Rolling Reissues 2016

One of the few (?) groups from that time-space I can't remember having heard at least once---what do they sound like? Notice passing mention of Bob Dylan In The 80s (shudder, how is it?)

THE MIAMIS’
WE DELIVER: THE LOST BAND OF THE CBGB ERA (1974-1979)
IS FIRST WORLDWIDE COLLECTION
OF LEGENDARY NEW YORK BAND’S BEST SONGS
SET FOR JANUARY 29, 2016 RELEASE
A vital document of the New York music scene, produced by Jesse Lauter and mastered and restored by Grammy® Award winner Michael Graves

The Miamis (photo by Bob Gruen)
NEW YORK, N.Y. — The Miamis, led by brothers James and Thomas Wynbrandt, were legends in New York in the 1970s, playing shows at CBGB, Max’s Kansas City, and the Mudd Club with artists like Blondie, Television, Ramones, Talking Heads, and even KISS. A Miamis show was the show to see. But, while the crowds loved them, the record business couldn’t decide whether they were pop or punk. Luckily, the band recorded material — with producers like Craig Leon (Ramones) and Genya Ravan in studios including Plaza Sound and Electric Lady. Plus, their live prowess was captured on tape.
Omnivore Recordings is proud to finally “introduce” the Miamis to the world with We Deliver: The Lost Band of the CBGB Era (1974-1979). Twenty-three tracks of the best music you’ve never heard. Street date is January 29, 2016.
The best of the band’s studio material is collected here, as well as demos and live tracks from CBGB — including a cover of Sinatra’s “That’s Life,” recorded two years before Sid Vicious would tackle “My Way.”
The set also features vintage memorabilia, photos by renowned photographer Bob Gruen, and extensive liner notes. The compilation was produced by Jesse Lauter (Bob Dylan in the 80s), the Wynbrandts’ cousin, who discovered his family connection to the Miamis while attending college in New York City decades after the group had disbanded. After carefully transferring the existing tapes, he had the material re-mastered and restored by Grammy®-winning engineer Michael Graves.
The Miamis’ We Deliver: The Lost Band of the CBGB Era (1974-1979) is a timeless gem from the New York music scene of the 1970s. You may think you know the story, but you won’t know the whole story until you devour We Deliver.
“Why don’t more people know about the Miamis?” questions liner note author Glenn Coe. “Probably because they left us so few recordings. Until recently, their songs were known only to those fortunate enough to have heard them in person. But with this carefully re-mastered archival compilation, everyone can now understand how special the group was. It presents the Miamis as they were: a muscular rock band with hit material and a joyous approach. Record companies of the time deemed the Miamis too punk for the pop market and too pop for punk. Today, happily, those labels no longer apply. The music is what matters. And that’s why, as your ears will quickly tell you, the Miamis do, too.”
“I tried never to miss a Miamis show. I loved the songs and the brothers in action was always a great night out. At last we get to hear the Miamis again.” —Deborah Harry, Blondie
“A Miamis show was a guaranteed good time. You knew that the coolest people in New York were going to be there, clapping and singing along to all their great songs.” —Tommy (Tommy Ramone) Erdelyi
“Palm trees on the Bowery!” —Richard Hell, writer and musician
“The Miamis were there from the very beginning of the CBGB era, and their spirit helped make that moment special. ‘We Deliver’ = Deliverance!!” —Lenny Kaye, writer and guitarist, Patti Smith Group
“The Miamis had, like, seventy number-one hits that never got recorded.” —Bob Gruen, rock photographer
“The Wynbrandt brothers were excellent songwriters. The Miamis stood out.” —Hilly Kristal, founder/owner of CBGB

Track Listing:
. 1. We Deliver
. 2. Cry Baby

. 3. I Want a Girlfriend
. 4. Dancin’ Together
. 5. Just Too Many People in the World
. 6. Wang It

. 7. Let There Be Pain

. 8. Another Place, Another Time
. 9. We Need a Bigger Navy
. 10. Fight Team Fight

. 11. She Sure Works Hard (At Lovin’ Me) (demo)
. 12. We Deliver (alternate version)

. 13. I Want a Girlfriend (alternate version/demo)
. 14. Another Place, Another Time (alternate version)
. 15. Open Up Your Heart (live)

. 16. Dada Mama (live)
. 17. Détente (live)

. 18. We Need a Bigger Navy (live)

. 19. Dancin’ Together (live)

. 20. Wang It (live)

. 21. Elvis, Groucho & Bing (live)

 22. Fight Team Fight (live)

. 23. That’s Life (live) 


Wow that sounds interesting & I'd thought that era had been mined for all it's worth

http://ecx.images-amazon.com/images/I/81rkaWi%2B-ZL._SL1425_.jpg

If image don't show, it's Loudon Wainwright III's Late Night Calls, live broadcast Nov. '72 Should be good: Loudie's usually quite the solo showman, and back then the former preppie acting student was already making his mark w twisted manic-smirky humor/bursts of drama, flying sobs, via that tenor and guitar (never just a word guy). Some orginal rarities, and covers of Isleys, Temps, Ernest Tubb (also originals he was already known for, like "Motel Room Blues," soon to be covered well by Big Star live). Mid-Dec '15 release, it says here, but just now getting the memo, so what the heck:
http://www.amazon.com/gp/product/B012FQNVZC/ref=pe_339110_162232230_em_lm

http://www.mergerecords.com/stuff/contentmgr/files/7/781404aa4b2bd0794932dbec85b0342d/image/_resized/10_700_700_crookedfingers_reissues_bundle.jpg
http://www.mergerecords.com/crooked-fingers-reissues-bundle

Are these good>

Chelsea
ANTHOLOGY VOL. 1
Westworld Recordings
April 15 2016

"Anthology Vol.1" includes three classic albums by punk legends CHELSEA; "Chelsea" 1979, "Alternative Hits" 1980 and "Evacuate" 1982. This era produced some of the bands most iconic work to date, releasing multiple charting singles including "Right to Work", Chelsea's debut single which was included in Mojo magazine's list of the best punk rock singles of all time. This great band was for many years one of the best of the period. By the end of 1978 they had already clocked up shows with The Clash, Specials, The Fall, The Police and The Subs. Anthology Vol.1 is the first instalment of a three part release that is an absolute must have for fans of Chelsea and the punk genre altogether.

CHELSEA
1.I'm On Fire
2.Decide
3.Free The Fighter
4.Your Toy
5.Fools & Soldiers
6.All The Downs
7.Government
8.Twelve Men
9.Many Rivers
10.Trouble Is The Day
11.No Escape (Demo)
12.Urban Kids (Demo)
13.Twelve Men (Demo)
14.All The Downs (Demo)

ALTERNATIVE HITS
1.No Escape
2.Urban Kids
3.No Flowers
4.All The Downs
5.Right To Work
6.Look At The Outside
7.What Would You Do
8.No One's Coming Outside
9.The Loner
10.Don't Get Me Wrong
11.Decide
12.Come On
13.High Rise Living (Bonus)
14.No Admission (Bonus)
15.Blind Date (Bonus)
16.Pretty Vacant (Bonus)
17.Curfew (Bonus)

EVACUATE
1.Evacuate
2.How Do You Know
3.Cover Up
4.Looks Right
5.Tribal Song
6.War Across The Nation
7.40 People
8.Running Free
9.Last Drink
10.Only Thinking
11.Rockin' Horse (Bonus)
12.Years Away (Bonus)
13.Freemans (Bonus)
14.ID Parade (Bonus)
15.How Do You Know (single version) (Bonus)
16.New Era (Bonus)
17.War Across The Nation (single version) (Bonus)
18.Stand Out (Bonus)

xgau's not fond of many folkies, but thought some early Walker songs were amazing, though albums were uneven---"promising" for sure, but then his recording career got derailed:

RAMSEUR RECORDS RELEASES SAMMY WALKER’S
BROWN EYED GEORGIA DARLIN’,
A COLLECTION YOU NEED TO HEAR
FROM A FOLK ARTIST WHO SHOULD HAVE BEEN FAMOUS
The 40-year-old demos that scored Walker a Warner Bros. contract
reveal the raw talent of a singer-songwriter whose songs still resonate
— and remain relevant — decades after they captivated Phil Ochs and Mo Ostin.
Due out April 8, 2016.

Sammy Walker: Mid-1970s
HAYESVILLE, N.C. — For a guy whose musical moment rose and fell about as fast as a cloudburst, the story of folk singer-songwriter Sammy Walker’s career carries more twists than a tornado. The latest comes in the form of a April 8, 2016 Ramseur Records release titled Brown Eyed Georgia Darlin’.
One could call this vinyl LP and CD combo package a follow-up to his 2008 Ramseur album, Misfit Scarecrow — except that it predates that material by more than three decades. Recorded in the mid-1970s at New York’s famed Record Plant, Brown Eyed Georgia Darlin’ contains the previously unreleased demos that earned Walker a contract with Warner Bros. Records. How he got there — and from there to here — is one of those crazy music-biz tales that makes you wonder whether to laugh or cry. The best approach, it turns out, is to take a cue from his songs. The humor and heartache they contain are as real as it gets.
And if the true test of a folk talent is the ability to write topical songs that somehow sound timeless — and, for better or worse, remain uncannily relevant decades after their birth — Walker scores a perfect 100. Just check out this lyric from “A Cold Pittsburgh Morning”:
Now this day and time it’s almost come to be a crime to be old in this here country/feeding on decrepit health to fatten up the purse of wealth. God knows it.
Walker wrote that at 23 after reading a newspaper story; his lines convey every shiver, every ounce of despair his sad subject endured, magnified against the celebratory excess of a football-crazy city on game day. It’s the epitome of a folk song, raising awareness about an injustice while contextualizing it as a compelling narrative.
But back to Walker’s story: A Georgia native now living in North Carolina, he recorded two albums in the 1970s for Moe Asch’s Folkways Records (now Smithsonian Folkways), and two more for Warner Bros. Renowned folkie Phil Ochs, who produced Walker’s first, 1975’s Broadside Ballads, Vol. 8: Song for Patty, championed his Dylan-meets-Arlo-and-Woody voice and formidable songsmithing skills to Warner head Mo Ostin even before the album’s release. After hearing these demos — during the Springsteen/Buckley/Wainwright/Prine era when every label was on the hunt for the next “new Dylan” — Ostin snapped him up.
“Phil liked to say, ‘This guy’s better than Dylan.’ Of course, there ain’t nobody better than Dylan,” Walker says, “but Phil heard something he was impressed with. I think he saw in me more of himself than he did [in] Bob Dylan.”
Though you might swear it’s Dylan — or Arlo — singing “Talkin’ Women’s Lib,” it’s worth noting that the talking-blues style predated both.
“Of course, I idolized Dylan when I was a teenager and that led me to Woody and Ochs and Tom Paxton and all those people,” Walker says. “But the way I played and sang wasn’t an imitation, it was just the way I sounded.”
Walker started playing guitar at 13 and began writing songs a few years later. His first performance occurred at the Last Resort, a folk club in Athens, Ga.
“On the weekends they’d have people like Steve Goodman and Townes Van Zandt, and on the weekdays, they’d hire somebody like me and pass the hat,” he recalls. “The first time I ever played, I got about $18 and I thought, ‘Lord, people are paying me to get onstage and caterwaul.’ It just kind of went from there.”
An apartment-building janitor by day, Walker was content to perform in Georgia clubs at night. But then the building changed hands and the staff was fired. With no backup plan, he decided to send a homemade tape to Broadside magazine, the influential folk publication that often printed worthy lyrics. He says he didn’t expect a response, and didn’t get one — for a while.
When he did, it was huge. The magazine not only published his lyrics, but co-founder Gordon Friesen also sent the tape to influential New York DJ Bob Fass, creator of WBAI radio’s popular overnight show, “Radio Unnameable.” Fass, considered a father of free-form radio, started playing Walker nightly, then invited him to come on the show. So Walker got on a train and headed north.
The day after he went on the air, the Weavers’ Lee Hays and Ochs both requested meetings. He met Ochs at the Broadside office, where he performed just a few songs before Ochs committed to helping Walker connect with Folkways. “He went to Moe Asch and talked him into making a record with me,” Walker says in his typically self-deprecating manner.
Walker, who admits in the Georgia Darlin’ liner notes that the only musical ambition he ever harbored was to make a Folkways record, still sounds surprised that it happened, much less what followed. While Ochs pushed Walker to Warner, Harold Leventhal caught wind of his talents. The legendary manager of Woody and Arlo Guthrie and the Weavers was hunting for someone to play Woody in the film version of Bound for Glory. Hays suggested Walker. Broadside co-founder Sis Cunningham accompanied him to her pal Leventhal’s office and harmonized as Walker sang Guthrie.
“Harold got real excited and wanted to send me out to Hollywood for a screen test, but the director, Hal Ashby, said he wasn’t gonna work with no unknown,” reports Walker. (The part went to David Carradine.) But Leventhal became his manager and negotiated Walker’s Warner contract, on the strength of these mostly one-take demos. Nik Venet produced his self-titled Warner debut, released in 1976 (and featuring stellar backing by James Burton and Jim Gordon, among others). Los Angeles Times critic Robert Hilburn declared it one of the year’s most noteworthy debuts.
Sadly, label-limbo realities set in before Walker recorded its 1977 follow-up, Blue Ridge Mountain Skyline. With disco and new wave on the rise, Warner did little to promote either one, and, the artist says, as much as he liked Leventhal, a younger, hungrier manager might have pushed harder for him. Walker lacked even a booking agent, though he did score a European tour in ’78.
When he got home, he learned Warner had dropped him. He tried to find another home, but even smaller labels wouldn’t sign someone who didn’t move units on a major label.
Walker did Songs From Woody’s Pen, an album of Guthrie covers, for Folkways in 1979, a year after he moved to the Catskills town of Stamford. And that seemed to be it. “It just kind of all fell apart before it really got off the ground for me,” he sighs. “I couldn’t even make a living. I had to take a job at a convenience store.”
He spent 17 years behind that counter, performing only when someone requested his presence. During a 1985 appearance, he got an offer to tour Italy, and did 18 Italian and Austrian dates. When he returned three years later, someone recorded the show that became Sammy Walker in Concert, released in 1990 by Swiss label Brambus Records. Walker, who never stopped writing, released a second Brambus recording, Old Time Southern Dream, in 1994.
In 1996, Walker and his wife moved to North Carolina to care for his mother. Three years later, Dolph Ramseur called. “He said he knew my music and he asked me to play at his 30th birthday party. And we became friends.”
Ramseur wasn’t yet involved in the music business, but was interested in breaking in, and asked if Walker had any music nobody had heard. He got the demo tapes.
A year later, Ramseur Records was born — and rapidly built success with the Avett Brothers and other artists. Misfit Scarecrow followed. And now, a year after Walker started collecting Social Security, comes the release that should have launched a bigger career.
Arthritis has ended his playing days, but the music lives — and with Brown Eyed Georgia Darlin’, Sammy Walker is about to be discovered all over again.
# # #

Trans-Pecos is hosting Psychic TV for a very special, two-night event to celebrate the band's release, Fishscales Falling: A Smorgasbord Ov Delights (Dias Records). Tickets for Friday, January 23rd and Saturday, January 24th are $20 each, and there's a special 2-night super ticket for $35 that come with a limited edition, embroidered patch of the Hyperdelic logo designed by Genesis P-Orridge in the 80's.

Born in 1981 from industrial music behemoth Throbbing Gristle, Psychic TV is fronted by Throbbing Gristle’s founder: anti-hero, artist, and Pandrogenist, Genesis P-Orridge. — Psychic TV is particularly known for its intense and visceral live performances and for a creative lineage that includes cultural luminaries such as William S. Burroughs, Derek Jarman, and Timothy Leary, among others.

PSYCHIC TV — A Wild Winter's Weekend

1/23
8PM
20USD (5USD after 2AM)

Psychic TV
Shilpa Ray
Wet Ware
Voodoo Medicine Man
Dj Matt Werth (RVNG)

2AM on After Party Hosted By Other People Records
Dave Harrington (DJ set)
12z (Record Release)
DJ Hvad

1/24
5PM
20USD (5USD after 10PM)

Psychic TV (Live Film Score to Derek Jarman's In The Shadow of the Sun)
Collapsing Scenery
El Sandwich (Michael Beharie/Bruno Coviello/Bunny Michael)
Styles Upon Styles DJs

10PM After Party Hosted by Lost Soul Enterprises and FlucT
Diamond Terrifier B2B M Beharie B2B Ezra Marcus
FlucT
Ohal
Scott Murakin
R Gamble
More TBD...
Links:

​FIRST NIGHT RSVP and SECOND NIGHT RSVP on Facebook
Trans-Pecos
Psychic TV
Tickets:

Super Ticket (Jan. 23rd & 24th) - $35 [comes with Hyperdelic patch]
January 23rd - $20
January 24th - $20

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from Drag City Newsletter:

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EXPERIENCE THE NATURAL AND UNDYING LOVE OF LIGHTSTORM!

Husband and wife team Johnima and Kalassu Wintergate are Lightstorm: globetrotting musical collaborators retransmitting messages of love from their teacher and Avatar, Sathya Sai Baba.

Since 1973, the Lightstorm discography has been issued under a variety of aliases (Creation Earth, 331/3, Teeth) unknown to all but the most obsessed vinyl casualties. Insofar as the irrepressible J&K are known at all, it's for their twisted, ridiculously entertaining 1982 shot-on-video horror-comedy cult classic, Boardinghouse. (See this movie!)
In conjunction with Yoga Records, we now present the first-ever Lightstorm collection! Creation fuses the best tracks from two distinct eras of Lighstorm; the spiritual concept double LP Who Am I: One (1977) and sensual glam rock killer 33 1/3 (1979). Eleven pieces of riveting, catchy, psych-glam-pop weirdness, Creation captures both these sides of Lightstorm, which will surely soothe your spirit and blow your energetic mind! Soar with "Let Your Astral Body Fly," and rut HARD with "Missionary Is Impossible." Creation is equal parts metaphysical and carnal!
To say that there's nothing else like Lightstorm would be an incredible understatement ! Their natural clear underlying love energy is unmistakable. Experience Creation on February 19th!

I got a promo of that Chelsea set. Listened to about a song and a half, immediately understood their footnote status.

Manuel Gottsching's E2-E4 is being reissued this month

http://www.superiorviaduct.com/products/manuel-gottsching-e2-e4-lp

Rut hard?

I commented on Renbourn's The Attic Tapes, Neil Young & The Blue Notes, a couple others, on other threads, but this has a bunch I hadn't heard of or forgot about, presented in an appealing way (though prob won't check the very post-Wyatt Soft Machine show):

http://www.rollingstone.com/music/news/more-great-2015-reissues-and-finds-david-frickes-picks-20160108?page=2

I reviewed that Soft Machine disc for The Wire. It's a good one, more Mahavishnu-esque than the Wyatt-era stuff.

Bring it on---Prix sounding good on the Ork box, ditto Springtime For Chilton's solo singles:

http://pitchfork.com/news/62906-prix-band-featuring-big-stars-alex-chilton-and-chris-bell-reissuing-rare-recordings/

E2-E4 has been reissued a ton of times, is this remastered? if so, will it be released on CD? vinyl reissues are for morons, NO OFFENSE LOL LMAO

Yeah it's coming out on CD too, same release date.

Prix sounding good

Seriously, the Prix stuff on that comp was great. Like a sleazier, more rocking Big Star or something.

Karl Bartos 'Communication' to be released on Trocadero on 25th March 2016 *available for interviews
Listen and share "Life" (2016) to be released on 7" on February 26th

https://soundcloud.com/trocaderomusic/life-master-2016/s-xM1s6

- Available digitally for the first time
- Remastered by Michael Schwabe of Monoposto Düsseldorf for CD, LP and digital.
- Expanded version containing an unreleased track

“Communication is about the way images determine our view of the world and how electronic media is going to change the content of our society."

Said legendary ex-Kraftwerk member Karl Bartos of his debut solo album when it was released back in 2003. It was a pivotal moment in technological times and by extension cultural ones, the world of digital was no longer a on-the-horizon vision only brought to realisation by pioneers and visionaries – such as Bartos – but it was instead almost here, around the corner and facing everyone square in the face. Communication was an attempt to capture these changing, perhaps unknown, times and distil them through the voice of someone who most would feel comfortable being led into the future with.

Thirteen years down the line, Bartos is re-releasing the album complete with a pristine re-mastering. Due to record label frugality, and perhaps being somewhat overshadowed by the coincidental return of his ex-band and their Tour de France Soundtrack album at the same time, Communication was unable to take the momentum and energy of the material on the album and process it into a spirited public campaign, leaving it to often be referred to as Bartos’ ‘Lost Album’.

The re-release, which will be the first time the album is available digitally, also comes with the previously un-included track ‘Camera Obscura’, which sounds like it could have been a lost track from Kraftwerk’s Computer World era.

As you would expect from the man responsible for co-writing such Kraftwerk masterpieces and musical compositions - that have gone on to shape the current musical world as we know it. Communication contains plenty of melody-driven numbers that operate in a dual universe of pop and electronica.

A record that embodies change in both a personal and wider context - the lead single ‘Life’ perhaps being the most perfect representation of this: “finally, I have to get on with my life” he sings. Lyrically it speaks volumes but sonically it almost seems to pay a return thank you to New Order in its breezy, harmonious yet infectious structure. New Order being a group clearly in admiration of Bartos’ work in and out of Kraftwerk and also in which the pair (Bartos and Bernard Sumner) would work together under the guise of Electronic, along with Johnny Marr in 1996.

Having spent numerous decades as a truly inimitable cross-platform visionary, Bartos is also writing his autobiography, which will be published – and expected with some anticipation - later this year or early in 2017.

http://roaratorio.com/wp-content/uploads/2016/01/FD-covers_.jpg

FRASER & DeBOLT
THIS SONG WAS BORNE 2LP

Allan Fraser & Daisy DeBolt met in the summer of 1969. They had both been working individually on the coffeehouse circuit in their native Canada; over the next five years, as the duo of Fraser & DeBolt, they created a sublime body of work that still sounds remarkably fresh decades later. They recorded two albums for Columbia which garnered rave reviews at the time, but saw little commercial success. Both have since become cult classics in psychedelic folk circles; the first, With Ian Guenther, being particularly beloved amongst a coterie of die-hard fans. Their combination of ragged-but-right salt & pepper harmonies, evocative lyrics, beautiful songs shot through with occasional dissonant grace notes, and careful arrangements that still managed to sound off-the-cuff made for some of the most beguiling music of the day. Now, Roaratorio is proud to present This Song Was Borne, a double LP collection of previously unreleased demos, studio outtakes, radio sessions, and live recordings from Fraser & DeBolt’s archives, spanning their entire career, in a deluxe tip-on gatefold jacket with detailed liner notes from Allan and Daisy. Download coupon included.

There's a couple songs from the album on Soundcloud .

https://soundcloud.com/roaratoriorecs

New press release from Dais Records clarifies the reissue tie-in with the shows I already posted about:

On January 22, 2016, the entire catalog of Psychic TV/PTV3 will be available digitally through Dais Records. Many for the first time ever in digital format outside of the bands USB stick, a self released edition of 300 which came out last year.

To commemorate the release of this catalog, the band has put together an iTunes exclusive release entitled “Fishscales Falling: A Smorgasbord Ov Delights,” a compilation featuring live recordings, demos, outtakes and new material from 2003 to the present.
So what albums should I start with, other than the comp?

If yr asking for general Psychic TV recommendations then Dreams Less Sweet is def the place to start, followed by Force The Hand of Chance and Allegory and Self. After that things went downhill v rapidly as GPO got interested in techno and acid house.

Thanks, will check those (although I don't nec. mind techno and acid house either)

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

THE CARS CONTINUE MOVING IN STEREO

New Boxed Set The Elektra Years 1978-1987 Features Six Studio Albums With
New Digital Remastering Overseen By Ric Ocasek Available On March 11

New Single-Disc Hits Collection Moving In Stereo: The Best Of The Cars
Arrives On May 6
LOS ANGELES - In 1978, the Cars had a Top 40 hit with the band's very first single, "Just What I Needed." That streak continued over the next 10 years, as the band revisited the Top 40 a dozen more times with radio hits "Let's Go" and "Shake It Up" along with iconic videos like "Magic" and "You Might Think," which won MTV's first-ever "Video Of The Year" award in 1984.

The five original members - Ric Ocasek, the late Benjamin Orr, Greg Hawkes, Elliot Easton and David Robinson - recorded six studio albums together - all of them with Elektra Records - and have sold more than 23 million albums in the U.S. alone.

Rhino will release two new collections in the spring to honor The Cars' vast musical legacy. The first is a boxed set featuring all six of the band's Elektra studio albums. The second is a single-disc, career-spanning collection curated by The Cars that combines the group's best songs along with a trio of rare and unreleased alternate versions.

THE ELEKTRA YEARS 1978-1987 includes six studio albums, each one presented in a replica sleeve with original artwork. Ric Ocasek oversaw digital remastering for the set, while drummer David Robinson - who helped create The Cars' iconic album covers through the years - served as art director. The six-disc collection will be available March 11 on CD ($39.98) and digitally. On Tuesday June 7, a limited edition vinyl version of the boxed set will be available with each 180-gram LP pressed on a different color vinyl.

