there is a plan and there is no plan. The mix consists of found sounds of many kinds, from many sources, put together as a continuous audio collage, along with live electronics, live sound processing, and recurring themes and characters. “Over The Edge” also often employs “Receptacle Programming,” where phone callers are punched into the mix with no warning.

The archive currently has 941 three-to-five-hour-long episodes of “Over The Edge,” over 3200 hours of the show, with some gaps in the archive to be filled over time (especially the early years). If you are that person who listens to every single show in the archive, no matter how many years it takes you, Negativland wants to know about it!

Though “Over The Edge” continues to exist and evolve, and is still broadcast each week on KPFA-FM, the “Over The Edge” Radio Archive consists of the episodes helmed by Don Joyce. It ends on the episode broadcast immediately after his passing, “There Is No Don.”

A more extensive background on Negativland, “Over The Edge,” and Don Joyce’s legacy, written at the time of his passing, can be found courtesy of SF Gate here. (it's by primeval ilxor Uncle Ned Raggett!)
http://blog.sfgate.com/loaded/2015/07/23/don-joyce-radio-maverick-and-member-of-negativland-dies-at-71/

An informative bio on Negativland’s past, present, and future, is at this link:
http://www.negativland.com/news/?page_id=250

Besides Negativland’s many studio recordings, a selection of “Over The Edge” shows have been edited into CD releases over the years, and can be found here. http://negativland.com/shop/index.php?main_page=index&cPath=13&zenid=f95f3f3741fca6098cdd8f4874e221b7