The extensive set retraces the band's musical journey in the studio and includes: The Cars (1978), Candy-O (1979), Panorama (1980), Shake It Up (1981), Heartbeat City, (1984) and Door To Door (1987). Among the 60 tracks are the band's biggest hits - "My Best Friend's Girl," "Good Times Roll," "You Are The Girl," and "Drive."

MOVING IN STEREO: THE BEST OF THE CARS will be available on May 6 on CD ($18.98) and as a 2-LP set on 180-gram vinyl ($34.98). The collection is produced by the band, with all surviving members contributing to song selection. Ocasek also supervised digital remastering of all the audio with Ted Jensen at Sterling Sound.

The collection features the band's big hits along with a rare, single mix for "I'm Not The One," as well as a live version of "Everything You Say," and a new mix by producer Philippe Zdar of "Sad Song," a track from the band's last album, 2011's Move Like This.

MOVING IN STEREO: THE BEST OF THE CARS
Track Listing

1. "Just What I Needed"
2. "Since You're Gone"
3. "Let's Go"
4. "You Might Think"
5. "Shake It Up"
6. "Drive"
7. "Tonight She Comes"
8. "My Best Friend's Girl"
9. "Don't Tell Me No"

10. "You're All I've Got Tonight"
11. "I'm Not The One" - Single Mix
12. "Candy-O"
13. "Heartbeat City"
14. "Touch And Go"
15. "Moving In Stereo"
16. "Dangerous Type"
17. "Sad Song" - Zdar Mix*
18. "Everything You Say" - Live*
*Previously Unreleased

THE ELEKTRA YEARS 1978-1987

THE CARS (1978) SHAKE IT UP (1981)
1. "Good Times Roll"
2. "My Best Friend's Girl"
3. "Just What I Needed"
4. "I'm In Touch With Your World"
5. "Don't Cha Stop"
6. "You're All I've Got Tonight"
7. "Bye Bye Love"
8. "Moving In Stereo"
9. "All Mixed Up"

1. "Since You're Gone"
2. "Shake It Up"
3. "I'm Not The One"
4. "Victim Of Love"
5. "Cruiser"
6. "A Dream Away"
7. "This Could Be Love"
8. "Think It Over"
9. "Maybe Baby"
CANDY-O (1979) HEARTBEAT CITY (1984)
1. "Let's Go"
2. "Since I Held You"
3. "It's All I Can Do"
4. "Double Life"
5. "Shoo Be Doo"
6. "Candy-O"
7. "Night Spots"
8. "You Can't Hold On Too Long"
9. "Lust For Kicks"
10. "Got A Lot On My Head"
11. "Dangerous Type"

1. "Hello Again"
2. "Looking For Love"
3. "Magic"
4. "Drive"
5. "Stranger Eyes"
6. "You Might Think"
7. "It's Not The Night"
8. "Why Can't I Have You"
9. "I Refuse"
10. "Heartbeat City"
PANORAMA (1980) DOOR TO DOOR (1987)
1. "Panorama"
2. "Touch And Go"
3. "Gimme Some Slack"
4. "Don't Tell Me No"
5. "Getting Through"
6. "Misfit Kid"
7. "Down Boys"
8. "You Wear Those Eyes"
9. "Running To You"
10. "Up And Down" 1. "Leave Or Stay"
2. "You Are The Girl"
3. "Double Trouble"
4. "Fine Line"
5. "Everything You Say"
6. "Ta Ta Wayo Wayo"
7. "Strap Me In"
8. "Coming Up You"
9. "Wound Up On You"
10. "Go Away"
11. "Door To Door"
# # #

They did an album in 2011? How was it?

I have the cheapie box that has everything except Door to Door and I think I'm fine with that.

Master of Reality Deluxe Edition, with a bonus disc of outtakes never before released in US: some alternate lyrics, instrumentation (piano and slide guitar, for inst). I am curious purple on black:

http://www.amazon.com/gp/product/ref=pe_886930_164683530_pe_row1_b2/?ASIN=B018VEE4HQ

http://ecx.images-amazon.com/images/I/61PAUCh2D1L._SL1425_.jpg

Träd, Gräs och Stenar
Djungelns Lag + Mors Mors + Kom Tillsammans
(Available as 6 LP Box Set, 3 CD set, Digital Album)
April 8, 2016
Anthology Recordings

Listen to "Rocktrall" HERE. (blocked in US so far, but several Trad, Gras psych-outs on youtube)

Behold: Träd, Gräs och Stenar, the supreme Swedish leaders of TRANSCENDENTAL PSYCHEDELIC ROCK MUSIC.

"One of the best heavy-psych-improv-folk-blues-rock bands ever. Toss the tired Krautrock and supposed buried treasures of 'acid folk' and catch the True Communal Wave!" -Stephen Malkmus

They were from Sweden, they were pioneers of DIY culture, they jammed with force and purpose for 40 minutes back when “legendary” SF groups or German kraut rock bands were still struggling to get out of the upper single digits with dignity; they traveled with organic food they grew themselves, and cooked for everyone they played to; they made their own instruments, amplifiers and PAs before there was such a thing as a PA; they released records themselves, y’know back when the Dead were still on a major label. Had this band been from the USA rather than some provincial northern European nation… never mind, it’s too depressing to finish this sentence.

There was the occasional complex ingredient like a (home-brewed, natch) tremolo or fuzz pedal, but the way this band worked was incredibly simple: they’d show up, set up on some floor, or field, start up the generators, instruments, then begin to collectively tune themselves into the sphere we now know as TRANSCENDENTAL PSYCHEDELIC ROCK MUSIC. After that first meditative or explosive - or both - lengthy jam, they’d again take off, starting from a cover of "Mighty Quinn" or perhaps "Last Time", or one of their own compositions, often influenced by ancient Swedish folk songs, and leave the melody behind after a few verses and travel to places ‘beyond time and place’. It was a little like Ornette Coleman’s or The Velvet Underground’s live formula: you know the beginning and the end, but what exists between those two points is what makes life worth living: the magical improvised unknown.

Luckily Anthology Recordings recently invaded the home of Jakob Sjöholm, the youngest member of the original band. Going through his attic, we unearthed hours upon hours of unreleased live recordings from the time, from which we’ve selected a trove of truly unreal jams. And this is the material you will find on the third 2xLP, Kom Tillsammans (Come Together), an artifact only available in the deluxe 6LP boxed set, which is also chock full of choice ephemera no one has ever seen before.

Djungelns Lag and Mors, Mors were re-issued on CD back in 2002, but they’ve been out of print for years, were never available digitally, nor reissued on vinyl. The band toured the US briefly in 2004 and 2005. These were spellbinding concerts featuring the same classic line-up from the recordings you’re about to devour: Bo Anders, Jakob, Thomas Mera Gartz, and Torbjörn Abelli. Sadly, Torbjörn and Thomas have since passed away, but the band is actually still active today. And while Bo Anders isn’t part of it anymore, the singular force that is Reine Fiske from DUNGEN, is now a member.

You need to listen to this un-dogmatic and timelessly organic music, and then you need to spread the gospel. This is music that already exists within you, based on simple human truths and chords, grounded in the principle that instinct will always triumph over virtuosity. It is truly free and open and joyous music, as humble as it is ferocious. Träd, Gräs och Stenar simply is The Answer.

Available in the following formats:
Box Set (3, 2xLP) — Träd, Gräs och Stenar
ARC011 (2xLP) — Djungelns Lag (*avail for individual pre-order 1/26 + included in box set)
ARC012 (2xLP) — Mors Mors (*avail for individual pre-order 1/26 + included in box set)
ARC013 (2xLP) — Kom Tillsammans (*only avail w/ box set)
CD Box Set (3xCD) — Träd, Gräs och Stenar
Digital Album — Träd, Gräs och Stenar

So is Kom Tillsammans part of the CD box set? I assume since it's described as 3 CDs (for $20) it is, but the site is vague.

I wish someone would reissue their second album, Rock För Kropp Och Själ, on CD. I don't think it's ever been reissued at all. Maybe the tapes were lost?

Will ask about Kom Tillsammans. Meanwhile, Numero's update on their multi-genre/made-up categories Project 12 reissue series: subscription-only, vinyl-only:
http://www.numerogroup.com/sendy/w/EEQ92jG2hcZjNfJ82YS892Xw/PtzdMeEx763iy9sRJJjiM8ww/KmWBTmnj5Yo2R763JpK6763tYA
I posted initial news about some of those on RR 2015, but in the Wayfaring Strangers category, don't remember Tucker Zimmerman. David Bowie wrote about TZ here, commenting on fave obscuros from his record collection (tracks from each record are linked):
http://scallemang.ca/bowie25albums/

And of course that Cars box misses all the B-Sides and all the 12-Inch mixes.

Too bad about the Cars box - if they weren't going to include b-sides, alt. mixes, etc., why even bother doing it? It's not like any of those albums are hard to find.

Only the first three have been remastered, and even then that was like 15 years ago...the latter LPs were done in the '80s.

...but still, all the missing extras would fit on one disc, tops. It's not that hard catalogue managers!

THROUGHOUT FEBRUARY GREENSLEEVES REISSUES KEY '70S REGGAE & DUB TITLES FROM JAMAICAN MUSICAL MASTERMINDS GLEN BROWN, AUGUSTUS PABLO AND HORACE ANDY

Throughout February (Jamaica's Reggae Month), Greensleeves will honor reggae icons Glen Brown, Augustus Pablo and Horace Andy by reissuing their key titles from the 1970s era. Each collection has been revamped with crisp remastered sound as well as deluxe package with extended liner notes. These reggae must-haves will be available on all formats - including vinyl, CD and digital platforms.

On Feb 12, Greensleeves will reissue three crucial LPs - Boat To Progress, Check The Winner & Dubble Attack - from the seminal Jamaican singer and producer Glen Brown. The titles were originally recorded for his record label Pantomime between 1970-74 and released on Greensleeves in 1989. A quarter of a century later, they will be available on all formats (digital, vinyl and CD) completely remastered with an extended 12-page booklet (including the original liner notes written by Harry Wise) and artwork by Tony McDermott. Each album showcases Brown's diverse range of talents during the prime of his career. Brown was known for his distinct voice, which can be heard on Boat To Progress, the 14-track set showcasing Brown as both a singer and producer plus a variety of all-star vocalists. On Check The Winner, his instrumental dub selection, fans can hear his superb roots reggae productions and sublime dub B-sides. He had an appreciation for jazz music, hence the use of expressive horn sections throughout his work. The "Rhythm Master" also had a knack for deejay music (as seen on Dubble Attack), nurturing some of the top artists who adapted this new "toasting" vocal style in the 1970s. Dubble Attack is the ultimate deejay collection of carefully-selected songs that were recorded at Pantomime and engineered by King Tubby.

On Feb 19, Greensleeves reissues Augustus Pablo’s classic album Original Rockers. Pablo is the master of melodica and one of the most revered talents in reggae music. Greensleeves originally released the LP in 1979 and hand picked Pablo's best self-productions from his early days between (1972-75) - mostly consisting of well-received instrumentals and versions of older hits from Studio One. Original Rockers boasts Pablo's haunting melodica and includes flashes of his dub inspiration on standouts like "Rocker's Dub" and "Tubby's "Dub Song." The album is recorded in the legendary studio of the great reggae producer King Tubby. Reggae all-stars like guitarist Earl Chinna Smith, bassists Robbie Shakespeare and Aston Barrett and select vocalists like Dillinger and Hugh Mundell all shine on this collection.

Greensleeves will reissue Horace Andy’s 1977 In The Light and its Prince Jammy dub companion on the Jamaican Rastafarian singer’s birthday (Feb. 19). Horace Andy's profile is already legendary in reggae circles (known for his early 70s hits with Coxsone Dodd, Bunny Lee and more) and has been internationally raised by his work with British trip-hop legends Massive Attack in the 90s until present day. The In The Light collection, which is rightly regarded as one of Andy's strongest testaments, includes newly commissioned sleeve notes by Noel Hawks and exclusive photos in the packaging. In 1977, Horace Andy moved to Hartford, Connecticut from Jamaica and recorded this legendary album for Everton Dasilva. The two forged a musical partnership, but it came to an erupt stop two years later when Dasilva was murdered in NYC. In 1995, the revered label Blood & Fire also reissued this classic.

Game Theory - Lolita Nation out next week, 2/5/2016. Not sure why they skipped Big Shot Chronicles. http://omnivorerecordings.com/music/lolita-nation/

http://omnivorerecordings.com/wp-content/uploads/2015/12/Game_Theroy_Lolita_Nation_OV-136.jpg

The 1987 masterpiece—remastered and expanded!

When Game Theory emerged with their fourth full-length release in 1987, there was not only a new line-up of the band, but it took two LPs to capture all of the magic. Once again produced by Mitch Easter (R.E.M., Pavement, Let’s Active), Lolita Nation was the culmination of all that had come before, and pushed the boundaries farther than they had ever gone. Lolita Nation became their most critically acclaimed work—grabbing a Bay Area Music Award (BAMMY) nomination for Outstanding Independent Label Album in 1988. Revered for decades, and—sadly—out of print for many.

As Omnivore Recordings continues to reintroduce this seminal band to the masses, Lolita Nation now requires a second CD to collect alternate mixes, live recordings, and radio sessions. The original’s 27 tracks are joined by 21 bonus performances! In addition to the highly sought after 8 minute version of “Chardonnay” and alternate mixes of other album tracks, the bonus material features covers of David Bowie, The Modern Lovers, Sex Pistols, Elvis Costello, The Smiths, The Stooges, Joy Division, The Hollies, and Public Image Ltd. classics. Truly as eclectic and all-encompassing as Lolita Nation itself, and just as revolutionary.

Lolita Nation will be available on double CD, Digital and double LP (first pressing on translucent dark green vinyl, with black to follow). The LP contains a download card for the entire 48 track CD program. All formats feature new liner notes from Okkervil River’s Will Sheff, interviews with the band and original album contributors and previously unseen photos.

As the world reawakens to the incredible Game Theory, it is truly a new time and a new day. It’s time to return to Lolita Nation—if even for your first visit!

Looking forward to hearing that Miamis. I've had that exact version of Master Of Reality for years. I didn't even know it wasn't a US pressing, I didn't pay that much for it.

Lolita Nation is one of my all time fave albums, so yay for this!

Was wondering why the GT reissue campaign had stalled, and yeah, skipping Big Shot Chronicles is odd...

Lifetones...
http://lightintheattic.net/releases/2219-for-a-reason

The Game Theory reissues are trucking along. Real Nighttime was just last year.

Also picked up this for Kindle:
Don't All Thank Me At Once: The Lost Pop Genius of Scott Miller by Brett Milano (released Oct 30, 2015)
http://www.amazon.com/gp/product/B015NL4USS?redirect=true&ref_=kinw_myk_ro_title

and this:

Music: What Happened? by Scott Miller (2010)

https://cascade.madmimi.com/promotion_images/1149/4532/original/local_h_as_good_as_dead.png?1454520363

Local H Celebrating 20 Year Anniversary of 'As Good As Dead' LP with Vinyl Reissue, Out April 15; Pre-Orders Now Available

local h as good as dead
Local H will dig into their back catalog and release their breakthrough album 'As Good As Dead' on 180 gram vinyl on April 15th via srcvinyl, just in time for the album's 20 year anniversary. This re-issue marks the first time that the album will ever be available in this format. The high-quality, double LP will have a premium gatefold jacket and insert.

Limited edition 20th Anniversary vinyl reissue

Mastered for vinyl and lacquers created by Kevin Gray (Cohearent Audio)

Digital download featuring Demos and B-Sides

Full Color gatefold jacket with 11 x 22 Insert

Vinyl Color:

180 Gram Opaque Yellow (Limited to 500 Copies)

180 Gram Opaque Red/ White Swirly Haze (Limited to 500 Copies)

Local H will celebrate the 20th anniversary of their sophomore album by playing 'As Good As Dead' in its entirety during a weekend of hometown shows at Metro in Chicago on Friday, April 15th (18+ show) and Saturday, April 16th (all ages).

The two-man band will first play a short set of songs culled from last year’s widely praised album, 'Hey, Killer', along with music from their other six studio albums and EPs. After a brief intermission, they will return to the stage and play 'As Good As Dead' from start to finish. There will be no opening act. Individual show tickets and weekend packages, including entry to an intimate, acoustic set on Saturday afternoon, will be available.

'As Good As Dead', Local H’s second full-length album, was produced by Steven Haigler (Quicksand, Pixies) and was originally released on April, 16, 1996 on Island Records on CD and cassette. The record was the band’s first foray into making a concept album and is centered around life in a dead-end, small town. Venerable rock critic Robert Christgau gave the album a stellar A- review in the Village Voice, writing, at the time, “...I wish Pearl Jam, whose leader stars in the title song, packed such isometric power -- that sense of tremendous force bravely exerted against implacable reality -- and I say the exercise makes all of us stronger.”

“The question I get asked the absolute most is when are we gonna put the older records out on vinyl?” says Local H frontman, Scott Lucas. “Here's the answer -- in the best possible way. The package is looking pretty good and I'm ALMOST as excited as anybody to finally drop the needle on this album -- on double vinyl, at last.”

'As Good As Dead' spawned four modern rock radio hits including the above-referenced “Eddie Vedder,” “Fritz’s Corner,” “High-Fivin’ MF” and “that copacetic song” -- “Bound for the Floor,” a track that remains a staple on alternative radio station playlists around the the country two decades later. The band made videos for each of the singles.

Local H, whose members during this time period were Lucas and original drummer Joe Daniels, toured the U.S. non-stop for two years after As Good As Dead was released, headlining their own small and large club shows; opening for Silverchair in bigger venues and Stone Temple Pilots in even bigger arenas (including Madison Square Garden in New York and Rosemont Horizon in Chicago); and performing to audiences of thousands at radio station festivals across the the country, including 1997‘s HFStival at RFK Stadium in Washington, DC. They toured Australia and played some played some European shows on this album, as well.

Track Listing:

Side A

Manifest Density Pt. 1

High-Fiving MF

Bound For The Floor

Lovey Dovey

Side B

I Saw What You Did And I Know Who You Are

No Problem

Nothing Special

Side C

Eddie Vedder

Back In The Day

Freeze-Dried (F)lies

Fritz's Corner

Side D

O.K.

Manifest Density Pt. 2

Demo's (Digital Download Only)

1. High Fiving Mother Fucker (Million Yen demo)

2. Bound For The Floor (Million Yen Demo)

3. Lovey Dovey (Million Yen Demo)

4. Freeze Dried (F)lies (Million Yen Demo)

5. Nothing Special (Million Yen Demo)

6. No Problem (Million Yen Demo)

7. Eddie Vedder (Karaoke Demo)

8. I Saw What You Did And I Know Who You Are (Karaoke Demo)

9. Back In The Day (Karaoke Demo)

10. Fritz’s Corner (Karaoke Demo)

“The question I get asked the absolute most is when are we gonna put the older records out on vinyl?” says Local H frontman, Scott Lucas.

A question asked by Gen Xers with more money than brains.

local H ... i don't remember what they sound like, but i could do without ever seeing that lol 90s album artwork ever again.

Local H had a terrific late 90s single called "All the Kids Are Right," but that's the last time I ever paid attention to them.

(though if they lost my attention, it wasn't for lack of trying--I see on Wiki that they had a 2004 album called Whatever Happened to P.J. Soles?)

FELA RANSOME KUTI AND HIS KOOLA LOBITOS
HIGHLIFE-JAZZ AND AFRO-SOUL (1963-1969)
OUT APRIL 8, 2016 ON KNITTING FACTORY RECORDS

SEMINAL RECORDINGS COLLECTED FOR RELEASE
LISTEN: "It's Highlife Time" on SoundCloud
https://soundcloud.com/knittingfactoryrecords/fela-its-highlife-time

https://photos-5.dropbox.com/t/2/AADNPGNzHl0vOa-DvGjgZ9P2srWfQ0y9FpxICVzcmPA4og/12/491604411/jpeg/32x32/3/1454562000/0/2/FELA-koola_lobitos-900x900.jpg/ELqR0v4DGOMnIAcoBw/X9H58BXMFyvz__cARJPBl-c4jkMUWETUDy_N9TdQkO0?size_mode=5&size=32x32

+++

Fela Ransome Kuti is best known as the revolutionary pioneer of Afrobeat music. Born in 1938, Kuti spent his life as a trailblazer creating incendiary music and furthering radical politics. At the beginning of his musical career in the early '60s, Kuti formed his first band, Koola Lobitos. Koola Lobitos were the first expression of Kuti's incredible talent, the start of his musical evolution that led to the Afrobeat movement. As such, Knitting Factory Records is reissuing Highlife-Jazz and Afro-Soul (1963-1969), a collection of recordings that provide unique insight into the beginnings of Kuti's craft. This three-disc set lays bare Kuti's genius experimentation, honing his instincts while trying out new styles and combinations.

The musical style called Highlife first started in Ghana in the early part of the 20th century and spread throughout West Africa over several decades. Highlife melds elements of traditional African music and Jazz into an upbeat, danceable genre. One could understand Kuti's attraction to the mix of Jazz structures, syncopated guitar lines and off-beat drums.

Kuti's Koola Lobitos became a popular dance band in his native Lagos, Nigeria, recording many singles for local labels, Parlophone, Phillips and an album for EMI. The tracks on these recordings evolve from Highlife to soul to hints of what would become Afrobeat. The listener is able to witness the startling evolution of a man intent on finding his own voice and style. The collection encompasses three discs with Disc One focusing on singles, Disc Two on the album recorded for EMI and Disc Three on live and other recordings.

The liner notes, written by Michael E. Veal, Assistant Professor of Ethnomusicology at Yale University, point out: "The release of this collection of Fela Ransome-Kuti's pre-Afrobeat music is a major event for fans of both Fela's music and African popular music in general. Many of these recordings...were thought to be lost forever and certainly, were unknown to all but the most fervent Fela enthusiasts. Even these enthusiasts had to endure low fidelity tapes that had been copied over innumerable generations, from original recordings that were not themselves of the highest quality. What little has been known of Fela's highlife period has been largely due to the efforts of Mr. Benson Idonije, Fela's early manager and long-time proponent of his highlife music. With the recordings' sound quality now much improved, this comprehensive collection gives an overview into a period when one of Africa's finest musicians was attempting to find a style of his own. Thanks to the efforts of dedicated record collectors who assembled this compilation, a crucial and fascinating chapter of Fela's career is finally available to African music enthusiasts around the world."

Knitting Factory Records will release the three-disc set on April 8, 2016.

DISC 1
1. Bonfo
2. Fere
3. Onifere No. 2
4. Oyejo
5. Oloruka
6. Awo
7. Great Kids
8. Amaechi's Blues
9. Yese
10. Egbin
11. Orise
12. Eke
13. V.C. 7
14. I Know Your Feeling

DISC 2
1. Signature Tune
2. It's Highlife Time
3. Lagos Baby
4. Omuti
5. Ololufe
6. Araba's Delight
7. Wa Dele
8. Lai Se
9. Mi O Mo
10. Obinrin Le
11. Omo Ejo

DISC 3
1. Everyday I Got My Blues (Live)
2. Moti Gbrokan (Live)
3. Waka Waka (Live)
4. Ako (Live)
5. Ororuka (Live)
6. Lai Se (Live)
7. Onidodo
8. Ajo
10. Abiara
11. Se E Tun De
12. Waka Waka
13. My Baby Don Love Me
14. Home Cooking

Local H had a terrific late 90s single called "All the Kids Are Right," but that's the last time I ANYONE ever paid attention to them.

I do like how they point out their ubiquity at radio station concerts...seems like they were a perennial undercard at Buzzfests of yore.

BTW that Miamis collection is garbage. There's a reason why some bands were "lost." All the positive quotes from more famous CBGBs luminaries is clearly a case of you had to be there...on drugs. Many, many drugs. In retrospect, it's remarkable that more of those CBGBs bands were not just as terrible.

Still haven't listened to the Miamis, still hoping they won't be a waste. The Ork box (on Spotify) is much better that I suspected.

Dust On The Nettles: A Journey Through The British Underground Folk Scene 1967-72 has all the usual suspects, but also a number of performers and/or songs I hadn't heard of, on three discs. Podcast in here too:
http://shop.cherryred.co.uk/grapefruit-exd.asp?id=5079

Collection of Larry Levan mixes & edits, 2-CDs, out next month. He should write a book---immersed in Nicky Siano's The Gallery, early-mid '70s, later levitated Paradise Garage, etc. etc.:
http://www.factmag.com/2016/02/03/larry-levan-compilation-genius-of-time/

BTW that Miamis collection is garbage. There's a reason why some bands were "lost." All the positive quotes from more famous CBGBs luminaries is clearly a case of you had to be there...on drugs. Many, many drugs. In retrospect, it's remarkable that more of those CBGBs bands were not just as terrible.

― Fastnbulbous, Thursday, February 4, 2016 11:20 AM (2 days ago) Bookmark Flag Post Permalink

Glad I'm not the only one who thinks this. It's pretty cornball and not at all interesting.

He should write a book

Pretty sure he's dead.

Still,

I have to chime in on the Miamis . . . god, they are awful. They're kind of like Barry Manilow doing a stupid Beach Boys parody, only instead of Barry Manilow, it's Barry with his twin brothers singing along. Trying to write a jingle for the kind of rainbow suspenders that Mork of Mork & Mindy fame used to wear. Weak melodies, fumbling rhythm section, poor harmonies, no balls, energy or any spark at all. Honestly, it sounds like music that *could* have been the theme to Laverne & Shirley, but it was too lifeless. I'm sure they're swell guys - my explanation for the raves from their contemporaries, but I'm hard-pressed to think of a band who, on musical merits, is less worthy of 'discovery' decades after the fact. Glad I avoided this.

this is from late 2015, but...

http://i.imgur.com/Hpt3Ks4.png

Sony Legacy and Octave Music Publishing Corporation jointly released Erroll Garner's Complete Concert By The Sea on September 18, 2015 – in celebration of 60 years since the original concert.

The 3-CD box set contains the complete live concert recording including 11 previously unreleased tracks, the original Columbia release from 1956 (digitally restored and remastered) and bonus material including photos and interviews.

it still sounds like an amateur recording, but it's a huge improvement over the previous ('80s) remastering, and the bonus tracks extend it to more than double its original length.I know it was common practice to edit live sets down to LP length, but I can't believe Columbia sat on something like this for 60 years:

https://www.youtube.com/watch?v=UEN8pbFDMcE

Would def like to hear more where that classic LP came from, thanks for the news.

Flying Saucer Attack on vinyl (brace for Drag City newsletter prose, not too eyehurt this tyme)

David Pearce re-materialized last year with the beautiful Instrumentals 2015 and attracted all manner of attention - as one does when one emerges from self-imposed exile holding a glittering prize. Without warning he became part of the musical landscape once again, heralding a new phase of the project he initiated in the early 1990s. It was in the year of '92 that FSA were first sighted, high over the western skies of Bristol, UK. Flying Saucer Attack originally manifested in the form of 7" singles, shot through with noise sheets and touches of eastern-tuned psychedelics, hooded with shoegaze-inspired somnambulance.*

In '95, the nebulae aligned, the red giants went supernova and the black holes issued forth onto the Drag City label: the second [FSA album, Further, delivered deeper-focus textures with an increased acoustic presence that traded in new ways on the "rural psychedelia" label, sharing an encompassing access of space in doing so.Pearce's excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind's eye. The melodies beyond the noise reassure us that it's okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. Later in that same year,Chorus emerged - an icy blast of electric-band FSA that in no way revisited the wild-eyed pastures of the first album, but instead found refinements and experimented in new directions.

Further has been out of print on vinyl for the past decade. Chorus has been unavailable on LP since the golden days of CD (1998)! Re-acquaint yourselves with these exemplary classics on March 18th, or preorder them now!

*They don't quite clarify that initial singles incl. on self-titled debut album; also, discogs lists In Search of Spaces as second album proper(same tracks as or mostly same as Further?), with Chorus filed under compilations:
http://www.discogs.com/artist/66963-Flying-Saucer-Attack

"They don't quite clarify": they list the name of the group, but not in italics to indicate self-titled.

in search of spaces is a collage of live performances (edited by bruce russell, i think). never seen a copy of it, even when corpus hermeticum cds were in plentiful supply in the sales sections here. wish someone would reissue that!

Starting on the xpost Trad Gras Stenar box: so far so good, re dark x light themes distilled from Velvets and Dead; got the soulful vibe, with solos a bit cautious, but doggedly preceding uphill at the moment; keep at it, guys. Info upthread and here: http://www.anthologyrecordings.com/albums/tradgras/

They do have some variety so far: the opening VU/pre-Plastic People-type subway mood groove, the "Estimated Prophet" uphill venture, the hearty juice harp hop-around, now the proto-metal-boogie---but I won't live-blog the whole thing, I promise (uh-oh, kind of a "Gloria" riff-based fade-in, nice). But will they do anything really distinctive in these 4'46''? Got the spirit, anyway.

wait, what!?!? How are you hearing the trad gras boxset already??? and please do live blog!!!

vinyljunkie, did you get my reply to your email? If you're a reviewer, see contact info at anthologyrecordings.com

Bear Family Records Presents

Jerry Lee Lewis, The Collected Works

Holste-Oldendorf, Germany (February 5, 2016) – Jerry Lee Lewis and Sun Records are two terms that just go together naturally. For many years, if collectors wanted the entire Sun catalog of the singer, you would have to purchase several anthologies to complete the collection. Now, that mission has become a lot easier.

German-based Bear Family Records has just released Jerry Lee Lewis At Sun Records: The Collected Works, an eighteen CD & 2 book collection that tells the story of one of the most original and unique artists of all time. Spanning the years from 1956 until 1963, the set contains a staggering 623 tracks of Lewis at his piano-thumping greatness!

The set contains every surviving recording from the Sun master collection – and every single take! Included on the discs are such Lewis classics as “Crazy Arms,” “You Win Again,” as well as his two biggest hits, “Great Balls Of Fire,” and “Whole Lotta Shakin’ Goin On,” which topped the Billboard Country Singles chart in 1957 and 1958, respectively.

Lewis was born September 29, 1935 in Ferriday, Louisiana. With cousins that included Jimmy Swaggart and future Country superstar Mickey Gilley, music struck a chord in the singer at a very early age. His mother enrolled him in Southwest Bible Institute in Waxahachie, Texas, so he would be singing only Gospel and Inspirational songs, but was expelled for adding his own boogie-woogie touch to a version of the classic “My God Is Real.” Also unsuccessful was a trip he made to Nashville in 1955 to drum up interest in himself as a recording artist. However, executives in Music City turned Lewis away, suggesting that he might take up the guitar instead.

As it turned out, Lewis found his home at 706 Union Avenue in Memphis – the home of Sam Phillips’ Sun Records. The maverick producer loved the singer exactly the way he was, and quickly signed him to a record deal in November of 1956. By the mid-way point of 1957, Lewis was well his way to making musical history. “Whole Lotta Shakin’ Going On” became his first hit – peaking at No. 3 on the Hot 100. “Great Balls Of Fire” was next, and it became even bigger – spending four weeks at No. 2 on the hit parade.

Besides the hits Lewis cut for Phillips at Sun, many songs that you might not be aware the singer cut for the label are included in Jerry Lee Lewis At Sun Records: The Collected Works, including “I Forgot To Remember To Forget” (made famous by Elvis Presley originally, “I’m Throwing Rice” (a hit from the Eddy Arnold catalog), as well as “Be-Bop-A-Lula” (an iconic Pop hit from Gene Vincent.

The set – as well as the two books in the collection - follows the Lewis story through his controversial marriage to his first cousin once removed, Myra Gale Brown. Though the chart successes came to an end for the singer (save his 1960 raucous take on “What’d I’d Say”), Lewis continued to record for the label for several more years, recording such gems as “Money,” “I’ve Been Twistin,” and “Seasons Of My Heart.” The music also comes along with a pair of exclusive hardbound books – one with a complete Lewis On Sun discography, as well as another full of historical photos of the singer – many never published anywhere!

Jerry Lee Lewis At Sun Records: The Collected Works serves as an excellent companion piece to Mercury Smashes, a ten-CD set that Bear Family released in 2000, that chronicles the classic Country recordings of Lewis between 1968 and 1977.

Bear Family Records continues to plow new musical ground. For a detailed listing of all of their releases, go to www.bear-family.com

# # #

The Träd, Gräs guys don't remind me of the Dead much at all; they remind me more of Creedence in their jammier moments. Their primitivism and crudity is what draws me in. They really do seem (as they've stated in interviews) that they arrived at their sound organically and ignorant of what was going on elsewhere in the world (aside from the Stones, who they covered and completely demolished in the process - their version of "Satisfaction" sounds more like Keiji Haino's, with his band Aihiyo, than the original).

Dow, I didn't get your email and no, I'm not a reviewer, just an eager fan...

They are so much sloppier than creedence. Not a diss.

Suicide Squeeze 20th Anniversary, (new releases and) reissues:

...While it’s an exciting time for a label with an active roster, Suicide Squeeze is also taking the opportunity during their anniversary year to offer up old classics you might have missed the first time around. The lauded remix album Interpretaciones del Oso by Seattle’s indie guitar wizards Minus the Bear gets a long overdue vinyl reissue in 2016. Vitriolic art-core outfit These Arms Are Snakes will see a new vinyl edition of their swan song Tail Swallower & Dove. Pastoral pop duo Cotton Jones and Southern punkers The Coathangers will both reissue their Suicide Squeeze debuts, Paranoid Cocoon and Scramble, on LP. On the EP front, Suicide Squeeze is repressing the vinyl for Pedro The Lion’s Progress 2x7”, King Tuff’s Wild Desire 7”, Modest Mouse & 764-Hero’s Whenever You See Fit 12”, and Elliott Smith’s split 7” with Pete Krebs.

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CAROLINE K'S RARE, LONG SOUGHT AFTER NOW WAIT FOR LAST YEAR LP
TO BE RE-ISSUED BY BLACKEST EVER BLACK
OUT APRIL 26TH

This haunting and deeply narcotic work of post-industrial synthesizer music – the late Nocturnal Emissions co-founder’s only published solo record – has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time, the music seems to exist firmly outside of it.

Caroline Kaye Walters formed Nocturnal Emissions in 1980 with Nigel Ayers, contributing voice, synthesizer, bass and drum programming to the group’s early releases. She and Ayers also co-founded Sterile Records (1979-1986), one of the key underground imprints of its time, home to music from the likes of SPK, Lustmord and Maurizio Bianchi. In later life Walters retreated from the public eye, and in 2001 married Daniel Ayers (Nigel’s brother, also of Nocturnal Emissions, and her collaborator in The Pump), moving to Garfagnana, Italy, where she resided until her death from leukaemia on July 12, 2008.

Existing at some remove to the more abrasive textures of Walters’ collaborative work, there is an underlying sadness to Now Wait For Last Year; a wistful, autumnal atmosphere that feels quintessentially British. But the album is singular in concept, structure and tone, and it transcends genre: tags like industrial, minimal synth or proto-techno help place it in a broad context, but they can’t do real justice to the understated yet richly cinematic sound-world that Walters describes. She took the title of the album from a 1966 SF novel by Philip K. Dick, whose plot revolves around a pill-based hallucinogenic drug, JJ-180, which proves to be highly toxic and addictive – causing intense paranoia and the kind of intense withdrawal effects one would normally associate with heroin. Over the course of the book, it emerges that JJ-180 induces time travel for those who take it. But the effect is different for each user, no two trips the same: some users are sent to the past, others to the future, and each trip constitutes an alternate universe, meaning no one can effectively change their future or their past.

Walters captures beautifully the temporal distortions and existential malaise brought on by JJ-180. Side-long opener ‘The Happening World’ – twenty minutes of dread oscillations, distant howls and mystic glass-tones, all smothered in reverb – is a breathtaking exercise in sustained tension, and a vortical portal into Now Wait For Last Year’s uncanny domain. The wordless vocalisations and woodwind of ‘Animal Lattice’ sound like field recordings from the dawn of man, while stately piano lines evoke something more akin to Fin de siècle romanticism; ‘Chearth’, ‘Tracking With Close-Ups’ and ‘Leaving’ are poised between the dystopian and the beatific, their elegant, deep-frozen synthesizer melodies and crisp drum machine loops appearing to embrace the future, but struggling to conceal an intractable melancholy. It’s a remarkable sound from a remarkable artist: falling somewhere between Wendy Carlos’s A Clockwork Orange, Chris Carter’s The Space Between, and early Detroit techno.

Given the glut of reissues and archival presentations of 1970s and ‘80s synth, industrial and DIY music that we’ve enjoyed (and occasionally suffered) in the present decade, it’s astonishing that Now Wait For Last Year has remained, until now, largely out of reach. Were it not for Klanggalerie’s 2010 CD reissue of the album, we might never have encountered it at all (or featured ‘Animal Lattice’ on the very first Blackest Ever Black mixtape, The Scold’s Bridle), and so we’re delighted to be joining forces with that label in order to bring you the vinyl edition that so many of us have been waiting for.

LISTEN & SHARE: Caroline K - "Animal Lattice"
https://soundcloud.com/blackest-ever-black/caroline-k-animal-lattice/s-pz7I2

A1. The Happening World (20:48)
B1. Animal Lattice (4:56)
B2. Chearth (6:02)
B3. Tracking With Close-Ups (4:45)
B4. Leaving (2:37)

http://www.blackesteverblack.com

WOLFPACK: 1990s Trilogy Of LPs To Be Reissued Individually And In Box Set Form By Southern Lord; New WOLFBRIGADE Material On The Horizon

Southern Lord will be bringing back the furious early era of WOLFBRIGADE, the band then known as WOLFPACK, in a trilogy of reissues this April. The series will encompass the savage Swedish act's first three LPs -- A New Dawn Fades, Lycanthro Punk, and Allday Hell -- as well as a boxset including all three LPs and the remaining two EPs released before their name change. This marks twenty years since the release of their first two records; Bloodstained Dreams and A New Dawn Fades.

WOLFBRIGADE was one of the main factors in the renaissance of d-beat driven hardcore punk that ruled the world in the late 1990s and early 2000s, with a legion of bands and labels forming a globally recognized network of crushing momentum, siren-like leads and earnest anger sourced from political dissatisfaction and the need to build from the ground up a DIY system. WOLFBRIGADE's music stood at the forefront, in no small part down to their instantly identifiable brand of destructive riffing, riddled with chaos and ire, and with a fatally catchy tendency to structure tracks in a manner that kept the listener captive, slammed between a constant buffeting of high-speed verses and snappy choruses. Add to that their bare-bones intensity, underwritten by the storming d-beat drumming. The first three albums cemented their direct blasting approach and remain longstanding favorites, before their transformation at the turn of the millennium brought in darker tones and alternate directions.

On April 15th, Southern Lord will be running with the WOLFPACK to return to print A New Dawn Fades (1996), Lycanthro Punk (1998) and Allday Hell (1999), all of which will be available in LP format, or together in a special box set that also comes with the bonus 7"s Bloodstained Dreams (1996) and Hellhound Warpig (1997). Preorders will be available soon from the Southern Lord store.

Additionally, the present incarnation of the band, WOLFBRIGADE, will be once again teaming up with Southern Lord to bring to the masses their next full-length offering, which can be expected later on this year.

http://www.facebook.com/lycanthropunks
http://www.southernlord.com
http://www.southernlord.bandcamp.com
http://www.facebook.com/SLadmin
http://www.twitter.com/twatterlord

>ots of good-to-great stuff, 'bout time they brought it back again

https://soundsoftheuniverse.com/img/aTRvcElUeEZXYlZHZVZDUzVFOHgyZz09/sjr-lp328-ny-noise-slve.jpg

New York Noise 2016 Edition
Dance Music From The New York Underground 1977–1982
SOUL JAZZ RECORDS

This is the new 2016 edition of Soul Jazz Records’ long out of print first New York Noise collection, Dance Music From The New York Underground 1978-82.

This new 2016 edition features classic New York post-punk, punk funk and no wave tracks from Arthur Russell/Dinosaur L, James White and the Contortions, The Theoretical Girls, Mars, Konk, Material, Bush Tetras, Lizzy Mercier Descloux as well as new tracks by Alan Vega (Suicide), Chain Gang and Implog.

New 2×LP, also on CD, MP3

Tracklisting
1 The Dance – Do Dada
2 The Contortions – Contort Yourself
3 Theoretical Girls – You Got Me
4 Konk – Elephant
5 Mars – Helen Fordsdale
6 Dinoaur L – Clean On Your Bean #1
7 Chain Gang – Son Of Sam
8 Arto / Neto – Pini, Pini
9 Bush Tetras – Too Many Creeps
10 Alan Vega – Bye Bye Bayou
11 Mars – 3E
12 Konk – Baby Dee
13 Lizzy Mercier Descloux – Wawa
14 Material – Reduction
15 Bush Tetras – Can't Be Funky
16 impLOG – Breakfast
More Info & Audio
https://soundsoftheuniverse.com/sjr/product/new-york-noise-2015-dance-music-from-the-new-york-underground-1977-1982

http://files.ctctcdn.com/c58a551d001/70b28fda-0e81-46f6-a1c6-e18e6c2e3bae.jpg

The celebrated compilation series of long-lost vintage 60s-70s proto-stoner-psych singles, Brown Acid returns for a second edition this spring. Curated in partnership by L.A. retailer Permanent Records and RidingEasy Records, Brown Acid: The Second Trip will be released (fittingly) on April 20th. A new track, Crossfield's "Take It" is available to hear and share today:https://soundcloud.com/easyriderrecords/ash-midnight-witch/s-QHp32

Consequence of Sound recently premiered the first track, Ash's "Midnight Witch." Please see complete track listing below. Watch a rare clip of Ash performing "Midnight Witch" on Australian TV HERE.
https://www.youtube.com/watch?v=ZLTizSIITVk&feature=youtu.be

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century -- particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins - often hoarding them in private collections, or selling at ridiculous collector's prices. 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 Second Trip.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. 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.

"There's a long list of songs that we'd love to include," Barresi says. "But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us."

One song on The Second Trip actually never even saw light of day, until now. "Bell Park Loon" by Spiny Norman - sounding like Jethro Tull on more acid and heavier cider - languished in a collector's archives, unreleased for 38 years until Barresi and Hall arranged to license some of the collector's goldmine.

Brown Acid: The Second Trip opens with the squealing guitar harmonies and Sabbath plod of Ash's "Midnight Wish." Sweet Crystal's "Warlords" is a fuzzy and fierce Deep Purple/Arthur Brown inspired organ-led anthem. Raving Maniac's 'Rock and Roll Man" is a tight and brash glam-meets-metal tune proving the true potential of a genre later squandered on Sunset Strip poodleheads. "Silence of the Morning" by Glass Sun serves grungy psych while the Volt Rush Band merges MC5 frantic energy with razor-sharp guitar leads. And, Iron Knowledge's aptly titled "Show Stopper" features a breakbeat and incredibly infectious detuned bass warble motif that DJs would kill for - had anyone been able to find the tune back in the day. Throughout, The Second Trip is yet another wall-to-wall set of blazing tracks that feels like you've uncovered a holy grail. And, in a way, you have.

Brown Acid: The Second Trip will be available everywhere on LP, CD and download on April 20th, 2016 via RidingEasy Records. Pre-orders are available for digital (with immediate download of first single) at iTunes and Bandcamp, physical pre-orders at RidingEasy Records.

Artist: Various Artists
Album: Brown Acid: The Second Trip
Label: RidingEasy Records
Release Date: April 20th, 2016

01. Ash "Midnight Witch"
02. Sweet Crystal "Warlords"
03. Raving Maniac "Rock and Roll Man"
04. Crossfield "Take It" https://soundcloud.com/easyriderrecords/crossfield-take-it/s-ynBLL
05. Spiny Norman "Bell Park Loon" (Unreleased)
06. Glass Sun "Silence of the Morning"
07. Volt Rush Band "Love To You"
08. Buck "Long Hot Highway"
09. Iron Knowledge "Show Stopper"
10. Sonny Hugg "Daybreak"

Artist: Various Artists
Album: Brown Acid: The First Trip ALBUM STREAM
Label: RidingEasy Records
Release Date: August 11th, 2015

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"

Also:

Artist: Various Artists
Album: Brown Acid: The First Trip ALBUM STREAM
https://soundcloud.com/easyriderrecords/sets/brown-acid-vol-1-advance/s-4pOYu
Label: RidingEasy Records
Release Date: August 11th, 2015

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"

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Sorry for incl. Vol. 1 twice, but at least yall get the album stream

I am really loving that Erroll Garner reissue. So much good music.

Trailer for Numero's xpost White Zombie early years box:
https://www.youtube.com/watch?v=ypT7Yg2-rss

https://pbs.twimg.com/media/CbXBaaeWwAAr9Qm.jpg:large

Yeah, I'll buy that. (The CD version.)

A couple of resurrected tracks from the aforementioned sexual star rovers Lightstorm, "Let Your Astral Body Fly" and "Missionary Is Impossible" (plus new stuff by Rangda etc): https://soundcloud.com/drag-city

http://i2.cmail20.com/ei/i/07/41E/9FE/225730/csimport/img188_1.jpg

Yes it's true! 4 Brand new limited edition Studio One 45s. Classic Studio One, rarities and heavy dub - it's all here on these 4 brand new reggae 45s!

See them all here (more info/audio)
https://soundsoftheuniverse.com/sjr/

Earlier releases in this series still available. Yay Jackie Mittoo!

And now---thee Lightstorm trailer:

https://www.youtube.com/watch?v=ek80jelKK1o

Ilian
Love Me Crazy
April 29th
Anthology Recordings

Listen To "Hey Denise" HERE (with a special intro on the record from our friend/record guru: Paul Major.)

https://www.youtube.com/watch?v=K5cHVmTpO40

"The best songs in the world come from a feeling" - Ilian

Leon Nahat sat on a pier at Hermosa Beach with his guitar and noted how each wave was different. He saw birds fly above and got a feeling. He went right to a recording studio and put "Saturday Song" down in one take, a touchstone of the sole 1977 album Love Me Crazy by Ilian. However, getting "the feeling" is perhaps the easy part, presenting it in a contagious way is where the talent comes in.

Ilian (Nahat’s nickname) put together his first rock band, Fat Daddy Puck, in his hometown of Detroit, Michigan while he was still a teenager, circa 1970. Along with Doug Brown, Steve Marston, and Tom Fine, the band quickly built a local following playing all original material. When Ilian turned 18 years old, the band moved to Phoenix, Arizona and soon were among the most popular live acts in town.

Their next move was to Colorado where Tommy Bolin of the hard rock band Zephyr caught a show and flipped. Tommy became a good friend of the band and partying buddy. Soon Bolin left Zephyr for the James Gang and ultimately Deep Purple. Ilian got the call from Bolin to fill in on lead guitar for Zephyr at a big festival show headlined by the Allman Brothers and promoted by local legend Randy Crazyhorse. It went well — he recalls that he "buried them all, and their Marshall stacks, too" with his little Fender Pro amp. This led to him joining Zephyr for a time until lead singer Candy Givens decided he was drawing too much attention and should lay back, so he quit.

Anybody can throw a bunch of licks at your face. Communicating, telling the story is where it's at. Ilian was influenced heavily by the concise, innovative guitar moves on the '60s Yardbirds classics. Every note speaks, adds to the story the song is laying out. You can hear that in both his guitar tracks and the arrangements of his songs on Love Me Crazy. Not one dicey or stale move allowed, no horses beaten to death in pursuit of pop perfection. He moves fast and if it doesn't happen, he moves on to the next one. Brings 'em back alive.

Beyond the Zephyr adventure, Ilian backed Chuck Berry, Dottie West, recorded with the Cleveland Symphony Orchestra, worked with Keith of "98.6" fame, and much more. All the while he was recording his own songs and firing them off to record labels. Sadly, he sent twenty four songs to CBS Records in NYC that are lost forever, as he has no copies.

In bittersweet stroke of luck, he met up with a representative of Album World in the late '70s. Album World out of Nashville was a prime example of what is now called a "tax-loss label." They would press up tiny quantities of LPs with a goal of losing money on them to scam the IRS. Ilian actually sent them two albums of material, but only Love Me Crazy was issued. In the confusion, Album World actually mixed up the song titles so that they are incorrect on the rare original LP sleeve and labels.

The songs of Love Me Crazy LP were recorded at different times in different studios. They hang together so well because Illian moved fast and with his virtuosic guitar-playing guiding the way. His music sounds fresh and timeless today because the songs were captured quickly before the magic of inspiration faded.

Rather than self-consciously attempting to write a “hit," Ilian put down his feelings direct from his dome. The songs come from his real life. He's thinking about how cool his sister is and we get the delightful "Hey Denise.” He’s musing about the human condition and the amazing psychedelic song "See What You Can See" emerges. He calls it "pop rock with a groove,” perhaps because these rock gems literally "popped" out of his mind.

After Love Me Crazy was released, Ilian pursued non-musical endeavors. He founded a water systems business that allowed him to live the American Dream, making so much money he could hit the golf course by 1 pm each day. He is also a walking encyclopedia of numismatics, and turned this passion into a rare coin dealing operation with a shop and many wealthy clients. He bought a Frank Lloyd Wright house and parked a collection of limousines on the property. Unfortunately he got caught up in a multi-million dollar deal with shady characters, got ripped off and had to quit the business.

Despite the ups and downs of the real life and the fantasy of a career as a chart-topping rock star, Nahat is a positive man that continues making his exceptional brand of pop music with feeling to this day.

never heard of that one -- sample sounds pretty nice!

Manufactured Recordings Reissues
Million Dollar Ecstasy Out March 18th

Drawing from influences both expected (Michael Jackson, Prince, Quincy Jones) and unexpected (Kiss, Jackie Wilson and L.L. Cool J), this unique and seldom-heard record exhibits some of the most adventurous electro-funk sounds of its era, accompanied by colorful samples and bold instrumental flourishes. Lyrically, Perry’s songs illustrate the disparities he observed in the world around him at the time: the greed and projected opulence of ‘80’s Oakland street culture, as well as the darker implications of the crack epidemic of the time.

The enigmatic electro/synth funk artist known as Million Dollar Ecstasy is actually the work of multi-instrumentalist songwriter Schyl Perry. In 1987, Perry released this self-titled eight song private press 12” on the Sacred Light label.

Click Here to Stream Single "Going Down Tonight"
https://soundcloud.com/manufacturedrecordings-1/a1-going-down-tonight-v1/s-f2O4T?in=manufacturedrecordings-1/sets/million-dollar-ecstacy-st/s-YPJFL&mc_cid=aea101999f&mc_eid=591064d8e7

The album has experienced a renewed interest among collectors in the ensuing years, often fetching more than $150 for original copies. Manufactured Recordings is proud to make this lost classic available again for the first time in 28 years. This CD reissue includes all 8 original tracks, as well as never before released photos of Perry, liner notes and an interview conducted by noted hip-hop/ funk collector and columnist Chairman Jeff Mao, all of which are unique to this release.

Soundcloud still streaming tracks from that; gets better I think!

The Rough Guide To A World of Psychedelia

Out March 25

In the minds of most people, the psychedelic era lasted just a few short (though eventful and multi-coloured) years. As the Beat Generation of Burroughs, Kerouac and Ginsberg morphed into an LSD culture inspired by the writings of Timothy Leary and Aldous Huxley, bands like the Holy Modal Rounders and the Incredible String Band opened their minds not only to hallucinogens but to the sounds of Indian drones and middle-eastern musical modes.

However, while psychedelia appeared to have flatlined in Europe and the USA, its pulse remained perfectly healthy in other parts of the world. African bands layered fuzztone guitars over highlife beats and Indian sitarists responded to the appropriation of their instrument by creating totally new soundscapes. In parts of Latin America counter-culture politics went hand in glove with musical exploration while Cambodian pop artists borrowed the psychedelic trappings of their American counterparts.

This Rough Guide reflects many aspects of the global psychedelic sphere, not only from the sixties, but continuing through the decades and on into the 21st century.

Latin America heads up nine of the tracks on this collection. The 1960s and 1970s were typified by activist rebellion and bands of the day communicated their passion with heavy reverb and re-imagined trad percussion gone west. Laranja Freak from Brazil make ‘Frantic Psychedelic Music’ on ‘Alergico De Flores’. Colombian dance style cumbia was also adopted by vintage psychedelic troubadours Juaneco Y Su Combo. Modern interpretations come via Chilean 'cumbia-punk-psychodelia' outfit Anarkia Tropikal. Salsa and samba are, in turn, psychedelicized by Iuri Andrade and Bacalao Men.

In Africa, the 1960s and 1970s here were defined by clashing sensibilities and political optimism. Celestine Ukwu’s classic track mixes highlife with pedal steel guitar. Tanzanian group Milmani Park Orchestra are heard on horn-heavy ‘Taxi Driver’. Victor Uwaifo’s seminal 1966 ‘Guitar Boy’ tops off the mix.

During the 1970s drug culture wasn’t flooding India’s shores but the country was undergoing its own social transformation and a DIY garage band scene evolved. Ananda Shankar’s ‘Dancing Drums’ is a cult classic from this era. The Virji Shah brothers appear under their duo moniker Kalyanji - Anandji on the wonderfully bizarre ‘Cabaret Dance Music’. Cambodia’s psychedelic archive was almost eradicated during the time of the Khmer Rouge but the sounds live on via legendary balladeer Ros Serysothea and Yos Olarang’s ‘Cyclo’.

Track List
01 Ros Seresyothea: Jam 10 Kai Theit (Wait Ten Months More) 03:30
02 Ananda Shankar: Dancing Drums 05:22
03 Laranja Freak: Alergico de Flores 03:37
04 Anarkia Tropikal Feat. Los Chapillacs: El Silbido Del Tunche 05:14
05 Celestine Ukwu: Obialu Be Onye Abiagbunia Okwukwe 06:15
06 Traffic Sound: La Camita 02:45
07 Asha Bhosle And R. D. Burman: Piya Tu Ab To Aaja 05:22
08 Yos Olarang: Cyclo 04:28
09 Juaneco Y Su Combo: Perdido En El Espacio 03:23
10 Mlimani Park Orchestra: Taxi Driver 06:20
11 Iuri Andrade: Folia No Vento 04:08
12 Bacalao Men: Japones 04:28
13 Kalyanji - Anandji: Cabaret Dance Music (Instrumental) 02:35
14 Ray Pérez Y Su Orquesta: Recordando Los Soneros 02:24
15 Victor Uwaifo: Guitar Boy 05:41
16 Wal Sant’Ana: Que Vida É Essa 02:43
17 M.A.K.U. SoundSystem: Canto Negro 08:26

World Music Network
6 Abbeville Mews, 88 Clapham Park Road
London, SW4 7BX www.worldmusic.net

Tracks from that and other World Music Network clients streaming here:
https://soundcloud.com/world-music-network

ROUGH GUIDE TO BOTTLENECK BLUES

out Feb. 26

Whatever the worldly origins of using a glass or metal object to slide across the strings of a guitar, this style has become famously associated with the blues. For many of the finest early blues practitioners it was the ultimate mode of musical expression as it could emulate the sound of the human voice to great effect. Employing open tunings, guitarists would use anything that they could find to produce the desired sound, ranging from pocketknives to medicine bottles and even bones, but because using a broken bottleneck (without the sharp edges) was probably the most popular method, the term ‘bottleneck’ has endured.

The profound effect of the bottleneck style on the Mississippi Delta blues is demonstrated by legends such as Charley Patton, Son House and Bukka White. They were able to harness the heightened resonance and volume that it allowed, and create extraordinary effects such as that of a train whistle

Far away from the raw intensity of the Delta blues sound, both Barbecue Bob and Curley Weaver were prominent figures on the East Coast who displayed bottleneck finesse with an incredible rhythmic feel. Also from the East Coast, Darby And Tarleton were a white, early country music duo whose playing was heavily influenced by the Hawaiian guitar style popular in American mainstream culture at the time. The Genial Hawaiians (Jim & Bob) were native islanders of Hawaii before moving to the US to seek their fame. Many feel that the duo’s technique was never topped, which is clearly demonstrated by Bob Pauole’s (Bob) improvisational mastery on ‘Hula Blues’. The Hawaiian style was adopted by an important set of featured blues guitarists in the 1930s including Kokomo Arnold (Gitfiddle Jim), Casey Bill Weldon, Oscar Woods, Tampa Red, and Black Ace who incorporated the Hawaiian practice of playing long melodic lines, as opposed to a blues style defined by short, staccato riffs.

The truly magnificent Blind Willie Johnson serves a prime example of how country blues and gospel have long been intertwined this with his much covered opener ‘It’s Nobody’s Fault But Mine’, undoubtedly one of the finest bottleneck recordings ever made.

Also included are songsters such as Leadbelly, Gus Cannon and Furry Lewis who bridged the gap between the country blues and its earlier musical traditions and who show an adept use of the slide in their variations on classic country blues standards.

Track List
01 Blind Willie Johnson: It’s Nobody's Fault But Mine 03:09
02 Weaver And Beasley: Bottleneck Blues 02:52
03 Bukka White: Bukka's Jitterbug Swing 02:36
04 Curley Weaver: No No Blues 03:07
05 Casey Bill Weldon: Has My Gal Been Here 02:31
06 Barbecue Bob: It's Just Too Bad 03:11
07 Darby And Tarleton: Sweet Sarah Blues 02:57
08 Gus Cannon: Poor Boy, Long Ways From Home 03:09
09 Gitfiddle Jim: Paddlin' Blues 03:17
10 Bayless Rose: Frisco Blues 03:05
11 Oscar Woods: Don't Sell It - Don't Give It Away 02:55
12 Leadbelly: C.C. Rider 02:57
13 Jim And Bob (The Genial Hawaiians): The Hula Blues 02:30
14 Rev. Edward W. Clayborn: You Never Will Know Who Is Your Friend 02:44
15 Tampa Red: The Dirty Dozen No. 2 03:13
16 Son House: Dry Spell Blues - Part 1 03:06
17 Lemuel Turner: Jake Bottle Blues 03:10
18 King Solomon Hill: Tell Me Baby 03:22
19 Black Ace: You Gonna Need My Help Some Day 02:33
20 Bo Weavil Jackson: You Can't Keep No Brown 03:08
21 Blind Willie Davis: When The Saints Go Marching In 01:54
22 Furry Lewis: John Henry (The Steel Driving Man) – Part 1 02:51
23 Blind Willie (Joe) Reynolds: Married Man Blues 03:14
24 Charley Patton: Prayer Of Death - Part 1 03:02
25 Bobby Grant: Lonesome Atlanta Blues 02:57

Total Playing Time: 74:28

http://d31hzlhk6di2h5.cloudfront.net/20160229/37/ab/00/88/f66b38eeaf68514cb3fc6656_384x384.jp

FAT POSSUM RECORDS CELEBRATES 25 YEARS WITH
WIDE-RANGING YEARLONG BLUES LP AND DIGITAL SERIES
Mississippi label’s classic blues debut on vinyl in 2016

OXFORD, Miss. — Fat Possum Records, the Oxford, Mississippi-based label that set a new standard for raw blues and rock ’n’ roll, will commemorate its 25th anniversary with a year-long program including the first-time-on-vinyl release of 30 groundbreaking blues recordings.
The series, highlighting Fat Possum’s storied and varied history, includes new and first-time-on-vinyl releases from hard-hitting North Mississippi “Hill Country Blues” performers; stellar sides from past masters of the Delta style cut in the 1960s, ’70s, and ’80s, recorded by famed musical historian George Mitchell; classic compilations of juke joint blues-rockers; and a first-time-on-vinyl reissue of the acclaimed 2005 All-Star tribute to arguably Fat Possum’s second most famous bluesman, Junior Kimbrough, involving Spiritualized, Black Keys, The Stooges, and Pete Yorn.
Fat Possum was started in 1991 by Matthew Johnson using $4,000 in student loans. The label soon gained recognition with albums by North Mississippi bluesmen Junior Kimbrough and R.L. Burnside, produced by musician and former New York Times music critic Robert Palmer.
Starting with Kimbrough’s All Night Long, and followed by Burnside’s Bad Luck City, Fat Possum found itself landing a perfect one-two punch to the blues-rock establishment, finding just the right mix of commercial and critical success and — utter ire among the so-called blues purists. Releases that followed were an ear-opening experience for blues listeners. Eschewing rocked-up “contemporary blues” and directionless archival reissues, Fat Possum brought to the foreground a generation of hard-hitting blues musicians who had been hiding in plain sight for decades. With never a nod to the past, no evidence of nostalgia, the music wasn’t presented with a whiff of the folkloric — these were upside-your-head records that were made to blow the back off your shack.
Fat Possum’s original stars and some of its greatest discoveries will be available as part of its 25th-anniversary series. Kimbrough will be represented by a vinyl reissue of Meet Me in the City, released a year after the trance-blues master’s 1998 death.
T-Model Ford will be heard on a pair of ferocious sets cut in tandem with longtime drummer Spam: T-Model’s label debut Pee Wee Get My Gun (1997) followed by Bad Man (2002), the latter of which was produced by the venerated musician-producer Jim Dickinson.
The most down-home side of the Fat Possum roster will be represented in a cache of albums by some of the label’s most gifted solo performers: Robert Belfour (2000), Robert Cage (1998), Johnny Farmer (1998), and Asie Payton (2002). R.L. Burnside, perhaps the label’s best known and most revered artist, will be heard on a compilation of material recorded before his arrival at Fat Possum. R.L. Burnside’s Unplugged, packages never-before-heard sides recorded in Europe in 1982.
Music by these and other Fat Possum blues artists — plus offerings from house-rocking modern acts as Grandpa Boy (a.k.a. Paul Westerberg of the Replacements), Bob Log III, 20 Miles (featuring Judah Bauer of the Jon Spencer Blues Explosion), Heartless Bastards — will be released on vinyl and digital editions of the label’s three Not the Same Old Blues Crap anthologies (from 1997, 2001, and 2004) and the compilation All Men Are Liars (1998).
Fat Possum-affiliated label Big Legal Mess will offer a selection of ten LPs and full-length downloads drawn from George Mitchell’s genre defining fieldwork, recorded between 1963 and 1982. Some of the material has been unavailable in its entirety since its original 12-inch release. Artists include such masters as Furry Lewis, Buddy Moss and Houston Stackhouse.
Additionally, John Lee Hooker’s Alone, a 1976 solo live set by the Detroit blues titan captured at New York’s Hunter College, will make its appearance on two individual LPs. Also premiering on vinyl will be Sunday Nights, the 2005 Kimbrough salute starring the Black Keys (whose own Fat Possum albums put them on the map), Iggy & the Stooges, Spiritualized, Cat Power, Mark Lanegan, and a host of other top rock ’n’ roll talents.
Since its outset two-and-a-half decades ago, Fat Possum’s operating motto has been “We’re Trying Our Best.” This celebratory cavalcade will prove definitively that its pretty damn good.
Complete Fat Possum Anniversary Release Schedule
Released in 2015:
Oct. 2 - Not the Same Old Blues Crap 1 LP
Oct. 30 - J.W. Warren – Life Ain’t Worth Livin LP / Digital
Oct. 30 - Jimmy Lee Williams – Hoot Your Belly LP / Digital
Nov. 27 - Buddy Moss – self titled LP / Digital
Nov. 27 - Not the Same Old Blues Crap 2 LP
To be released in 2016:
January 8 - Leon Pinson – Hush – Somebody Is Calling Me LP / Digital
February 19 - Not the Same Old Blues Crap 3 (Blues Crap 1 & 2 in the UK Also)
April 8 - Furry Lewis – Good Morning Judge LP / Digital
April 8 - Houston Stackhouse & Friends LP / Digital
April 16 - Sunday Nights: The Songs of Junior Kimbrough Record Store Day LP
April 16 - Junior Kimbrough – I Gotta Try You Girl Daft Punk Edit Record Store Day LP
May 06 - R.L. Burnside - Mississippi Hill Country Blues LP
May 20 - John Lee Hooker - Alone Volume 1 LP
May 20 - John Lee Hooker - Alone Volume 2 LP
May 27 - T-Model Ford - Pee Wee Get My Gun LP
May 27 - T-Model Ford - Bad Man LP
June 10 - Jim Bunkley & George Henry Bussey LP / Digital
June 10 - Junior Kimbrough - Meet Me in the City LP
June 24 – R.L. Burnside (unreleased recordings)
July 15 - Asie Payton - Just Do Me Right LP
July 15 - Robert Belfour - What's Wrong With You LP
July 22 - All Men Are Liars Compilation CD / LP / Digital
Aug. 17 - Jimmy Lee Harris – I Wanna Ramble LP / Digital
Aug. 17 - Robert Cage - Can See What You're Doing LP
Sept. 9 - Johnny Farmer - Wrong Doers Respect Me LP
Oct. 7- Dewey Corley & Walter Miller LP / Digital
Oct. 7 - Paul “Wine” Jones - Mule LP
# # #

i've been going down the George Mitchell rabbit hole lately, tons of amazing music. that box set from a few years back might be the deal of the century.

Numero National Record Store Day releases:

NUM203.5 Blonde Redhead: Peel Sessions 7”

On June 7, 2000 Blonde Redhead stepped into the BBC’s Radio 1 Yalding House studios for what would be their sole Peel Session, a setting particularly important as it inspired the namesake of one of this 7” single’s two songs. “Where is John?” a nervous producer asked again and again, pacing the room, unable to locate the revered radio host, as a warmed up Blonde Redhead waited patiently.

The trio’s affection for Peel dated to a very early tour in 1995, when they were lost among the tumbleweeds of a barren Texas landscape. As the band turned the crackling radio dial, the celebrated radio presenter’s Northern English accent suddenly piped through their van’s speakers with high praise for the track "Violent Life" from their recently released sophomore LP, La Mia Vita Violenta. This unexpected bit of encouragement from Peel helped give the young, extremely road weary and relatively unknown trio the confidence and validation to press on in what had proven to be an arduous road expedition. Five years later, the seasoned threesome eventually played live for Peel's show, and it seemed only fitting that the they christen a brand new, yet-to-be-titled song after their only session with the man held deep in their collective heart. Remastered and released here for the first time on vinyl, “Where is John?” b/w “Missile ++” speaks not only of a band in the prime of their celebrated sound, but also of the people who helped along the way. Limited edition of 2000 copies (1000 black, 1000 white).

All this is leading up to our Blonde Redhead boxset this fall, details of which will be announced in the coming months.

NBR-006 Los Alamos Grind LP/CD

Record buyers of a certain age need no explanation for Los Alamos Grind!, they will be immediately transported back to a time when going to see The Dwarves was de rigueur for fresh-faced American youth, books like Apocalypse Culture were on everyone’s nightstand, and issues of Rollerderby were available everywhere, selling millions of copies. A natural reaction to this onslaught of hypersexual, transgressive, post-Throbbing Gristle art was a wave of interest in a kinder, gentler era of sleaze. For those space-age bachelors who occasionally invited others into their space-age bachelor- pads, the Las Vegas Grind series appeared to, ostensibly, compile the sounds and smells of vintage strip clubs, with all the pastie-twirling, sweaty-hip-gyrating, lap-grinding one could hope for, as if compiled by Lloyd Llewellyn himself. Like every bootleg series, however, the Las Vegas Grind series slid quickly into the untold darkness, much like a rotted-stripper panty swept off the stage at The Can Can.

Los Alamos Grind! picks up in the not-too-distant future where nuclear war has indelibly altered the physical structure of strippers and patrons alike, but the jukebox selections have returned to a simpler time. Join the time-traveling A&R men of Numbero as they simultaneously visit past and future, compiling a superior collection of sleaze than anything brought to the post-apocalyptic-bachelor-pad scene thus far. And because we are gentlemen and scholars, each track is licensed… no easy feat when the government has crumbled and all laws are dictated by treaties between mutant warlords (and warladies). Quantity limited to whatever we were able to cram into our fallout shelter…help us make room for more canned goods!!

Includes an original comic penned by Doofus creator Rick Altergott. 1000 copies pressed on silver plastic compact disc. 1000 copies pressed on alien urine blue vinyl, 1000 copies pressed on galaxy black vinyl.

6th Annual Chicago
Pop Up Store!

On Saturday, April 16th we’ll return to that little triangular strip at Kedzie/Milwaukee/and Logan Blvd. for our sixth annual pop up store. In addition to an assortment of trusted dealers shucking used 45s and LPs, we’ll have every in-print Numero LP, CD, 45, and whatever other miscellaneous debris we can find on hand at the lowest prices we can afford to sell them at. As an exclusive to our store we’ll be selling an extremely limited edition cassette featuring the earliest recordings from the original torchbearers of Chicago’s rap underground. We’ll also have copies of Rick Altergott’s Los Alamos Grind! as a tract comic, free with any purchase. And, as has been a staple of our sales, we’ll be unloading hundreds of LPs with dinged corners at prices just barely above cost. Condition freaks need not browse these bins, but those looking to round out their Numero collection on the cheap should be sure to bring ample time and cash.

The details:

Numero Group Pop-Up Extravaganza
Saturday, April 16th 2016
10AM-5PM
Comfort Station
2579 N. Milwaukee Avenue
Chicago, IL 60647
Cash/Credit/Interesting trades accepted

3rd Annual Brooklyn
Pop Up Store!

A few days after Record Store Day we’ll pack several thousand records in a rented van and head east. In years past we’ve spent three days hustling our wares at Human Gallery located at Meserole and Manhattan Avenue in Greenpoint. With Human’s closing last year, we’ve moved the whole operation a few blocks north to 170 Franklin where we’ll cram ourselves and several tons of wax into 400 square feet for four days. We’ll have copies of Los Alamos Grind!, Blonde Redhead, and that secret Chicago rap tape mentioned to the left, alongside damaged stock, posters, t-shirts, and all other manners of branded garbage that we’ve manufactured over the last 13 years. Those brave enough to approach our founders Rob Sevier and Ken Shipley can expect tales from the trenches in exchange for coffee and treats.

The details:

Numero Group Pop-Up Extravaganza
Thursday, April 21st 2016
5PM-10PM
Friday, April 22nd 2016
12PM-8PM
Saturday, April 23rd 2016
12PM-8PM
Sunday, April 24th 2016
12PM-5PM
170 Franklin Street
Brooklyn, NY 11222
Cash/Credit/Interesting trades accepted

Won't let me paste, but looks promising:

https://www.bear-family.com/various-the-knoxville-sessions-1929-1930-4-cd-deluxe-box-set.html

https://www.bear-family.com/media/image/thumbnail/the-knoxville-sessions-1929-1930_a56d5d9dfd1d0d_720x600.jpg

http://cdn.beggars.com/fourad/site/images/artists/desktop_header/lush.jpg

Record Store Day LP Boxset 'Origami'
2nd March 2016
To coincide with Lush’s first live shows in almost twenty years a limited LP boxset, collecting the band’s five albums released between 1990 and 1996 on 4AD, will be released as part of Record Store Day on 16th April 2016.
Entitled Origami, the box contains the group's three albums Spooky (1992), Split (1994) and Lovelife (1996) and the singles compilations Gala (1990) and Topolino (1996). All have been out of print since the nineties except Topolino, which has never before been available on vinyl.
All five LPs are being pressed on a different colour of vinyl and will come housed in a beautiful laminated box as designed by long-time associate and former v23 collaborator Chris Bigg. Download codes for each album are also included in the boxset. The full tracklisting for Origami:

Formats: LP
A1. Sweetness And Light
A2. Sunbathing
A3. Breeze
A4. De-Luxe
A5. Leaves Me Cold
A6. Downer
A7. Thoughtforms (Second Version)
B1. Babytalk
B2. Thoughtforms
B3. Scarlet
B4. Bitter
B5. Second Sight
B6. Etheriel
B7. Hey Hey Helen
C1. Stray
C2. Nothing Natural
C3. Tiny Smiles
C4. Covert
C5. Ocean
C6. For Love
D1. Superblast!
D2. Untogether
D3. Fantasy
D4. Take
D5. Laura
D6. Monochrome
E1. Light From A Dead Star
E2. Kiss Chase
E3. Blackout
E4. Hypocrite
E5. Lovelife
E6. Desire Lines
E7. The Invisible Man
F1. Undertow
F2. Never-Never
F3. Lit Up
F4. Starlust
F5. When I Die
G1. Ladykillers
G2. Heavenly Nobodies
G3. 500
G4. I’ve Been Here Before
G5. Papasan
G6. Single Girl
G7. Ciao!
H1. Tralala
H2. Last Night
H3. Runaway
H4. The Childcatcher
H5. Olympia
I1. 500 (Shake Baby Shake)
I2. I Have The Moon
I3. Ex
I4. I Wanna Be Your Girlfriend
I5. Matador
I6. Outside World
J1. I'd Like To Walk Around In Your Mind
J2. Carmen
J3. Shut Up
J4. Cul De Sac
J5. Demystification
J5. Tinkerbell

https://s3-eu-west-1.amazonaws.com/cdn.beggars.com/fourad/site/images/releases/packshots/56d5c52828ff6.jpg

Them lemons looked a lot bigger over here

or whatever they are

Blackest Ever Black presents a new vinyl edition of Af Ursin’s 2005 masterpiece Aura Legato, and its first outings on CD and digital formats.

Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. He began his musical activities in the mid-1980s, co-founding the Noise-Maker’s Fifes collective with Geert Feytons in ’89. During the ’90s he developed his solo work under the name Af Ursin, before establishing his private press, La Scie Dorée, in 2001. It continues to act as the main platform for his own music, including regular collaborations with Christoph Heeman (as In Camera) and Andrew Chalk (as Elodie), while his other label, Metaphon (run with Marc Wroblewski and Greg Jacobs), is focussed on archival presentations from the likes of Michael Ranta, Joris de Laet, and IPEM.

Van Luijk’s work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Informed by years of intensive listening to various types of free music, exploratory drug use and especially the “irregular organic forms” of the Belgian countryside where he resides, van Luijk’s process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Over time he has evolved his own richly poetic musical language, full of allusions to drone, acid folk, classical, Musique concrète and jazz, but beholden to none.

Originally released on La Scie Dorée in 2005, in an edition of 350 copies, Aura Legato is one of van Luijk’s darker and more acutely psychedelic offerings. It’s a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence – dabblings in Thelema, the fog of the opium-den – and has earned telling, if inadequate, comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS. Fully remastered by Noel Summerville, the album has never sounded better, and our vinyl edition replicates the original’s ornate presentation: sleeve die-cut in the style of a 78rpm record, with gold detailing and individually hand-glued labels. Due to be released in May 2016, we urge you to acquaint yourself with what is, unmistakeably, a modern classic.

LISTEN & SHARE: Af Ursin - "Tableau Fluide"
https://soundcloud.com/blackest-ever-black/af-ursin-tableau-fluide

In the 60s, Dr. Spock was cited by some right-thinking thinkers for his pernicious influence on thee rising peacenik tide of Baby Boomers, even before he and his wife turned up at antiwar events (think they're there for levitation of the Pentagon, in Armies of the Night). Never heard of this one!

Drag City presents a newly-unearthed artifact from the long history of The Red Krayola: 1984's previously-unheard Baby and Child Care! Every year, we discover in our society the injustices of history in many and myriad forms. Surely among the most profound realizations of 2016 will be that the heads of (record) industry circa 1984 did not hear a fantastic new release when the tapes for Baby and Child Care were played to them! Grooving sinuously in prime mid-80s form in a production redolent with funk, dub and new-wave inflections, Baby and Child Care is of a musical vintage whose dry complexity is even more appreciable today.

The revolutionary advice found within The Common Sense and Baby Child Care opened doors in the mid-40s that are widening still; at the time of this album project, it had influenced a generation or two of generally young parents.When presented with the lyric qualities of Dr. Spock's psychoanalytic texts, passages of which had been transposed by Art & Language's Michael Baldwin and Mel Ramsden, Mayo Thompson immediately set them to music. The Red Krayola "Black Snakes" band provided musical accompaniment in performances recorded by Eric Radcliffe at Blackwing Studios in London. Thirty-two years later, the conversant playing and production approach of Baby and Child Care comes across with an enduring completeness that belies its position on the shelf for the past several decades.

Standing tall next to the already-known classics of early-80s Red Krayola, from Kangaroo? through Three Songs on a Trip to the United States, Baby and Child Care drops into the hands of parents and progeny alike on May 13th!

http://www.dragcity.com/artists/the-red-krayola"> http://www.dragcity.com/artists/the-red-krayola

John Stuart Mill

Forget Everything

Scioto Records

19 February 2016

* 1999 Solo album from John Schmersal (Brainiac, Enon, Crooks on Tape, Vertical Scratches and touring member of Caribou)
* First time on vinyl
* Vinyl cutting by Adam Boose at Cauliflower Audio in Cleveland, Ohio from the original master

John Schmersal is an American musician, producer, composer best known for being a founding member of the band Enon, as well as the guitarist for the seminal Dayton, Ohio indie-rock group Brainiac.

In 1997, Schmersal found himself without a band. Brainiac had broken up following the tragic death of frontman Tim Taylor, so he recorded a solo album on a 4-track machine at an old Masonic Temple in Kentucky. Released in 1999 on CD by SeeThru Broadcasting under the pseudonym John Stuart Mill, the title, “Forget Everything” was an homage to Brainiac song of the same name.

Describing the record now, Schmersal says, “I was starting to hit a wall as a guitar player in Brainiac. I wanted to do something almost polar opposite of those constructs. I made “Forget Everything” in a kind of bubble. I was sort of escaping into the process. I didn’t want to play those songs live or even try. It just seemed like I couldn’t turn myself off and be the vessel for that material.” Shortly after its release, Schmersal went on to form Enon, releasing a series of acclaimed records that blend pop melody and electronic art rock.

Largely ignored at the time, “Forget Everything” now stands as the missing link between Brainiac and Enon. The recording process was unfiltered, as Schmersal quickly translated songs to tape.

In a recent interview for Blurt, he compared it to his work with Vertical Scratchers: “Both records are intimate. The songs are introspective.”

Foghat: The Complete Bearsville Albums Collection (13CD)

Came across this one on Amazon a few days ago. It's pretty much like the other Warner distributed complete box sets that have been coming out. Price is pretty good for a 13 disc collection and probably will be $10-20 bucks less after it has been out a few weeks. It's pretty much everything they put out 72-83 for Bearsville. (There is a simliar Todd Rundgren Bearsville set also out.)

http://www.amazon.com/Complete-Bearsville-Albums-Collection-13CD/dp/B01C4WGNV6/ref=sr_1_1?ie=UTF8&qid=1457137481&sr=8-1&keywords=foghat+bearsville

Edsel has/had that Foghat stuff out as remastered twofers (and a final threefer) that weren't super expensive, certainly in line with the box price if you were a smart shopper.

They did the Rundgren stuff too, but his set looks like a steal at $52.

I think I need that Foghat box.

I'd figure the Foghat box will be around the same price as the Rundgren after it is out for a couple weeks. I got that UFO one for like $25 bucks a few months ago.

I love theses complete album sets. They really should have been putting these things out at this price point back in the day, they would have sold boodles of them.

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/081227952334.jpg

BAD COMPANY: LIVE 1977 & 1979

Double-CD Set Is The First-Ever Official Live Album To Feature The
Band's Original Line Up And Includes Two Previously Unreleased Concerts

Available From Rhino On April 29

'One Hell Of A Night' Co-Headlining North American Tour Kicks Off On May 12

LOS ANGELES - Despite its reputation as one of the most exciting live bands to ever rock an arena in the Seventies, Bad Company never released a live album during its meteoric rise to the top of the charts. That will soon change when Rhino introduces the first-ever official live album to spotlight the original Bad Company line up: Paul Rodgers, Mick Ralphs, Simon Kirke and Boz Burrell.

LIVE IN CONCERT 1977 & 1979 will be available on April 29 as a double-CD set for a suggested retail price of $19.98. The collection includes more than two-and-half hours of unreleased music taken from 24-track tapes in the band's vault. The music heard on this live collection features absolutely no enhancements or overdubs, nothing but the band as they performed live on the night of the concert. Vinyl fans take note: the concerts will also be released individually as double-LP sets later this year.

LIVE IN CONCERT 1977 & 1979 includes two previously unreleased concerts - with one additional track taken from the group's June 26, 1979 show in Washington, DC.

The first disc captures the band's show at the Summit House in Houston, Texas, which took place on May 23, 1977. It was recorded during Bad Company's tour supporting its fourth studio album Burning Sky. After opening with the title track from the album, the band went on to play selections from all its previous albums: Run with the Pack (1976), Straight Shooter (1975) and Bad Company (1974). Among the crowd-pleasing highlights are strong performances of "Shooting Star," "Ready For Love," "Good Lovin' Gone Bad" and "Feel Like Makin' Love."

The next disc fast-forwards two years to the band's March 9, 1979 show in London, which was recorded during the band's tour for its multi-platinum album, Desolation Angels. Several songs from that album were performed during the show, including "Rock 'n' Roll Fantasy," "Gone, Gone, Gone" and "She Brings Me Love." The group also performed several songs from earlier albums that weren't part of the 1977 concert, like "Run With the Pack," "Rock Steady" and "Can't Get Enough."

LIVE IN CONCERT 1977 & 1979 also includes the band's stellar cover of "Hey Joe," which was recorded on March 9, 1979 at the Capitol Center in Washington, DC.

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

LIVE IN CONCERT 1977 & 1979
Track Listing:

Disc One: Live at The Summit, Houston, Texas (5/23/77)
1. "Burnin' Sky"
2. "Too Bad"
3. "Ready For Love"
4. "Heartbeat"
5. "Morning Sun"
6. "Man Needs Woman"
7. "Leaving You"
8. "Shooting Star"
9. "Simple Man"
10. "Movin' On"
11. "Like Water"
12. "Live For The Music"
13. Drum Solo
14. "Good Lovin' Gone Bad"
15. "Feel Like Makin' Love"

Disc Two: Live at The Empire Pool, Wembley, London (3/9/79)
1. "Bad Company"
2. "Gone, Gone, Gone'
3. "Shooting Star"
4. "Rhythm Machine"
5. "Oh, Atlanta"
6. "She Brings Me Love"
7. "Run With The Pack"
8. "Evil Wind"
9. Drum Solo
10. "Honey Child"
11. "Rock Steady"
12. "Rock 'n' Roll Fantasy"
13. "Hey Joe"*
14. "Feel Like Makin' Love"
15. "Can't Get Enough"
* Recorded at Capitol Center, Washington, DC (6/26/79)

Bad Company Tour Dates:

5/12/2016 - Dallas, TX @ Gexa Energy Pavilion
5/15/2016 - Morrison, CO @ Red Rocks Amphitheatre
5/17/2016 - Concord, CA @ Concord Pavilion
5/18/2016 - Chula Vista, CA @ Sleep Train Amphitheatre
5/20/2016 - Los Angeles, CA @ The Forum
5/22/2016 - Phoenix, AZ @ AK-Chin Pavilion
5/24/2016 - The Woodlands, TX @ The Cynthia Woods Mitchell Pavilion
5/26/2016 - New Orleans, LA @ Bold Sphere Music at Champions Square
5/28/2016 - Tampa, FL @ MidFlorida Credit Union Amphitheatre
5/29/2016 - W. Palm Beach, FL @ Cruzan Amphitheatre
6/7/2016 - Darien Center, NY @ Darien Lake Performing Arts Center
6/9/2016 - Mansfield, MA @ Xfinity Center
6/11/2016 - Holmdel, NJ @ PNC Bank Arts Center
6/12/2016 - Camden, NJ @ BB&T Pavillion
6/14/2016 - Wantagh, NY @ Nikon At Jones Beach Theater
6/16/2016 - Noblesville, IN @ Klipsch Music Center
6/18/2016 - St Louis, MO @ Hollywood Casino Amphitheatre
6/20/2016 - Kansas City, MO @ Starlight Theatre
6/22/2016 - Clarkston, MI @ DTE Energy Music Theatre
6/23/2016 - Chicago, IL @ FirstMerit Bank Pavilion
6/26/2016 - Cuyahoga Falls, OH @ Blossom Music Center
6/28/2016 - Pittsburgh, PA @ First Niagara Pavilion
6/30/2016 - Charlotte, NC @ PNC Music Pavillion
7/3/2016 - Nashville, TN @ Carl Black Chevy Woods Amphitheatre
# # #

Too bad they were already on the slide, quality-wise, by album #3 and these recordings are from even later than that. Would much rather have heard stuff from 1974-75.

Oh yeah. Hope there are decent show tapes out there, hadn't thought to look.
Meanwhile, after many diversions, I'm on the home stretch of the xpost Trad, Gras box; it's pretty strong now. I dig that they get into shaping one note, with enough sustain, twangbar etc. for carving, without worshipping thee thing. When they do that and keep a groove, can be fairly involving. But as an overview, as I said on their own thread:

Been making my way through the box for several days, off and on--so far (heard about 3/4), about an hour's worth really grabbed me, but the rest either starts well, then loses the momentum, or fades out too soon, or seems utterly predictable, in that jam band way, from any era--or just seems inconsequential, at least to non-specialist ears (that nevertheless have listened to lots and lots of jams, in my case). But I'll keep listening; it ain't painful (I've heard much, much worse).

Going to be more like 90 minutes than an hour of personal keepers after all, but out of 4 hrs.-plus---so still rec more to confirmed fans than newcomers, unless there's a sampler coming up, or reissues of individual albums.

―

http://mvdb2b.com/i/300dpi/MVD8129LP.jpg

Johnny Winter With Dr. John "Live In Sweden 1987"
coming to DVD, CD, Vinyl, and Digital Formats
on April 22 via MVD Entertainment Group

https://soundcloud.com/mvdentertainmentgroup/johnnywinter-drjohn-liveinsweden-sound-the-bell

t's been around since the bygone days of VHS and there have been bootlegged DVD editions floating around the globe (even from Japan) of dubious quality, but now fans of Blues legend Johnny Winter can rejoice with the release of Johnny Winter With Dr. John - Live In Sweden 1987 available on DVD, CD, vinyl, and digital formats on April 22nd.

Recorded live at the famed Sonet Studios in Stockholm, Sweden in January of 1987, this eight-song set with New Orleans Jazz and Zydeco legend Dr. John (aka: Malcolm John Rebennack) features the likes of "Sound the Bell," "Jumpin Jack Flash," "Prodigal Son" and "Sugar Sweet."

As a special bonus, MVD Entertainment Group is including a vintage 1972 rendition of "Prodical Son

Tracklist:
Sound the Bell
Don't Take Advantage of Me
Mojo Boogie
You Lie Too Much
Sugar Sweet
Love Life & Money
Jumpin Jack Flash
Prodigal Son

http://i2.cmail20.com/ei/i/ED/B09/5A2/202117/csimport/sjr-lp329-punk-45-la-slve_1.jpg

‘Chaos in the City of Angels and Devils’ is the new instalment of Soul Jazz Records’ Punk 45 series featuring an array of first generation Los Angeles punk bands including X, The Germs, The Zeros, The Urinals, The Weirdos through to second generation hardcore groups like The Circle Jerks, Adolescents and T.S.O.L.

Unlike the other major cities of New York and London, Punk in Los Angeles was pretty much ignored by the major record industry. As bands sprang up, Los Angeles punk gave rise to a wide range of its own DIY independent records with labels like Dangerhouse, Bomp!, What? And Upsetter documenting the nascent emerging scene.

Original Los Angeles punk came in two distinct phases. The first punk groups (c.77-79) all centred around The Masque club in Hollywood, and the birth of the first ever hardcore groups who emerged in the surrounding Los Angeles suburb and beach areas (c.1979-81), mixing punk, skate and surfer ideologies. This album includes music from both periods.

‘Chaos in the City of Angels and Devils’ documents this in detail. The 64-page outsize CD booklet features extensive notes, exclusive photography from celebrated original photographers Jenny Lens, Melanie Nissen (Slash magazine) and Edward Colver, original cover art as well as interviews and features on bands and labels (including The Urinals, Flesh Eaters, Dangerhouse, Posh Boy, Frontier, Upsetter and more!).

The deluxe double vinyl comes in gatefold sleeve, inner sleeves, insert + free download (+ full sleevenotes and photography). This is the sixth Punk 45 release on Soul Jazz Records and follows on from the earlier releases covering punk from Cleveland, Akron, UK, USA and proto-punk, as well as the book Punk 45 – Cover Art of Punk written in collaboration with Jon Savage.

New 2×LP
Cat. No.: SJRLP329
Barcode: £14.99
BUY
CD
Cat. No.: SJRCD329
Barcode: £10.99
BUY
MP3 Release
Cat. No.:
Barcode: £7.99
BUY
Tracklisting
1 The Middle Class – Out Of Vogue
2 X – We're Desperate
3 The Flesh Eaters – Disintegration Nation
4 The Weirdos – A Life Of Crime
5 The Urinals – I'm White and Middle Class
6 Iggy & The Stooges – I Got A Right
7 The Germs – Forming
8 Agent Orange – Bloodstains
9 Black Randy & The Metrosquad – Trouble At The Cup
10 The Urinals – Ack Ack Ack Ack
11 The Zeros – Don't Push Me Around
12 The Randoms – ABCD
13 Circle Jerks – What's Your Problem
14 The Bags – Survive
15 The Adolescents – Amoeba
16 The Dils – Class War
17 The Deadbeats – Brainless
18 The Simpletones – I Like Drugs
19 T.S.O.L. – World War 3
20 Eyes – TAQN
21 The Hollywood Squares – Hollywood Square
22 The Deadbeats – Final Ride
More Info & Audio
https://soundsoftheuniverse.com/sjr/product/punk-45-chaos-in-the-city-of-devils-and-angels-hollywood-from-x-to-zero-hardcore-on-the-beaches-punk-in-los-angeles-1977-81

Numerophiles-

This Friday marks the release of the release in our Wayfaring Strangers series, wherein we take deep dives into the American private press subculture of the 1960s and ’70s. Cosmic American Music is a peerless gem of a compilation, the kind of record we’re known for making. Your shelf will feel barren and lonely without it. Your friends will mock you openly. It’s in the realm of possibility that your dog will run away to live with someone who has better taste. If you can’t find one in your local record store, feel free to challenge them to a duel, and when you win go to our website and order a copy.

After a quiet open to the year, we’re rushing into Spring and Summer with lineman-like bloodthirst. Record Store Day sees the return of our pop-up stores in Chicago and New York, alongside the smoking new Numbero compilation Los Alamos Grind! and a Blonde Redhead Peel Session 7”. In May we’ll follow up our Iasos and Jordan De La Sierra albums with a collection of Joanna Brouk’s haunting flute and synthesizer drones. A month later we’ll unleash White Zombie’s complete pre-major label recordings, a terrifying combination of horror comics, Ibanez riffs, and greasy hair. Plus 5LPs and a hardcover book. And finally, we’ll soundtrack that summer park picnic with the latest volume of our long-running Eccentric Soul series: Sitting In The Park.

Cosmic American Music

As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. “He hated country-rock,” Parsons collaborator Emmylou Harris would later reflect. “He thought that bands like the Eagles were pretty much missing the point.”

Parsons had been orbiting the idea of for some time. In ’68, he’d parted ways with the Byrds and was looking to take air with a new project. “It’s basically a Southern soul group playing country and gospel-oriented music with a steel guitar” he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M’s Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons’ Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before for day one of the 1970s. Parsons himself might’ve disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music’s most distinguishing stringed signifier.

Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum’s raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shit-kickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became “the dominant American rock style of the 1970s,” as Peter Doggett’s comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre’s real Wild West—America’s one-off private press label substructure.

Buy Cosmic American Music on CD or 2LP.

Joanna Brouk

She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk's little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse.

Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the ’70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

Pre-order on deluxe double vinyl or CD.

itting In The Park

Hear the document of one man’s passion crossing over into obsession. Chicago radio disc jockey and soul archivist Bob Abrahamian was deeply devoted to celebrating and documenting unknown Chicagoland group harmony music. Upon his untimely passing in 2014, he left behind hundreds of radio programs and a daunting collection of 35,000 carefully-selected 45s. Our collection borrows its title from Abrahamian’s long-running and acclaimed WHPK radio show, and it spins a tale that’s cautionary, inspiring, and set to the sounds of the impossible-to-find tracks that made Bob Abrahamian’s on-air playlist and animated the radio programs that were his life’s work. Collected here are 12 (16 on the CD) artists featured on Sitting In The Park, in their own words and through the lens of our friend Bob.

Featuring rare and previously unissued tracks by Cindy & the Playmates, Shades of Brown, the Mist, Puzzle People, the Enchanters, Oneness, the Procedures, Master Plan Inc, Chocolate Sunday, the Krash Band, Ahead of Our Time, Cliff Curry, Walter & the Admerations, the Auditions, the Dontells, and Otis Brown & the Delights.

Pre-order Sitting In The Park on CD or LP.

Keep Up

http://email.forcefieldpr.com/sites/default/files/styles/album_cover/public/01-Music-of-Morocco-Cover-Image-700x588.jpg?itok=i3zfRNiY
From Dust-to-Digital, out April 1:Music of Morroco. Press sheet won't let me paste pic, but I recognize Burroughs, Bowles, Corso, and Ginsberg, whose handwritten caption lists another guy as Alan---Aron, I think: "W. H. Auden's & Burroughs's part-time amanuensis."
Maybe the musicians get some credits in here somewhere:
This box set commemorates one of the most legendary field recording expeditions ever made. From July to December 1959, Paul Bowles crisscrossed Morocco making recordings of traditional music under the auspices of the Library of Congress. Traveling an estimated 25,000 miles, Bowles captured vocal and instrumental music of various tribes and other indigenous populations at 23 locations throughout the country. It was the culmination of Bowles’s longstanding interest in North African music.

Included are four CDs with D/L code in a silkscreened box with 120-page, foil-stamped, leatherette book, featuring extensive liner notes by Philip Schuyler; field notes by Paul Bowles; and an introduction by Lee Ranaldo.

Being leery of studio stars on their own, never heard his, but maybe worth checking?

LEGENDARY GUITARIST LEE RITENOUR TO BE
CELEBRATED WITH LIMITED-EDITION BOX SET,
THE VINYL LP COLLECTION
Individually numbered box set features 180-gram vinyl, remastered audio and 46-page booklet featuring never-before-seen photos and new liner notes by Ritenour

LOS ANGELES, Calif. — On April 22, 2016, Concord Records will release The Vinyl LP Collection, a limited-edition, individually numbered box set celebrating a key period in the prolific solo career of renowned guitarist Lee Ritenour. The Collection contains five classic LPs by Ritenour: Earth Run (1986), Portrait (1987), Festival (1988), Color Rit (1989) and, on vinyl for the first time, the GRAMMY® Award-nominated Wes Bound (1993). These albums have each been remastered, pressed on audiophile-quality, 180-gram vinyl and restored with original artwork and liner notes. An accompanying 46-page booklet contains new liner notes by Ritenour plus never-before-seen photos and ephemera, all culled from an extensive scrapbook collection lovingly kept by the guitarist’s late father.

The Vinyl LP Collection presents a fertile period in a storied career, which began when Ritenour, at the age of 16, was hired as a session guitarist for the Mamas and the Papas, who dubbed him “Captain Fingers” for demonstrating incredible dexterity. Throughout the next decade, Ritenour became one of the most prolific session guitarists, working with the likes of Steely Dan, Pink Floyd, Aretha Franklin, Tony Bennett and Quincy Jones. Ritenour’s solo work has earned him a GRAMMY® Award and 19 GRAMMY® nominations. He has recorded more than 40 albums that have yielded 35 charting tracks, and he is widely recognized as one of the best guitarists of his generation.

“For us music lovers and folks who play music, vinyl is still the most amazing way to listen to and appreciate music,” proclaims Ritenour in his liner notes. “I’m thrilled that Concord Records and myself can present these five records remastered on 180-gram vinyl.” The Vinyl LP Collection includes such personnel as Academy Award-winning composer Dave Grusin, GRAMMY® Award-winning pianist Alan Broadbent, and GRAMMY® Award-winning composer David Foster, plus legendary saxophonist Kenny G and celebrated Brazilian artist Caetano Veloso.

The Vinyl LP Collection is available for preorder at: http://smarturl.it/RitVinylBox
###
Watch (and feel free to post) the promo video: http://youtu.be/HRrjZNsKCVY

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SMOG VEIL RECORDS ANNOUNCES
THE NEXT RELEASE IN THE PLATTERS DU CUYAHOGA SERIES
The Robert Bensick Band: French Pictures In London (1975)
Album Streets June 24, 2016

March 30, 2016 (Cleveland, OH) – Smog Veil Records announces the next release in the Platters du Cuyahoga series: The Robert Bensick Band’s French Pictures In London, a previously unreleased art rock magnum opus. This studio project from 1975 is finally seeing the light of day and will hit retail on June 24th, 2016. Available in digital format as well as CD and vinyl LP, this release features extensive and carefully researched liner notes which put Bensick back into the Cleveland underground music history he was essentially written out of.

French Pictures In London is recommended for fans of: Pere Ubu, Deaf School, The Doctors of Madness, Home & Garden, Japan, Roxy Music, The Teardrop Explodes, 39 Clocks, John Foxx-era Ultravox, Visage, Scott Walker, Gary Wilson, and the Various Artists compilation Enjoy The Experience.

"In the Summer of 1975," as explained by music writer and researcher Nick Blakey, "Cleveland multi-instrumentalist, sculptor, and artist Robert Bensick brought together the best of the Cleveland underground and recorded an album at Agency Recording, a studio favored by such recording stars as Todd Rundgren.”

The studio band Bensick – himself a veteran of such legendary Cleveland bands The Munx, Hy Maya and Peter Laughner’s Fins - assembled for the record included such luminaries as Tom Herman (Pere Ubu), Scott Krauss (Pere Ubu/Cinderella Backstreet/Home & Garden), Cynthia Black (Cinderella Backstreet/Peter & The Wolves), Albert Dennis (Cinderella Backstreet/Wolves), and Michael Hronek (a collaborator of Cleveland proto-punk legend Peter Laughner). Bensick was attempting through this record to bring music and art together into a brand new experience. The end result – French Pictures In London - was so far ahead of its time that it remained unreleased for forty years.

French Pictures In London could very well be considered the missing musical piece of Cleveland that falls in between the four long players by Raspberries and the first three albums by Pere Ubu. Fans exploring this era in music should note that the late Peter Laughner (Pere Ubu/Rocket From The Tombs) had a dominant effect upon the record (despite not participating in the sessions) as the majority of the musicians who performed on French Pictures In London had played in several of Laughner’s bands.

The album’s sound and mood is also a precursor to the New Romantic movement of groups such as Visage and Spandau Ballet as well as the direction Roxy Music would take on albums such as Manifesto (1979). French Pictures In London similarly touches upon the darker corners of rock and pop such as those found on Scott Walker’s subversive Climate of Hunter (1984), Oxbow’s brutal and troubling The Narcotic Story (2007), and the delicate yet unsettling undercurrents that transpire on L’Amour by Lewis (1983). Album highlights include the Nick Drake-meets-Nick Cave melodrama of “Sweet Pricilla,” the heavily Herbie Hancock-influenced desperation of “Night Life,” the Broadway letdown of “Cinquain Attempted,” and the completely unhinged “Doll.”

“There are a lot of emotions in French Pictures In London," Robert Bensick reflects. “It’s real stories about real people. And some of it was struggling, some of it was fighting, some of it was desperately looking for love. French Pictures In London is real. It’s not trying to entertain people. It was one guy really trying to document real human beings and their lives inside a musical product inside a contemporary, populist art form…what I’ve realized [since then] is the real key is the joy I got writing it, the joy I got recording it…without the testosterone and everything messing things up, the real joy was the creation. And I hope people get a joy from that creation like I’ve been moved by so many artists.”

After continuing his musical career in Cleveland with various bands including Berlin West and Zara, Bensick eventually moved to New York and stopped performing in public. Bensick never stopped creating music and art and continues to do so to this day. The release of French Pictures in London represents long overdue credit and recognition of a landmark recording in the long history of Cleveland rock and roll.

French Pictures In London features Robert Bensick on vocals, rhythm guitar, flute, Mellotron, ARP Odyssey on “Silly Man,” EML synthesizer on “Doll”; Tom Herman on lead guitar; Albert Dennis on bass; Scott Krauss on drums; Michael Hronek on electric and acoustic piano, Hammond organ on “Night Life” and “Muse.” The album was recorded at Agency Recording by Arnie Rosenberg in 1975 and was mastered by Paul Hamann at Suma Recording, Cleveland, OH.

I think this compilation of Cortijo music released on the Ansonia label is worthy of general audience attention:

http://munster-records.com/static/thumbs/images/productimage-picture-the-ansonia-years-1969-1971-784_jpg_382x5000_q100.jpg

On 7 May 1970, Rafael Cortijo met a group of lifelong friends in New York City to embark on a musical journey back to his Afro-Caribbean roots. For the first time ever in a recording venture, the famous Puerto Rican percussionist and ambassador of bomba and plena music since the 50s decided to express the raw essence of his repertoire of island rhythms; stripping them of orchestration with the idea of recreating in the studio the drumming fiestas he enjoyed as a boy in the Santurce neighbourhood in San Juan de Puerto Rico. He was accompanied by fellow percussionist and partner on this production, Francisco “Kako” Bastar, as well as the singers Rafael “Chivirico” Dávila as lead vocalist and Ismael Rivera on the chorus, the outstanding artists of Latin music at that time, who had also grown up with Cortijo in the streets of San Juan.

The result of this legendary session was the album “Ritmos y cantos callejeros” by Cortijo and Kako y sus Tambores; an essential contribution to the sonorous vitality and sense of identity that preceded the salsa boom in New York and the Caribbean. While a new generation of immigrants of Latino origin, mostly Puerto Ricans, took their drums to Central Park and out onto the streets of the Bronx to make their way in New York, Cortijo and his friends chose to reclaim the immense wealth of their Puerto Rican drumming heritage, as well as the link between this legacy and popular music of the day. Considered today a “DA FUNK Afro Boricua Style” classic, in the words of New York producer Bobby Matos, this tribute album to traditional island rhythms is much more than an ethnomusicological document. Far from being a folklorist, Rafael Cortijo has always adopted a more pragmatic than orthodox approach and, on this album, as on all their bomba and plena recordings, Cortijo and Kako predominantly use Afro-Cuban percussion instruments (congas, timbales and bongos), which they considered more suitable than their Puerto Rican equivalents, traditional bomba barrels and plena panderos.

Together with the “Ritmos y cantos callejeros” album, between 1969 and 1971 Cortijo recorded another two LPs for the same label, Ansonia Records: “Noche de temporal” and “Volumen 2”. Both albums are along the same lines as the combo with which the maestro had made his name in the 50s. Spearheading the salsa movement in Puerto Rico, Cortijo y su Combo had revolutionised tropical dance music during this period; developing a distinctive sound, favouring spontaneous, authentic neighbourhood Caribbean rhythms, in contrast to the growing sophistication of Latin orchestras. Dominated by percussion and voices, Cortijo’s combo conveyed the impetuous energy of a carnival group, which was very different from the routine formality of a tropical big band. A strong advocate of bomba and plena throughout his thirty-year career, Cortijo also stands out for his explorations of the ramifications and symbiosis of West Indian rhythmic diversity, emphasizing the dialogue between Puerto Rican and Cuban styles. His two combo productions for Ansonia are particularly interesting in this respect, with the outstanding participation of the Cuban musician Javier Vázquez, first known as the pianist for Sonora Matancera, and then as one of the leading arrangers for the salsa produced in New York in the 70s.

http://munster-records.com/en/label/vampisoul/product/the-ansonia-years-1969-1971
https://open.spotify.com/album/5qTP5QrJ8BX5yVW5UmQ9HW

It's very stripped down. You can clearly hear the rhythmic bones of the music.

Cool, thanks! All new to me. Ditto most of this:

https://gallery.mailchimp.com/e56cb023f7aa1f0618b4c1c24/images/53ed1456-2beb-4e6f-bbc2-b59de6ab92b9.jpg

NEW LIMITED EDITION VINYL BOX SET

FIRST CLASS ROCK STEADY (APR 16, 17 NORTH PARADE)

CELEBRATES 50TH ANNIVERSARY OF THE JAMAICAN MUSICAL GENRE

FOR RECORD STORE DAY

VP Records Hosts Record Store Day (Sat. April 16) Vinyl–Only Showcases with the Renowned Selectors & Sound Systems at NY & FL Retail Stores Including King Jammy and Downbeat The Ruler.

Rocksteady, which used elements of rhythm and blues (R&B), jazz, ska as well as African and Latin American drumming, was a successor of ska and precursor to reggae. One of the most easily recognizable elements of Rocksteady (as in ska) are offbeat rhythms, staccato chords played by a guitar and piano on the offbeats of the measure. Rocksteady was popularized by the likes of Alton Ellis, Hopeton Lewis, Errol Dunklrey and vocal harmony bands like The Gaylads, The Maytals, The Heptones, The Paragons The Sensations and The Melodians.

The vinyl singles package will be followed by a 2CD (30 track) collection on July 1st, which is International Reggae Day. For each release, music was handpicked from collectors' lists of the most sought after titles. Each track is re-mastered and paired with a complimentary hit title from the era on the B side. The detailed packaging evokes the excitement of the era when snail mail was the only mode for sharing this burgeoning Jamaican export for worldwide consumption.

As part of Record Store Day celebration, both VP Records’ retail stores in NYC and Miami will host a vinyl-only showcase on Sat. April 16 featuring some of the biggest sound systems in Jamaican music. The group of DJs, engineers and MCs will go round for round, battling it out for the ultimate showdown. In New York, Downbeat The Ruler will deliver a stellar set. In addition, sounds and selectors Massive B, King Addis, Platinum Kids, Fatman and Pretty Possee will go wheel-to-wheel for the winning title. In South Florida, producer and dancehall innovator King Jammy will get behind the turntables for a one-of-a-kind vinyl only set. Then, popular sound systems like Waggy T Movements, Galaxy Sound Station, PeppaBox Sound and Metrix International will round out this historic event.
###

All new to me.

Well, I know you've heard El Gran Combo. They emerged from Cortijo's band after he went to jail on drug charges. Also, Ismael Rivera, who you might know of, sang a lot with Cortijo.

As for the specific material on this compilation, I don't think it's appeared on CD (or other digital form) before. I don't recognize any of it, though I'm not super familiar with Cortijo.

I need to comb through this thread more. It's grown pretty rapidly.

Yep, I did know those artists, but not any of the material here; thanks again.

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TWO CLASSIC ALBUMS BY THE BLIND BOYS OF ALABAMA
COMING FROM OMNIVORE RECORDINGS ON MAY 13:
SPIRIT OF THE CENTURY AND HIGHER GROUND,
BOTH GRAMMY AWARD WINNERS.
Reissues of these classic recordings feature an impressive roster of guest musicians including Ben Harper, Robert Randolph, Charlie Musselwhite, David Lindley and John Hammond, as well as previously unreleased live tracks
from 2001-2002

LOS ANGELES, Calif. — Omnivore Recordings will release expanded reissues of two turn-of-the-century Grammy Award-winning albums by the Blind Boys of Alabama: Spirit of the Century and Higher Ground. Street date for the CD and digital editions is May 13, 2016.
Formed in 1944, the Blind Boys of Alabama have been trendsetters musically, socially and spiritually. At the dawn of the 21st Century, almost 60 years into their career, one would think the Blind Boys had nothing more to prove. However, 2001’s Spirit of the Century not only showed how relevant they still were, but how they could continue to reinvent the genre they helped bring to the mainstream, and to win their first Grammy while doing it.
Produced by John Chelew with assistance from Chris Goldsmith, Spirit of the Century mixed soulful new arrangements of traditional hymns with songs by the Rolling Stones (Exile on Main Street’s “I Just Wanna See His Face”), Ben Harper and Tom Waits — including “Way Down in the Hole,” which became the theme for HBO’s first season of The Wire, performed by the Blind Boys.
Accompanying the Blind Boys’ soaring vocals is a who’s who of iconic players including David Lindley, John Hammond, Danny Thompson, Charlie Musselwhite, and more. To make this release even more special, seven live performances of album tracks recorded with the Spirit studio band at New York’s Bottom Line club have been added, as well as a new essay from Davin Seay.
Fifteen years after its original release, Spirit of the Century has lost none of its power. It’s time to feel the Spirit once again.
After winning the Best Traditional Soul Gospel Album Grammy for Spirit of the Century, the Blind Boys of Alabama wasted no time recording their next album. Once again helmed by Chelew and Goldsmith, Higher Ground picked up where Spirit of the Century left off, and moved even further. With backing by Robert Randolph & the Family Band (and guest appearances from Ben Harper), new arrangements of gospel classics were supplemented by songs from Harper, Curtis Mayfield, Funkadelic, Aretha Franklin, Jimmy Cliff, Prince and the classic title track by Stevie Wonder. The outcome was rewarded by the Blind Boy’s second consecutive Grammy for Best Traditional Soul Gospel Album, as well as having Harper’s tune, “I Shall Not Walk Alone,” featured on television’s Lost.
In addition to a new essay by Seay, seven live performances of album tracks recorded for KCRW-FM’s Morning Becomes Eclectic have been resurrected and added, making Higher Ground even more exceptional. Newly refreshed with these previously unreleased live tracks, this important release finally returns.
Spirit Of The Century Track Listing:
1. Jesus Gonna Be Here
2. No More

3. Run On For a Long Time
4. Good Religion

5. Give a Man a Home

6. Amazing Grace

7. Soldier
8. Nobody’s Fault but Mine
9. Way Down in the Hole
10. Motherless Child
11. Just Wanna See His Face
12. The Last Time
Previously unissued bonus tracks recorded live at the Bottom Line, New York (2001)
13. Good Religion

14. Way Down in The Hole
15. Give a Man a Home
16. Motherless Child
17. No More
18. Nobody’s Fault but Mine
19. The Last Time

Higher Ground track listing:
1. People Get Ready
2. Spirit in The Dark
3. Wade in The Water
4. Stand By Me
5. The Cross
6. Many Rivers to Cross
7. Higher Ground
8. Freedom Road
9. I May Not Can See
10. You And Your Folks/23rd Psalm
11. I Shall Not Walk Alone
12. Precious Lord
Previously unissued bonus material recorded live on Morning Becomes Eclectic, KCRW (2002)
13. Run On For a Long Time
14. My Lord What a Morning
15. Freedom Road
16. Higher Ground
17. People Get Ready
18. Wade in the Water
19. Amazing Grace

"They proclaim their reverence in close harmonies and gusty improvisations that leap heavenward." —The New York Times
"Typical gusto, honest, soulful music." —Mojo
"No matter what direction the Boys go, it's always a righteous affair." —Relix
# # #
Watch (and feel free to post) the Blind Boys of Alabama trailer:
http://youtu.be/o9EgZ780zZo

Always thought Ginsberg (like Burroughs) was more consistent as a performer than a writer, though he also wrote all of this except the Blake. Some great stuff here (compare with the Holy Soul Jelly Roll box, now OOP apparently):

OMNIVORE RECORDINGS TO ISSUE
THE LAST WORD ON FIRST BLUES,
FIRST BOX SET OF ALLEN GINSBERG
AS A SINGER SONGWRITER
The classic Ginsberg session augmented with 11 unissued performances (from 1971-1984) including contributions from Bob Dylan, Happy Traum, Peter Orlovsky, Arthur Russell and others.
Contains 28-page color booklet and rare photos.
Produced in conjunction with the Allen Ginsberg Trust.

LOS ANGELES, Calif. — Internationally revered as a Beat Generation spokesman, Allen Ginsberg is an iconic part of the counterculture. His 1956 epic poem “Howl” inspired the songwriting of Bob Dylan. Hippies and punk rockers alike claimed him as an influence; he even recorded with the Clash, on Combat Rock.
In 1971, Ginsberg called on Dylan to record a slew of songs: some political, some gay-themed, and some just plain wacky! Along for the ride were fellow poet Anne Waldman; the eclectic composer David Amram (Jack Kerouac’s musical partner, among other claims to fame); folk artist Happy Traum; and a young avant-garde cellist, Arthur Russell. Ginsberg himself was lyricist, composer, and lead vocalist.
These 1971 recordings remained dormant until 1983 when they were released as First Blues, which also included 1976 sessions produced by Columbia Records exec John Hammond, and some 1981 sessions. Along the way, Beat Generation legend Peter Orlovsky and Rolling Thunder Revue sideman David Mansfield joined the festivities.
Omnivore Recordings is proud to reissue the cult classic, plus much more, as The Last Word on First Blues. A deluxe package, this 3-CD set contains the original double LP, plus 11 previously unissued songs from 1971 and 1981 sessions, and demos and live recordings including Dylan and/or Russell and even a cameo by trumpeter Don Cherry — on kazoo!
The release includes a full color 28-page booklet of rare photos, writings and drawings from Ginsberg’s archives and an essay from set producer Pat Thomas featuring interviews with original participants. Longtime Ginsberg-music aficionado Thomas was given full access to the poet’s tape archive at Stanford University and spent several years pouring over hundreds of hours of recordings.
Mastering and restoration was handled by Grammy-winning engineer Michael Graves.
Upon the album’s 1983 release, John Hammond stated, “I recorded Allen in 1976 but Columbia Records refused to issue the results, considering the songs obscene and disrespectful. I am thrilled to finally be able to present Allen … I will present ‘disrespectful’ music like this as often as possible.”
While today’s political right try to limit artistic expression, here is the pioneer of “free speech” — the mystic Beat poet — doing what many forgot he ever did: singing with the most acclaimed songwriter of the rock era, Bob Dylan, as well as mentoring the work of the late Arthur Russell.
The Last Word on First Blues is not only a definitive cultural artifact, it will destroy the best minds of those who hear it.
On the weekend of June 3-5, during celebrations for what would have been Ginsberg’s 90th birthday, Thomas will host a round-table discussion about the First Blues recordings in Manhattan with the musicians who played on it, including Amram and Mansfield, to be followed by a one-off reunion of these musicians performing this material that evening. Exact details to be confirmed.
Track listing:
Disc One:
1.Going To San Diego
2.Vomit Express
3.Jimmy Berman (Gay Lib Rag)
4.Ny Youth Call Annunciation
5.Cia Dope Calypso
6.Put Down Yr Cigarette Rag
7.Sickness Blues
8.Broken Bone Blues
9.Stay Away From The White House
10.Hardon Blues
11. Guru Blues

Disc Two:
1. Everybody Sing
2. Gospel Nobel Truths
3. Bus Ride To Suva
4. Prayer Blues
5. Love Forgiven
6. Father Death Blues
7. Dope Fiend Blues
8. Tyger
9. You Are My Dildo
10. Old Pond
11. No Reason
12. My Pretty Rose Tree
13. Capitol Air

Bonus Disc:
More Rags, Ballads, And Blues 1971-1984
All Recordings Previously Unissued
1. Nurses Song
2. Spring (Merrily Welcome)
3. September On Jessore Road
4. Lay Down Yr Mountain
5. Slack Key Guitar
6. Reef Mantra
7. NY Blues
8. Come Along Vietnam (Rehearsal)
9. Airplane Blues (Live At Folk City)
10. Feeding Them Raspberries To Grow (Live At Folk City)
11. Do The Meditation Rock
# # #
Watch (and feel free to post) the Allen Ginsberg trailer: http://youtu.be/IvVTyZK-bFA

Grönland Records To Reissue Holger Czukay’s Movies -- Movie! Out June 3rd

Watch “Cool In The Pool” Video –
http://youtu.be/PBg-ukRUJuQ

Holger Czukay, best known for being a member of Krautrock legends Can, has been bridging the gap between avant-garde and pop music in powerful and creative ways since 1969. A student of Karlheinz Stockhausen, Czukay is considered one of the most internationally influential figures in musical innovation from Germany. Grönland Records will release Movie!, the reissue of Czukay’s first post-Can solo album, Movies, on June 3rd, and available for pre-order now. The album finds the bass player exploring prog rock jams with varied instrumentation, song-oriented lyrics, and media samples from film, television, and short-wave. It’s all pleasant, playful textures, with little of the darkness present in the music of Can. In conjunction with this release, Grönland also presents the video for “Cool In The Pool.”

In 1979, shortly after Can disbanded, Czukay released Movies, his second solo album following Canaxis 5 (1969). The title suggested a logical continuation of the affinity for film music that had accompanied Can as far back as the Soundtracks (1970) compilation. Although all the members of Can performed on Movies, Czukay did not merely expound upon the band’s accomplishments here, but branched into new territory with a freer, more detached feel. Throughout, Czukay joyfully sends each of the four light-hearted, yet complex pieces of music into the ether. The songs are now being released and reordered as a reissue titled Movie!. “Cool in the Pool” – a song still fit for any modern club – is an enticing invitation into Czukay’s refreshing sonic world and appears as a bonus track, now titled “Cool Pool.” Movie! also features the truly cinematic “Hollywood Symphony,” the dub-o-spheric “Persian Love” and the drifting, kraut-rocky, sample-laden “Oh Lord, Give Us More Money.” This is a refreshing release illustrating Holder Czukay’s relevance to the history of music.

Movie! Tracklisting:
1. Oh Lord Give Us More Money
2. Persian Love
3. Cool In The Pool
4. Hollywood Symphony
Bonus Track – Cool Pool

Legendary Reggae Label Studio One to Reissue Catalogue via Yep Roc Music Group

Classic Reggae Albums to be Released with Original Tracklisting and Artwork, including The Wailing Wailers on May 27th

Founded by Clement “Coxsone” Dodd in the late 1950s, Studio One was one of Jamaica’s most renowned recording studios and record labels, helping to pioneer ska, rocksteady, dub and dancehall. The label discovered and released music from The Skatalites, The Wailers, Delroy Wilson, Jackie Mittoo, The Maytals, Jackie Opel, The Gaylads, Alton Ellis and more.

While compilations of tracks from the label’s catalog have been issued over the years, many of the label’s essential albums have been out of print for decades, with some of them fetching hundreds of dollars from collectors anxious for real documents of reggae’s crucial past.

Now Studio One, in conjunction with the Yep Roc Music Group, will see titles from its catalog re-released in their original formats, with track listings and album artwork intact, as well as new additions to the catalogue.

Kicking things off on May 27th will be The Wailers and their debut album The Wailing Wailers which features three reggae legends who went on to lead very successful solo careers. Bob Marley, Peter Tosh and Neville "Bunny" Livingston are joined by Junior Braithwaite, Vision Walker, Beverly Kelso and Rita Marley in an unforgettable collection of Coxsone's finest productions. The reissue will include the original 1965 Jamaican masters and cover featuring a young Bob Marley, arms outstretched, between Livingston on the left and Tosh on the right. Included in the album is their hit track "Rude Boy" which established The Wailers as the leaders of the new reggae movement. The original LP version of the album has been out of print for decades, fetching huge sums from collectors, and the album has never before been released on CD with the original track listing and artwork.

Also available for pre-order on April 8th is a reissue of the Money Maker LP remastered from the original session tapes. Arguably one of the rarest albums in the Studio One catalog it features a superb selection of earlier top Studio One rhythms from groups like The Heptones, Burning Spear, The Wailing Souls and John Holt. The album is to be released on August 5.

Future 2016 releases from Studio One include the Studio One Radio Show taken from two 1970s shows featuring the legendary host Winston "The Whip" Williams. Also available will be a Don Drummond collection compiled by Mr. Dodd himself before his passing in 2004 and a box set to celebrate the label's over 60 years of existence.

"We are excited for the opportunity to re launch the Studio One brand and thankful for the trust that Carol (Dodd) and her team has afforded us. Through reissues of classic titles as well as new collections, we want our releases to reflect the history and legacy of Jamaica's most iconic label. Here's to the next 60 years!" - Billy Maupin, GM Yep Roc Music Group

The Wailers burst onto the Jamaican music scene at the height of the ska era in 1964, recording over one hundred songs for producer Coxsone Dodd’s ground-breaking Studio One imprint. They covered American pop and R&B hits and wrote heartbreakingly beautiful ballads and irresistible dance scorchers that sound as fresh today as they did 60 years ago.

The Wailing Wailers Track Listing
Put It On
I Need You
Lonesome Feeling
What’s New Pussycat
One Love
When The Well Runs Dry
Ten Commandments of Love
Rude Boy
It Hurts To Be Alone
Love and Affection
I’m Still Waiting
Simmer Down

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WAXWORK RECORDS ANNOUNCES DELUXE RE-ISSUE OF
BERNARD HERMANN'S SCORE FOR TAXI DRIVER
WITH LINER NOTES BY MARTIN SCORSESE

Featuring an all star cast including Robert DeNiro, Jodie Foster, Cybill Shepard, Albert Brooks, and Harvey Keitel, TAXI DRIVER is regularly cited by audiences, critics, and film directors alike as one of the greatest films of all time. The music by legendary composer Bernard Herrmann was his final score before his death on December 24th, 1975.

Nominated for four Academy Awards, including Best Picture, the film was considered “culturally, historically, and aesthetically significant” by the US Library of Congress and was selected for preservation in the National Film Registry in 1994.

Waxwork Records is pleased to present TAXI DRIVER as a deluxe double LP featuring the complete film score by Bernard Herrmann on vinyl for the very first time, ever. Also included is the complete and remastered original 1976 soundtrack release.

Waxwork Records had the massive pleasure of working with legendary director Martin Scorsese on this 40th Anniversary release to which the director provided new, in depth, and exclusive liner notes. The new album artwork by Rich Kelly is also graciously approved by director Martin Scorsese.

Release details include two variants:

180 Gram Taxi Cab Tri-Color Vinyl (Yellow, Black, and White)
Director Liner Notes by Martin Scorsese
Heavyweight Old-Style Tip On Gatefold Jacket
Four Page Booklet
Director Approved Album Art by Rich Kelly
---
180 Gram Taxi Cab Yellow Vinyl
Director Liner Notes by Martin Scorsese
Heavyweight Old-Style Tip On Gatefold Jacket
Four Page Booklet
Director Approved Album Art by Rich Kelly

LISTEN: Bernard Hermann - Taxi Driver (Original Soundtrack Recording) samples -
https://soundcloud.com/waxwork-records/sets/taxi-driver

Going by that cover art, apparently Robert DeNiro composed the score.

Svart Records is set to re-release all four 1970s albums by the reunited Philadelphia-based doom metal forerunners Bang on heavyweight gatefold vinyl and CD in cooperation with the band. At first, the albums will be exclusively available during Bang's European tour, which starts at Roadburn Festival, Tilburg, on April 14th. The street date of these releases is April 29th.

Bang was founded in August 1969, a week or two after Woodstock, by 16-year-old high school dropouts Frank Ferrera (vocals, bass) and Frank Gilcken (guitar), who swiftly recruited a 26-year-old Tony Diorio (drums), who answered their ad in a local newspaper. Bang were shaping up to be the next big thing in 1972, with keen support from Capitol Records, their first single "Questions" climbing the charts, and shows lining up with numerous major bands of the era, including their mutual favorite and biggest influence, Black Sabbath.

In spite of hype, the success story never came to be, largely due to a corporate shakeup at Capitol Records, losing their producer Michael Sunday, and being blackballed from getting gigs. Bang disbanded in sheer frustration in 1974, only three years after the release of their self-titled debut.

However, Bang left behind them a dominant recorded legacy consisting of four full-length albums: Bang (1971), Mother/Bow to the King (1972), Music (1973) and Death of a Country, which was recorded in 1971 but remained unreleased for decades.

Now all four classic Bang albums will see the light of day in luxurious form, and the cover artwork for Death of a Country has been made according to the original layout concept for the first time. Also, the self-titled album will be released in gatefold covers, as the band originally wanted, but the idea got shot down by the record label.

MORE INFO:
www.bangmusic.com

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Wow, nice! Generous excerpts of six tracks have her sounding sensitive but not foo-foo, intense enough but never overselling, sometimes overdubbing parts, and with strings glancing off bass, drums, other instruments---just a little bit of distortion at times, but adds flavor---good on headphones. Her only albun, damn. Wonder if there are any more non-LP tracks here and there, maybe still to come from this Soul Brother label? Yo, Numero, you missed it!

https://soundsoftheuniverse.com/product/eleanore-mills-this-is-eleanore-mills

‘This is Eleanore Mills’ was her debut and only album, recorded for the Sylvia Robinson’s All Platinum subsidiary Astroscope in 1974. The album was produced by Harry Ray and Al Goodman of the Moments and Tommy Keith of The Rimshots. It includes some great Crossover and Modern Soul cuts; including the in-demand string laden early Soul/Disco ‘Same Routine’ a popular killer cut and ‘I’m Gonna Get You’ another superb up tempo Soul cut. ‘Fascinating Devastating Man’ is a lovely mid tempo track. The album includes some beautiful Soul ballads ‘He Said Goodbye’, ‘How Can I Love You’ and the heavily sampled ‘Telegram’ which she rips up, plus ‘Teach Me’ an amazing near seven minute opus which picks up a heavier groove half way through. This special edition includes two non album tracks recorded around the same time, ‘Something on your mind’ and ‘Singing the Blues’ on the CD and as a bonus 45 with the LP. Classic mid 70’s Orchestrated Soul.

Louder Than Love - The Grande Ballroom Story
coming to home video on June 10th via MVD Entertainment Group
New documentary by Producer/Director Tony D'Annunzio provides
an all-access pass to legendary 1960s Detroit rock music scene

MVD Entertainment Group
For review copies, interviews, promotional opportunities, or additional info...

CONTACT: Clint Weiler
MVD Entertainment Group
p: 800-888-0486 x115
e: cl✧✧✧@mvd✧✧✧.c✧✧

FOR IMMEDIATE RELEASE:

Louder Than Love - The Grande Ballroom Story
coming to home video on June 10th via MVD Entertainment Group
New documentary by Producer/Director Tony D'Annunzio provides
an all-access pass to legendary 1960s Detroit rock music scene

Louder Than Love - The Grande Ballroom Story, produced and directed by Tony D'Annunzio, is coming to home video on June 10th via MVD. The film has been to over 35 festivals from Detroit to LA to London and Australia.

Louder Than Love debuted to standing ovations at the world premiere April 5, 2012 at the Detroit Film Theatre at the Detroit Institute of Arts, followed by 35 different film festivals across the globe including SOLD OUT screenings at Rock and Roll Hall of Fame and Museum, Nashville Film Festival, CBGB / NYC Music & Film festival, Sheffield Doc/Fest and Australia DocWeek. It screened at the Traverse City Film Festival and was personally handpicked by Michael Moore who described it as "an amazing look back at the talent and creative culture produced in this state."

It has won numerous awards including "Best Doc" at Las Vegas International Film Festival and D'Annunzio was nominated for "Best New Film Director" at the LA New Directors Film Festival. Most recently, the film was broadcast on PBS and became one of their best received pledge drives.

The Grande Ballroom era is potentially the greatest untold story in rock and roll history," says D'Annunzio, a Detroit native. "With everything Detroit has been through in the last several decades, I wanted to let folks know that aside from the automobile industry, the city has some amazing musical history which helped shape American pop culture."

While the west coast was grooving to the sounds of the "Summer of Love" in 1967, Detroit was pumping out a hard-driving, gritty, raw sound. At the epicenter of this seminal music scene stood the Grande Ballroom, Detroit's original rock and roll palace. That sound was Louder Than Love. Louder Than Love - The Grande Ballroom Story relates the story of the hallowed halls that started it all, as told by the artists and fans who helped fuel the Grande phenomenon.

In the late 1960s, the Grande helped to break some of America's most iconic rock bands including MC5, Iggy and the Stooges and Ted Nugent and the Amboy Dukes, who influenced local musicians and inspired bands all over the U.S. and Great Britain. Legendary acts such as Led Zeppelin, Cream, B.B. King, Janis Joplin, Pink Floyd and the Who played the Grande main stage on a regular basis. D'Annunzio amassed more than 75 + hours of interviews with artists and other insiders from The Grande's heyday including musical icons B.B. King, Alice Cooper, Roger Daltrey, Scott Morgan, Mark Farner, Tom Morello, Wayne Kramer, Lemmy, Ted Nugent, Henry Rollins, Don Was, Slash, Dick Wagner, and James Williamson. He also collected over 500 never-before-seen archival photos-taken by professional photographers and fans-of performers such as The Who, Howlin' Wolf, Albert King, Cream, Pink Floyd, Jeff Beck Group, MC5, Traffic, and Iron Butterfly.

"We have incredible 8mm film of The Who performing "Tommy" for the first time, including an audio recording by Pete Townsend explaining "Tommy" to The Grande audience. Both have never been seen or heard in any documentary," D'Annunzio notes.

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

Think I mentioned this before, but latest Drag City newsletter reminds us, as well they might (brace for hype)(they've already reissued most if not all of the other albums mentioned here)

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May leads off with a vault-find from Mayo Thompson's storage space - a previously-unreleased album from 1984 called Baby and Child Care by the juggernaut we've known as The Red Krayola with Art & Language! The collective whose credits include Corrected Slogans, Kangaroo?, Black Snakes, Sighs Trapped By Liars and Five American Portraits, even! This album was recorded with the Black Snakes Red Krayola incarnation of Mayo, Ben Annesley, Chris Taylor and Allen Ravenstine. Using a similar 80s-informed assemblage of spare funk 'n roll punched up with some dub-tastic dollops of plate reverb, and featuring signature whooshes from Ravenstine's suitcase synths and uncanny bird-calls from his soprano sax, Baby and Child Care is just a great SOUND for one to sink deeply into - and yet, it's an album of songs with lyrics adapted by Art & Language from Dr Spock's influential monograph on the new and better way of raising one's offspring. As with all Red Krayola-Art & Language collaborations, the heavy nature of the suggestion on paper translates with effervescent lightness in practice! This is due to Mayo Thompson's irrepressible vocalese and the elastic qualities of the band. One might not even know that songs like "Make Believe In Moderation" or "The Age of Three" are imparting valuable insight for parents everywhere - because the musical experience of the material is so very complete. Again, this is a hallmark of The Red Krayola: communication on several levels at once, perhaps even from contradictory positions, and in an entirely musical form of entertainment. An additional plus for our 2016 ears (and the brains ostensibly attached) is the 80s-vintage of Baby and Child Care - a sound that scans easier today than perhaps it may have then! That's the beauty of course - THERE'S NO WAY OF KNOWING!

Omnivore's expanded reissue of the Muffs'debut is pretty fun overall, if a mixed blessing; hope this will be at least as good:

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THE MUFFS’ SECOND ALBUM, BLONDER AND BLONDER,
GETS BIGGER AND BETTER ON OMNIVORE
EXPANDED REISSUE, OUT MAY 27.
CD contains seven bonus tracks — five previously unreleased.
Title to be available on vinyl for first time in decades (first edition in baby blue vinyl). Package contains essays from the band.

LOS ANGELES, Calif. — The self-titled debut disc from L.A.-based, high-energy pop quartet the Muffs hit the scene in 1993, and was an instant smash. Any fear that they couldn’t follow it up successfully was answered when Blonder and Blonder arrived two years later.
Now a three-piece, the Muffs again teamed up with producer Rob Cavallo (Green Day, Paramore, Fleetwood Mac) and delivered 14 even better Kim Shattuck-penned powerhouses, including the hit single “Sad Tomorrow.” Bassist Ronnie Barnett and new drummer Roy McDonald propelled Shattuck’s material to even greater heights, and Blonder became the band’s biggest selling album.
Omnivore Recordings is proud to present this ’90s milestone on CD with seven bonus tracks (two U.K. B-sides and five previously unissued Shattuck demos), and on LP for the first time in more than two decades (first pressing on baby-blue vinyl, with black to follow).
Like 2015’s reissue of The Muffs, the full-color packaging includes photos, drawings and memorabilia, plus essays from Barnett and McDonald, as well as track-by-track commentary from Shattuck.
Shattuck says, “Blonder and Blonder was a hoot to make and a blast to listen to. It’s got a crazy energy and I scream my fool head off. I hope you turn up the volume so loud you annoy your neighbors.”
Adds Barnett: “Blonder and Blonder will always be seen as [the Muffs’] watershed moment, the kind of thing that happens once in a band's lifetime if they're lucky. It was the place where our band’s lineup, sound and songwriting all hit its stride. It still makes up the bulk of our live show, and always will. It’s our most celebrated, best-selling work and will always define us. I don’t mind — I love it too!”
And per Barnett’s liner notes: “To answer the obvious question: May 1994 in Seattle, after one of our last appearances as a four-piece, a newly widowed Courtney Love out at a live show for the first time following that horrible incident, scoffing at Kim’s newly bleached hair, walked by and muttered, ‘Blonder and blonder.’”
Twenty-one years later, Blonder and Blonder still sounds as vital and visceral as it did upon its original release. Face it, you’re dye-ing to have this record in your collection.
CD Track List:
1. Agony
2. Oh Nina
3. On And On
4. Sad Tomorrow
5. What You’ve Done
6. Red Eyed Troll
7. End It All
8. Laying On A Bed Of Roses
9. I Need A Face
10. Won’t Come Out To Play
11. Funny Face
12. Ethyl My Love
13. I’m Confused
14. Just A Game
Bonus Tracks:
15. Goodnight Now
16. Become Undone
Pre-Blonde Bonus Tracks:
17. Born Today (Demo)*
18. Look At Me (Demo)*
19. Pennywhore (Demo)*
20. Red Eyed Troll (Demo)*
21. Won’t Come Out To Play (Demo)*
* Previously unissued

LP Track List:
Side 1
1. Agony
2. Oh Nina
3. On And On
4. Sad Tomorrow
5. What You’ve Done
6. Red Eyed Troll
7. End It All
Side 2
8. Laying On A Bed Of Roses
9. I Need A Face
10. Won’t Come Out To Play
11. Funny Face
12. Ethyl My Love
13. I’m Confused
14. Just A Game

Watch (and feel free to post) the Muffs trailer: http://youtu.be/rsTlEnXZQxU

Soul Jazz Records record day LP exclusives, gahdam (if they don't show, the Skatalites one up front is what I esp. want)

https://pbs.twimg.com/media/CgJalc2XEAADExR.jpg:large

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THE WILBURYS ARE COMING…
CONCORD BICYCLE MUSIC PARTNERS WITH THE TRAVELING WILBURYS TO REISSUE CATALOG
The Traveling Wilburys’ Music to Debut
on Streaming Services for First Time Ever

LOS ANGELES, Calif. – Concord Bicycle Music is very pleased to announce that it has entered into a worldwide licensing agreement with The Traveling Wilburys to represent the iconic band's entire catalog, including physical and digital reissues.
For the first time ever, the super group’s music will be available on streaming services, beginning June 3, 2016, along with the re-launch of the hugely successful Traveling Wilburys Collection box set as a limited-edition, uniquely numbered 2-CD 1-DVD box set, standard 2-CD 1-DVD package, deluxe 180-gram vinyl box and for the first time as high-resolution downloads. The release includes albums (Vol. 1 and Vol. 3), bonus tracks and a DVD featuring footage of the band from the first chord to the final mix.
When originally released in 2007, The Traveling Wilburys Collection debuted at #1 in the U.K. and six other countries and entered the U.S. charts at #9, making it the highest chart debut of a box set at the time, and has since been certified Gold.
The previously released albums Traveling Wilburys Vol. 1 and Traveling Wilburys Vol. 3 feature music's greatest singer-songwriters — George Harrison, Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan — as the legendary band the Traveling Wilburys.
The Wilburys formed in 1988 after Dylan, Harrison, Petty, Lynne and Orbison assembled at Dylan's Malibu, California studio to record a B-side for the Harrison single "This Is Love." The resulting song, "Handle With Care," was instead released under the Wilburys name, with the artists posing as a band of brothers. George later said, "I liked the song and the way that it turned out with all these people on it so much that I just carried it around in my pocket for ages thinking, 'Well what can I do with this thing?' And the only thing to do I could think of was do another nine. Make an album." The original album release, Traveling Wilburys Vol. 1, achieved great success; after hitting No. 3 on the Billboard Top 200 chart, the certified double Platinum album earned a GRAMMY® for Best Rock Performance by a Duo or Group.
Traveling Wilburys Vol. 3, the group's second album, was released in 1990 and dedicated to Lefty (Roy Orbison) Wilbury, who passed away in late 1988 before recording could be completed. "She's My Baby" and "Wilbury Twist" became radio hits as the album reached #11 in the U.S. and was certified Platinum.
Scott Pascucci, CEO Concord Bicycle Music and Sig Sigworth, SVP Catalog Concord Bicycle Music said in a joint statement, "The global success of the Traveling Wilburys reissues in 2007 was one of our career highlights. So, we are very proud to bring the Wilburys' catalog to Concord Bicycle Music and work with these incredible songs and musicians a second time."
"…one of the few rock super groups actually deserving to be called either super or a group."
—Rolling Stone, Dec 1, 1988
# # #
The Traveling Wilburys
Website: travelingwilburys.com
Facebook: facebook.com/travelingwilburys
Instagram: instagram.com/officialwilbury
Twitter: twitter.com/officialwilbury
YouTube: youtube.com/user/TravelingWilburys

My mom liked them, I think.

The Keepers Record Club=vinyl reissues and/or repackages of favorite records of indie etc artistes, who write about the records, and also incl. some of their own music (coupons etc for other records etc. are also in each month's package).
For May, possible sometime ilxor Wooden Wand picks Bruce Langhorne's soundtrack for The Hired Hand:

http://keepersrecordclub.com/news/wp-content/uploads/2016/04/hiredhand_vinyl.jpg

James Toth does the honors this month, presenting Bruce Langhorne’s highly sought after soundtrack for the 1971 Peter Fonda film, The Hired Hand.

Toth, probably best known by his recordings released under the moniker Wooden Wand, brings forth a thorough and thoughtful essay walking through the sequencing track-by-track, reflecting:

“The Hired Hand not only evokes but exhumes. It’s part genie in bottle, part séance. It’s an album you shouldn’t play often, though anyone who has been charmed by it knows that this is not possible.”

Langhorne is most famous as a fixture of the Greenwich Village folk scene of the 1960s, session guitarist for Bob Dylan and inspiration for the song “Mr. Tambourine Man”. He’s been credited for his work with artists like Odetta, Joan Baez, Richie Havens and Gordon Lightfoot, to name very few. A master multi-instrumentalist, he was recruited by Peter Fonda in 1969 to score the actor’s directorial debut, The Hired Hand.

Recorded in Laurel Canyon by Langhorne alongside his girlfriend Natalie Mucyn, who without prior production experience, multi-tracked the recording “via some distinctly lo-fi tape dubbing,” Langhorne tracked each part, piecing together a truly unique accompaniment to the film.

Ghostly banjo, gritty fiddle, waves of lap steel, meditative guitar, flutes (all performed by Langhorne) fit together to create this ethereal and at times mystical soundtrack that at once beautifully support the films visuals and pulls the listener into the landscape of American mythology and even to the open prairies of one’s mind.

Sign-up by May 15th to secure your copy of The Hired Hand with exclusive liner essay by Toth.

But... the most recent reissue of that has been not-so-scarce as far as I know?

I got the Scissor Tail reissue of that. Was only 2014, I think? Fantastic record, like.

Yeah, the main reason for including it here is that it's occasionally turned up on ILM threads over the years, always mentioned as an old favorite or gratifying discovery. But still a lot of people don't have it, and the Wooden Wand's say-so might make them take the plunge, especially if they remember who he is..-several other goodies in this series still available, last time I checked.

Sure! I'm just surprised they're reissuing it again.

Might just be a repackage

But deserves more exposure

Agreed.

yeah pretty sure it's not a reissue as such, but hoooeee is it good.
wonder how langhorne is doing -- word was he was in hospice care at the end of 2015, but i haven't heard any updates.

In today's Expert Witness column, xgau hails the fuckin' finally reissued Rainbow Bridge soundtrack. Jimi's, that is; the LP tracks sounded rough-edged, but in a good way, like he made 'em in a hurry and they were still vibrating from his touch, about to take off into his wake, join him on the chase. In the movie, which I saw with friends at the drive-in, he's with friends in Hawaii, waiting for the Space Brothers, but not too idle about it. Fave track (of most in the universe) is the instrumental "Pali Gap." Don't worry, he sings fine, like on "Dolly Dagger" and "Room Full of Mirrors": "I used to live in a room full of mirrors/All I could see was me/Then I'd take my hand and I'd smash the mirrors/Pieces, fallin' in my bed/Makin' love was strange in my bed." On Spotify now.

http://assets.noisey.com/content-images/contentimage/90723/rainbowbridge.jpg

advance track from the aforementioned, previously unreleased (1984) Red Krayola with Art & Language album, Baby and Child Care: cool bass, drums, rhythm guitar, vocal sound, sung and spoken---*not*, as Drag City's hype would have it, rebel-rockin'and bawlin' the words from good Dr. Spock's liberating manual, just letting them roll out, hither and yon. Doesn't knock my socks off, but intriguing enough: https://soundcloud.com/drag-city/the-red-krayola-with-art-language-no-no-no-trust-yourself

Catching up with some of the ones I've posted info about on here:
xpostFirst Class Rocksteady box seems mostly undistinguished group vocals & songs, def rhythm tracks; a few impulsive exclaimers and solo vox I'll go back to, maybe.

The Muffs xpost Bigger and Blonder: Shattuck's rough, dry, take-it-or-leave it vocal comes off flat here, more often monotonous than signifying tuff cookie pre-emption, though yeah yeah,she don't want you to think she's vulnerable and girly and trusting, just because she's venting; we get it already. Also, bringing it down to a trio---this trio, that is--- keeps the backing from adding a little variety. Nevertheless, "Red-Eyed Troll," "Ethyl My Love" (a good demo added to the reissued debut reissue) and a few other finished tracks really work. But as with the reissued debut, the breathing room demos (9 here, incl just a couple versions of the original album's cuts) really make the whole thing worth having, or hearing, anyway. Things get just a bit more flexible---and some of the initial release's tracks should be rescued by somebody with a few more musical shrewds.
Still, I'd start with the debut; here's what I said about it last year:
The Muffs’ s/t debut reissue w bonus tracks: "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

Not familiar w the earliest, but they're usually worth a listen, in my limited experience

http://files.ctctcdn.com/28b23da7301/936915d5-9bfa-4d0f-9a03-9c789cedc6ae.jpg

Pacific Northwest black metal clan WOLVES IN THE THRONE ROOM will proudly re-release their 2006 debut album Diadem Of 12 Stars through their own Artemisia Records in mid-June. The album will precede the band's first East Coast North American dates in five years.

Written almost exclusively in a windowless, black room over the long dark nights of Winter 2005, Diadem Of 12 Stars was the first official WOLVES IN THE THRONE ROOM release. Re-imagining black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest, WITTR created a unique melancholic atmosphere. Diadem Of 12 Stars is about lunar sorcery on Cascadian mountaintops and encounters with wild spirits. In contrast to the icy, razor sharp soundscapes of their 90s Norwegian forebears, the sound of Diadem... is lush and ethereal, dripping with rain soaked moss and lichen.

WOLVES IN THE THRONE ROOM honed the material for Diadem Of 12 Stars by touring across the country's basements and squats. Its raw analog sound in many ways pays homage to the band's varied influences: the harsh black metal of Norwegians Ulver and Emperor or their American counterparts Weakling and Ludicra, the monolithic heaviness of Neurosis and Swans, the sorrowful Funeral Doom of My Dying Bride and in places, the mournful goth of Dead Can Dance. Yet, WITTR distills these inspirations to create a sound that is entirely their own.

Described by guitarist Nathan Weaver as the rawest and most "punk" of their five full-length releases Diadem Of 12 Stars was recorded live to tape in Oakland by Tim Green. Joined in the studio by Jamie Myers (Hammers Of Misfortune, Sabbath Assembly) and Dino Sommese (Asunder. Dystopia), every song was rendered in one or two takes and the album was mixed without the aid of a computer. Originally released on a small DIY label and unavailable physically for many years, this reissued version has been carefully remastered by Jason Ward at Chicago Mastering Service. The band redeveloped every photograph from the original negatives, creating richer, high quality prints in order to present the artwork as originally envisioned.

The Diadem Of 12 Stars reissue will be released June 17th on CD, 2xLP, Cassette, and all Digital formats.

WOLVES IN THE THRONE ROOM will follow the reissue with their first live performances since mid-2014 this September, with two weeks of shows currently confirmed and more to be added in the coming weeks.

WOLVES IN THE THRONE ROOM Tour Dates:
9/13/2016 Saint Vitus Bar - Brooklyn, NY
9/14/2016 Kung Fu Necktie - Philadelphia, PA
9/15/2016 DC9 - Washington, DC
9/17/2016 Strange Matter - Richmond, VA
9/18/2016 The Earl - Atlanta, GA
9/19/2016 Sisters In Christ - New Orleans, LA
9/20/2016 Barracuda - Austin, TX
9/21/2016 Dada - Dallas, TX
9/22/2016 Riot Room - Lawrence, KS
9/23/2016 Empty Bottle - Chicago, IL
9/24/2016 Lee's Palace - Toronto, ON
9/26/2016 Space Gallery - Portland, ME
9/27/2016 Cuisine En Locale - Somerville, MA

WOLVES IN THE THRONE ROOM has to date released five studio albums, two EPs, and multiple live albums to date, including Diadem Of 12 Stars (2006), Two Hunters (2007), Black Cascade (2008), Celestial Lineage (2011), and most recently, Celestite (2014), which was an instrumental, experimental companion record to Celestial Lineage. The band is currently working on new material, which promises to be their heaviest and darkest in some time.

Diadem tracks currently streaming here:
http://artemisiarecords.bandcamp.com/

http://d31hzlhk6di2h5.cloudfront.net/20160428/2c/59/88/bb/fd26d9b4d804d44a4ec5e4dd_560x560.jpg

LADIES AND GENTLEMEN … THE BANGLES!,
16-TRACK COLLECTION OF THE BAND’S ’80s RARITIES,
COMING ON OMNIVORE ON JUNE 24.
Set encompasses their debut single (as the Bangs),
full EP, plus demos, live tracks, a commercial and outtakes.
LOS ANGELES, Calif. – Hand-selected by the band members from their personal music, archives, Ladies and Gentlemen . . . The Bangles! is a 16-track collection of re-mastered ’80s-era rarities, demos, live recordings and more, including their debut single and all of the tracks from their self-titled EP — produced by legendary Ramones/Blondie producer Craig Leon — unavailable since its initial release on vinyl in 1982.
The set is due out on Omnivore Recordings on June 24, 2016.
Encompassing the very first years of the band’s development, from their earliest days as the Bangs to their incarnation as the Bangles, this is the original line-up of Susanna Hoffs, Debbi Peterson, Vicki Peterson, and their first bass player, Annette Zilinskas. (Annette's replacement, longtime Bangles bassist Michael Steele appears on a couple of live tracks.)
“We’re so pleased to give our fans and music lovers alike the chance to enjoy the early fruits of our labor. Some of these tracks have never seen the light of day,” states drummer/singer Debbi Peterson.
“We’ve wanted to make these songs available to a new audience for a long time,” adds singer/guitarist Vicki Peterson. “We’ve thrown in a couple of live tracks, and even some of the first demos, all lovingly collected and re-mastered, so you no longer have to dig out a cassette player to hear them.”
Singer/guitarist Hoffs continues, “I feel a very special connection to our early recordings. The garage of my parents’ house was our musical laboratory, and we took all the flavors of our favorite bands and mixed up a concoction of jangly guitars, McCartney-inspired bass parts, grooves powered by punk energy, and harmonies galore! These songs and recordings were our musical manifesto — all that mattered and inspired us, fueled by youthful energy, hope and blind ambition.”
In partnership with the band, Omnivore Recordings is proud to offer this compilation (previously available as a download only), with many tracks available for the first time on CD. Ladies and Gentlemen . . . The Bangles!

Track Listing:
1. Bitchen Summer/Speedway — The Bangs
2. Getting Out Of Hand — The Bangs
3. Call On Me — The Bangs
4. The Real World
5. I’m In Line
6. Want You
7. Mary Street
8. How Is The Air Up There?
9. Outside Chance (Demo Version)
10. Steppin’ Out (Demo Version)
11. The Real World (Demo Version)
12. Call On Me (Demo Version)
13. Tell Me (Live)
14. 7 & 7 Is (Live)
15. No Mag Commercial
16. The Rock & Roll Alternative Program Theme Song

Watch (and feel free to post) the Bangles trailer: http://youtu.be/CbYTwylFm3s

KATE & ANNA McGARRIGLE’S PRONTO MONTO
COMING FOR FIRST TIME ON CD
FROM OMNIVORE RECORDINGS ON JULY 1, 2016
Unavailable for nearly four decades,
package contains photos, lyrics, and a new essay by Mark Leviton.

LOS ANGELES, Calif. – The beloved Canadian sister-duo Kate & Anna McGarrigle appeared on the folk scene with a self-titled debut in 1976 and a follow-up in 1977. While those two titles have been reissued throughout the years, the pair’s third album (which has been out of print since its initial vinyl release) has never been available on CD. Despite its many charms, it’s probably been the least-heard Kate & Anna McGarrigle album. That is about to change thanks to Omnivore Recordings, on July 1, 2016.
Pronto Monto (a play on the French for “take your coat”) appeared in 1978, and featured the sisters’ gorgeous vocals and impeccable songwriting, as well as covers and a new track penned by the album’s producer David Nichtern — whose “Midnight at the Oasis,” which appeared on Maria Muldaur’s self-titled 1974 album, was nominated for multiple Grammy®s. Coincidentally, that Muldaur record was released at the same time that Anna’s “Heart Like a Wheel” became the title track of Linda Ronstadt’s breakthrough.
Backing Kate & Anna on Pronto Monto was a veritable who’s who of studio aces including Grady Tate, Steve Gadd, David Spinozza, Tony Levin, Bernard Purdie, and others.
This long-time-coming reissue features the release’s original 12 tracks, newly remastered by Grammy® winner Michael Graves, as well as photos, lyrics, and a new essay from Mark Leviton from conversations/remembrances from Anna McGarrigle, David Nichtern, Lenny Waronker and Joe Boyd.
Out of the marketplace for far too long, Pronto Monto finally reclaims its place in Kate & Anna McGarrigle’s stellar canon. For those who have never heard it, it will be a revelation. For those who have, it’s wonderful to welcome this recording back — almost four decades later.
Track Listing:
1. Oh My Heart
2. Side Of Fries

3. Just Another Broken Heart

4. Na Cl

5. Pronto Monto

6. Stella By Artois

7. Bundle Of Sorrow, Bundle Of Joy

8. Come Back Baby

9. Tryin’ To Get To You
10. Fixture In The Park
11. Dead Weight

12. Cover Up My Head
# # #
trailer: http://youtu.be/eLfOGWcogAI

So The Warriors soundtrack deluxe reissue (special vinyl and CD editions etc) is out, and I'm intrigued by spotting Mandrill, Joe Walsh, Genya Ravan, Arnold McCuller and Desmond Child all in the same place. Barry DeVorzon wrote the score, I dunno who Johnny Vastano is, other than a fellow member in good standing of the Cool Names Club. I wanna see the movie too.

The Warriors: Music From The Motion Picture
Waxwork Records
Out now!

Side A

1. Theme From The Warriors - Barry DeVorzon
2. Nowhere To Run - Arnold McCuller
3. In Havana - Kenny Vance w/ Ismael Miranda
4. Echoes In My Mind - Mandrill
5. The Fight - Barry DeVorzon

Side B
6. In The City - Joe Walsh
7. Love Is A Fire - Genya Ravan
8. Baseball Furies Chase - Barry DeVorzon
9. You're moving Too Slow - Johnny Vastano
10. Last Of An Ancient Breed - Desmond Child

Side C
11. Wonder Wheel (Main Title)
12. Graveyard
13. Night Run
14. The Orphans / Turnbull A.C.'s Part 1 / Riff Boss / Turnbull A.C.'s Part 2 / Molotov Cocktail
15. March To Station
16. Luther Shoots Cyruss / Train Walking

Side D
17. Baseball Furies Chase / The Fight
18. Into The Tunnel
19. Skater / Men's Room / The Fight (Alternate)
20. Riffs Learn Truth / Platform / Warriors & Rogues
21. Platform (Alternate) / Warriors & Rogues (Alternate)

https://www.facebook.com/waxworkrecords
https://twitter.com/waxworkrecords
instagram.com/waxworkrecords

FEATURING ARTWORK FROM MARVEL COMICS ARTIST DAVE RAPOZA

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/a51e8606-7515-47e3-b108-3819dae3b7b4.jpg

The cover's Warriors look much more robust and clean than historically plausible street/subway kids in the few movie clips I've seen (so shouldn't have incl. cover, sorry).

Those rooftops though!

wait, that film is anything but 'plausible' -- it's one of the most stylized depictions of urban life of its era! (well, the nasty subway cars and dilapidated coney island notwithstanding.)

I have heard that it is a modern day retelling of an Ancient Greek classic though.

it's a very loose reworking of anabasis.

I don't see how that cover is any more robust and clean that the image from the original film poster (I think this is the original anyway):

http://www.theconeyislandblog.com/wp-content/uploads/2015/07/Warriors-Movie-Poster.jpg

Suicide's second album is being reissued by Superior Viaduct

http://www.superiorviaduct.com/collections/featured/products/suicide-alan-vega-martin-rev-lp

I rewatched The Warriors recently with my 9-year-old son. It holds up rather amazingly, and looks amazing on film. The reissue album cover doesn't seem out of line with the movie. Different version of "In The City" than appeared on "The Long Run."

Too many "amazings" sorry, but I was shocked by how good the movie is in 2016. First saw it on TV back in the 80s probably.

Thanks for the tips, will check it out. Re the grotty subway clips, I was also influenced by John Darnielle saying in the press materials for All Eternals Deck that he was influenced by seeing the Warriors riding in the smoggy twilight, looking ghostly, and "scarred but smarter," or something like that. Could apply to a lot of the people in a lot of his albums and novels, the ones that live long enough to (maybe) wise up, but he's most specifically referring to "High Hawk Season":
Who will rise and who will sink?
Who's going to stand his ground
and who's going to blink?
Surge forward from Van Cortlandt Park
like frightened sheep
Spirit throngs that hoist us high,
three thousand warriors deep

Spray our dreams on any surface
where the paint will stick
Try to time the rhythm,
listen for the click...

Wikipedia claims that some audiences tended to flip out when it was originally shown, so theaters were released from their contractual obligation to screen it.

I'm still surprised no one's talking about the Blue Orchids reissues / new material campaign - new album, double live CD (from 1981 and 1985), Martin Bramah solo album, and a collection of Rough Trade singles and stuff on LP. I bought the lot (well, there's other stuff, I didn't buy, but I bought all the music) and the updates have been cool.

http://www.pledgemusic.com/projects/blueorchids

There's a version of "Work" with The Fall's "Before The Moon Falls" which was apparently once the same song. It says the link is only up for 80 hours, but that was a couple of days ago!

https://soundcloud.com/ratherthanrepeat/blue-orchids-work-before-the-moon-falls

That's exciting! I love this band. First rate psychedelic post-punk, I rate them right up there with The Fall, Magazine, Chameleons, Siousxie, Comsat Angels, etc.

I ordered the three signed CD package. Sucks that the Awefull compilation is vinyl only, but I already have most of the songs on A Darker Bloom and The Greatest Hit (Money Mountain).

Yeah, I'm excited about these Blue Orchids releases, they're one of my favourite bands and I saw them live a month ago and the new songs (I assume from the new album) were phenomenal - the best stuff of theirs I've heard since the early singles.

From Drag City:

NEW LANDS AND MIRROR REAPPEAR JUNE 10TH!
Continuing the Flying Saucer Attack reinstatement program that began with last year's new release, Instrumentals 2015, and the subsequent reissue of FSA's 1995 LPs Further and Chorus earlier this year, we now arrive at the 1997's New Lands and 2000's Mirror.

Following the chilled-out acoustic drafts blowing through both Further and Chorus, it seemed that the direction for future FSA musics was clear: increased melodicism with more roots exposed in ever-cleaner productions, right? Uh, no. After what felt to be an extended wait, New Lands arrived in late '97, marking phase two of Flying Saucer Attack as an ostensible solo act for Dave Pearce. Further, New Lands presented a foreboding atmosphere, with coarse electric textures from the very top of the record and the highly palpable psychedelic shadows of the debut Flying Saucer Attack album flickering throughout, albeit in a much altered form.

The distance between albums only increased between New Lands and Mirror - over two years this time, with Mirror arriving wrapped in a vibrant, multicolored cover designed by Savage Pencil. The violent spells of New Lands had given way to a flattened drone on the electric pieces from Mirror while the glittering acoustics of "Suncatcher" and "Tides" highlighted an incredible fragility within the songs.

New Lands, Mirror and the eventual Instrumentals 2015 show us that following their manic first years, Flying Saucer Attack never stopped evolving. And now the vinyl artifacts are back among us - to be excavated and reexamined on June 10th!

Flying Saucer Attack Online:
Official Website& Video-http://fsa.space/
Drag City-http://www.dragcity.com/artists/flying-saucer-attack
New Lands-http://www.dragcity.com/products/new-lands
Mirror-http://www.dragcity.com/products/mirror

Numerophiles-

Over the last three years, you might have noticed a slight bend in our release scheduled towards the textural and atmospheric. Iasos and Jordan De La Sierra were our first volleys into the Private Issue New Age world. Last week we completed the Bay Area holy trinity with Joanna Brouk: Hearing Music, our 69th release. All three of these have arrived courtesy of Douglas Mcgowan, who recently joined our staff and heads up our west coast efforts. His previous efforts brought the world great compilations like I Am The Center and albums by Ted Lucas and Dwarr for his own Yoga Records. To celebrate his arrival, we’ve forced Douglas to maintain our ever-evolving PINA playlist on Spotify, which we encourage you follow for all your meditation/psychic readings/yoga class needs.

Joanna Brouk: Hearing Music

She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk's little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the '70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings. CD contains 8 bonus tracks.

2LP/2CD/Stream

I'll prob re-post this some other time on the Green On Red Lone Justice etc. thread, cos def has that blue jean jacket mid-80s ambitious, mostly friendly but sometimes morose and often wound-tight been-around boondocks sound---also rec to fans of Jason and the Scorchers (for the guitars more than the front man), Drivin' & Cryin', Chuck Prophet's solo ventures, Cracker, the Kinks'Muswell Hillbillies, Wussy---but, while most of the original album had to grow on me (and still ain't all the way here). most of the demos are immediate grabbers (that/those guitars never let me down, when they get a reasonable amount of room, which they usually do).
"Positively Lost Me" is the most inspired song, leading off the original album (a bit downhill afterwards): like one of Wussy's bent muffler folk-slammers of the present century, each verse adds more stuff you lost when you lost me, empty bottles and a broken tree, but even better stuff too, all the way up the hill and out the window:

THE RAVE-UPS’ 1985 ALBUM TOWN + COUNTRY
TO BE REISSUED BY OMNIVORE RECORDINGS ON JULY 8
Americana pioneers’ debut album reissued and expanded with 11 bonus tracks.
Contains sought-after “Positively Lost Me” from the film Pretty in Pink.
Also features new liner notes by frontman Jimmer Podrasky
and many never-seen photographs.

LOS ANGELES, Calif. — While the members of the Rave-Ups held day jobs in the mailroom at A&M Records, they were able to use the label’s studios at night and during lunch breaks to record what would become a genre-defining release. Enlisting the help of producer Stephen Barncard (Grateful Dead’s American Beauty) as well as the legendary pedal-steel player Sneaky Pete Kleinow, the band released Town + Country in 1985.
The album gained enough attention to get the band featured in John Hughes’ classic 1986 film Pretty in Pink. Sadly, their “Positively Lost Me” didn’t make the soundtrack, and the Fun Stuff Records-issued Town + Country fell out of print. Fans of the band (and the film) have been searching for it ever since. Three decades later, it’s finally available again via Omnivore Recordings on July 8, 2016.
This reissue of Town + Country features the original 10 songs, plus a whopping 11 previously unissued bonus tracks — including live radio performances recorded for Dierdre O’Donoghue’s influential Snap program on Los Angeles’ legendary KCRW-FM, as well as 1986 material produced by Steve Berlin (Los Lobos) and Mark Linett. A detailed historical essay from the band’s Jimmer Podrasky, complemented by numerous unseen photos from the sessions/era, make this not only a document of time + place, but one that helps document a moment in musical history.
Mastering and restoration was overseen by Grammy® winner Gavin Lurssen
According to Podrasky from the liners: “Music has the uncanny ability to thwart time and space. It informs a moment. It indexes lives. It creates strange bedfellows. It outlasts people — even the people who helped make the music. Music resonates more than any other art form — that is its unique power. It remains with us long after the last note has faded. Town + Country was the beginning of a lifelong journey for me — the start of a trip that still hasn’t ended. I’m proud and honored to have been a part of something that has withstood the test of time.”
Town + Country has been gone for far too long. Now, fans can positively find it.
Track listing:
1. Positively Lost Me
2. Remember (Newman’s Lovesong)
3. Better World
4. Class Tramp
5. In My Gremlin
6. Radio
7. By The Way
8. Not Where You’re At (But Where You Will Be)
9. You Ain’t Goin Nowhere
10. Rave-Up/Shut-Up
Previously unissued bonus tracks:
11. If I Had A Hammer (The Hammer Song) (Fun Stuff demo)
12. Nine Pound Hammer (Live on Snap)
13. Positively Lost Me (Live on Snap)
14. Square Hole
15. Train To Nowhere (Early Version)
16. The Rumor
17. Please Take Her (She’s Mine) (Early Version)
18. Mickey Of Alphabet City (Early Version)
19. No No No
20. See You
21. Blue Carrot (Early Version)

# # #

ammmusic

caroline k rec excelente

No idea how this is, sorry if horrible triggers (but Creation, Easter---maybe it's good):

http://d31hzlhk6di2h5.cloudfront.net/20160520/45/55/ae/3c/e083046c8728429cc1fb6d6e_344x560.jpeg

VELVET CRUSH’S PRE-TEEN SYMPHONIES
EXPLORES MUSICAL ORIGINS
OF POWER POP CULT LEGENDS
Due July 22 on Omnivore Recordings, collection contains 16 previously unissued tracks, including demos and live tracks bookending the band’s breakthrough Teenage Symphonies to God. Features liner notes from the band’s Ric Menck; plus photos.

SHERMAN OAKS, Calif. — When Rhode Island’s Velvet Crush appeared on the scene in the early 1990s, they were obviously a force to reckon with. Signing with England’s Creation Records (Oasis, My Bloody Valentine, Teenage Fanclub), they released their debut LP in 1991. But, it was 1994’s Teenage Symphonies to God (the title being a play on Brian Wilson’s description of what would become SMiLE) on Sony 550 Music that put them on the map. Co-produced by the legendary Mitch Easter, it opened America’s eyes to what those over the pond were so wild about.
But, what was the genesis of that record? We can now find out with Pre-Teen Symphonies, a collection of 16 previously unissued tracks from Velvet Crush: eight demos (including one for the classic single “Hold Me Up”) and eight tracks recorded live in 1995 at Cabaret Metro in Chicago. The set, available on CD and Digital, will be released on Omnivore Recordings on July 22, 2016.
As the band — fronted by Paul Chastian (bass, guitar and vocals) and Ric Menck (drums) with Jeffrey Underhill (guitar) — proved the past was the future by taking elements from classic ’60s melodies, ’70s power pop, and ’80s reinvention, Pre-Teen Symphonies is a unique look into the development of a classic, and the live power that drove it.
Menck writes in the liners: “It’s probably no exaggeration to make the claim that Teenage Symphonies to God was the pinnacle of our illustrious career as a band. It’s certainly the album by Velvet Crush that most people know. Pre-Teen Symphonies collects all the loose ends, and hopefully, helps to usher in a new chapter for the little band that could from Providence, Rhode Island.”
Find your path with Pre-Teen Symphonies.
Pre-Teen Demos:
1. Hold Me Up
2. My Blank Pages
3. Time Wraps Around You
4. Not Standing Down
5. Turn Down
6. This Life Is Killing Me
7. Weird Summer
8. Star Trip

Live At Cabaret Metro, Chicago:
9. Window to the World
10. My Blank Pages
11. Ash and Earth
12. Time Wraps Around You
13. Atmosphere
14. This Life Is Killing Me
15. Hold Me Up
16. Remember the Lightning

Also:
Watch (and feel free to post) the Velvet Crush trailer: http://youtu.be/HBphNIsRiVs

just found this album by <b>Rexy</b> via inclusion of a track on the 'Sharon Signs To Cherry Red' compilation (early 80s UK indie women), it got reissued earlier this year and I love it. weird mix of super blank confessional DIY synth stuff, jazzy disco cuts and covers which while arguably throwaway don't by any means suck: https://luckynumber.bandcamp.com/album/running-out-of-time

the singer went on to do session stuff and playing Gary Moore's band of all things

https://f4.bcbits.com/img/a0685524032_16.jpg

much love for Velvet Crush, especially the "She Gives Me One Thing To Believe"/"If Not True" 7" (which I guess is way earlier and not on Creation)

Yeah, fixing to listen again. It's initially appealing, rough-edged power pop, bleaty and beaty: all demos and live, like the bonus tracks I've been favoring re Rave-Ups and Muffs. Rave-Ups prev. released LP tracks still growing on me though. Especially "Better World," where he's skeptical of progressive and Greatest Generation claims, as a given, not getting shrill about it, but his parents dead and brother not doing so well, but he's marching on but also to a sinuous, even backwards-seeming but as written, no retro gimmicks, riff. So he's got the Beatles legacy too, carrying on amidst (offstage but prevalent) 80s musical & other glitz.
Also like "Class Tramp," which starts off like it's gonna be a Kinks mockery of Mr. Middle Class Salary Whore, but then turns the mirror: look out now, he might be your Dad. Okay though, be a hip classy Class Tramp too. Very cheerful, like celebration "In My Gremlin" (can't afford no "Mercury" of course, though trying to hotwire the same tune). Some are grim, but need those too.
xpost Bangles round-up is real good from the first listen, other than those few thin Bangs tracks, and a clunky live cover of "7 & 7 Is." Never seen Bangles on a power-pop thread, unless I do it dammit.

oh yeah, and the McGarrigles' xpost Porto Novo starts strangely, with olde folkie warbles over yachty tasty licks. And these top-paid studio pros should never be asked to play a straight-fwd guitar shuffle. But in terms of at least gettin' concise-if-not-always-down sounds, and thematically appropriate melodic-harmonic explorations, Kate McG. is the Lennon figure here, with Anna the moonier McCartney. Then again, her "Park Fixture" is dynamically *about* an obsesso romantic, as written and performed from that POV. (And she tries to get more concise, "I love my kid" etc.) So far seems like about half of this album works pretty well after all. Do like Kate's solo voice more than the duets.

Back to xpost Velvet Crush: so limber tunes, even some hooks, can push through or to the surface of concentrated demos----but the more I play these *live* 8 (out of 16) tracks, the more I call for more shows, bros!

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/77000891-c7a2-412f-9435-22f648d10321.jpg

Waxwork Records is proud to announce the new double LP release of MY BLOODY VALENTINE (1981). Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and it’s residents that fall victim to a vengeful, homicidal maniac on Valentine’s Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009.

By working directly with composer Paul Zaza (Prom Night, Curtains, Porky’s), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been re-leased in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 180 Gram opaque blood red vinyl records.

LP Package Details:

• The Complete MY BLOODY VALENTINE (1981) Film Score Debut
• Double LP Featuring Over One Hour Of Music
• Pressed to Two 180 Gram Opaque Red Vinyl Records
• Liner Notes By Composer Paul Zaza
• Liner Notes By Director George Mihalka
• Artwork By Ghoulish Gary Pullin
• Old Style Tip-On Gatefold Jacket With Soft Touch Coating
• Printed Inner Sleeves

LISTEN: My Bloody Valentine Original Score (Samples) -
https://soundcloud.com/waxwork-records/sets/my-bloody-valentine-1981

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JUDY HENSKE & JERRY YESTER’S CLASSIC
FAREWELL ALDEBARAN RETURNS NEARLY 50 YEARS
AFTER ORIGINAL RELEASE VIA OMNIVORE RECORDINGS
ON AUGUST 12
First-ever legitimate CD version of lost classic is remastered
from original master tapes with five previously unissued bonus tracks.
First-ever reissue LP pressing to appear on starburst vinyl
with gatefold jacket and eight-page booklet.

LOS ANGELES, Calif. — Farewell Aldebaran arrived at the end of 1969 and promptly disappeared by the start of the new decade. With each of its ten tracks differing in style, and no promotion upon its original release, the album never had chance. While many records have tags “lost classic” or “cult masterpiece” hung on them, this album actually is one and inexplicably slipped through the cracks, never having been afforded a proper reissue.
Conceived and composed by singer Judy Henske (dubbed “Queen of the Beatniks” by producer Jack Nitzsche) and artist-producer, Jerry Yester (The New Christy Minstrels, The Modern Folk Quartet, The Lovin’ Spoonful, The Association, Tim Buckley, and later, Tom Waits), Farewell Aldebaran was co-produced with Lovin’ Spoonful alum Zal Yanovsky (who also chipped in on guitar, bass and vocals). Among its many notable contributors: David Lindley, Paul Beaver (of the pioneering electronic music duo Beaver and Krause) and influential jazz bassist, Ray Brown.
Why did it languish in obscurity originally? “Maybe its snarling rockers, genteel ballads and gothic mood pieces made it too difficult to fit into conventional musical categories, or perhaps it simply fizzled due to lack of promotion. Whatever its initial fate, Judy Henske and Jerry Yester’s only album as a dud has become a genuine cult classic savored and pondered over by fans for nearly half a century,” surmises Barry Alfonso in his reissue liner notes.
Henske says, “At the time we recorded Farewell Aldebaran, I was reading only two things, The Oxford Book of English Verse and my Encyclopedia Britannica. It was the most psychologically balanced that I have ever been. One night I prayed, ‘Please God, give me a whole lyric in a dream so I can write it down.’ The next morning when I woke up I had ‘Snowblind’; it was complete. The next week I got ‘Raider’ the same way. I love this album.”
“Judy and I started writing together in ’66,” explains Yester. “And I believe our first effort was ‘Three Ravens.’ A year and a half later Herb Cohen gave us the go-ahead to do an album. It was very exciting for us to concentrate on an album of our own songs, and from the beginning there was a feeling of ‘no rules.’ That feeling stayed with us all through the making of Farewell Aldebaran. The excitement was heightened by it being the first of a number of albums co-produced by Zal Yanovsky and I. Of all the albums that I’ve been a part of, this one has always stood out as being the most fun, and free of constraints. It feels like it was yesterday.”
Omnivore Recordings is proud to reintroduce Farewell Aldebaran nearly 50 years after its first release on August 12, 2016. This is the first authorized and licensed reissue of this oft-bootlegged psych-folk classic — originally issued on Frank Zappa’s avant-garde Straight Records label — now remastered from the original master tapes. The CD includes five instrumental demos from Jerry Yester’s personal archives while the limited-edition first pressing of the LP will be on starburst colored vinyl. Both editions have extensive liner notes by Alfonso drawing upon new interviews with Henske and Yester, plus photos, original lyric sheets and additional illustrations.
From baroque pop to guitar-driven rockers, Farewell Aldebaran employs the use of instruments as unconventional as bowed banjos and hammered dulcimers to vocal samples on a Chamberlin tape organ to an early use of the Moog synthesizer on the title track. Farewell Aldebaran still defies classification, but has more than stood the test of time. This long-out-of-print album has now found a home; please say hello to Farewell Aldebaran.
Track Listing:
1. Snowblind
2. Horses on a Stick
3. Lullaby
4. St. Nicholas Hall
5. Three Ravens
6. Raider
7. One More Time
8. Rapture
9. Charity
10. Farewell Aldebaran

Previously unissued bonus tracks (CD only):
11. Merry-Go-Round (“Horses on a Stick” instrumental demo)
12. Charity (instrumental demo)
13. Zanzibar (“Farewell Aldebaran” instrumental demo)
14. Moods For Cellos (“Three Ravens” instrumental demo)
15. Divers Asleep (“Rapture” instrumental demo)
# # #

Watch (and feel free to post) the Farewell Aldebaran trailer:
http://youtu.be/G_85DzlXJ_E

Kill Rock Stars' YouTube channel incl their collections of Kleenex/LiliPUT, Essential Logic, and many other albums (original releases too): http://www.youtube.com/user/KillRockStars/playlists?view=50&shelf_id=5&sort=dd

Farewell Aldebaran: Foreboding yet outward bound, folk, olde verse, and mid-20th Century romantic and Romantic (idealistic, fatalistic) imagery X concerns ("Age of Anxiety" Auden called it, Bomb Culture Jeff Nuttall titled his life studies of UK para-Beat etc. activities/mindset), further times expert chamber folk-pop-rock focus---crisp, fluid, but not "snarling rockers" or particularly "guitar-driven" in the rawk sense----otherwise, just as advertised above.
Although Henske maybe has even more vocal range, and male vocals (mostly Yester's deceptively gentle, Nesmith-ish clarity, and Yanosky's unpretentious support) are occasionally featured, otherwise the vibe & polish remind me of Michele (O'Malley's) studio aces-in-space Saturn Rings, another 1969 release, and produced by Curt Boettcher, with hip guests, though Henske and Yester did almost all of this themselves. Some of it also suggests the more expansive tracks on Cale's pastoral-post-country gothic Vintage Violence, released in 1970. And it sails by the wilder shores of early English folk-rock too.
Title track is esp. rec to fans of Laser Pace, what with synthesizer (incl morphing of vox) by Paul Beaver (I gotta check Beaver & Krause, right? Bernie Krause added electronic shadings to one of my favorites, Link Wray's mid-70s The Link Wray Rumble.
Fun instrumental bonus versions, incl. "Moods For Cellos," very different from scary swooping LP use: this seems like a wordless Beacn Boys lullaby.
Lots to wrap brain around, but so far only the opener, "Snowblind," seems a bit awkward, as written. It's more about the overall effect, anyway (attitude w musical smarts also re with United States of America's '68 s/t).

And is the xpost Modern Folk Quartet good??

So glad taht this version of farewell Alderbaraan is coming. Been waiting to hear about a legit reissue of this for years. joe foster said he was about to do one about 10 or so years back, then the Radioactive needledrop appeared and the legit from tapes one was dropped. & looks like various post-Radioactive versions of the same label have been brought out since.

I have a different needledrop that was circulated through a blog after the radioactive one appeared. & I think there are corners in the sound i'd like to hear more clearly.

Fantastic news. love that lp.

yeah, i'm surprised it hadn't been reissued before, outside of phoenix/radioactive boots. kinda one of those legendary collector records.

That was a period where Radioactive seemed to get off on "scooping" legit labels with needle-drop bootlegs... I remember they dropped the Christ Tree record right before Hand/Eye's box set came out, too.

As I mentioned in the band's own thread, the Screaming Blue Messiahs box Vision in Blues is now available for pre-order. Their debut EP and all three of their studio albums, remastered, with all available B-sides and bonus tracks appended, plus a previously unreleased live album.

Nice! Couldn't really get into the later albums, but I'll buy if I can find a reasonable price.

This essential garage noir release comes out August 19:

http://www.numerogroup.com/products/the-scientists-a-place-called-bad

With a sound that was swampy, primal and modern-urban all at once—as much in the tradition of rock n’ 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. The themes of getting wasted, driving around 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 to create a sound all their own.

> 4CD includes complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree.

> 2LP version boils the box down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree.

> Deluxe mail order only version includes previously unissued Cheap Nasties 7" EP (limited to 1000) or 10 song cassette (limited to 100)!

Saxophonist Arthur Blythe's first four albums - In The Tradition, Lenox Avenue Breakdown, Illusions and Blythe Spirit, all released on Columbia between '79 and '82 - are being reissued as a 2CD set, remastered with new liner notes, by the UK label Beat Goes On.

Great to have those out again. I never did hear them all, but think Illusions was the one to employ Blood Ulmer as a jangling barbed wire team player (it worked).
Still got some doubts about some of the opening tracks on xpost Farewell Aldebaran: the mix seems too crowded at tymes, though 60s enthusiasm would do that, and better than too sparse; also the aforementioned mid-20th Century romantic and Romantic (idealistic, fatalistic) imagery X concerns can seem dated and predictable (like a lot of dystopian science fiction, then and now), but the musical enthusiasm and freshness does take it further than a lot of other artistes managed. "Three Ravens" pulls and pushes like that, though thought it was gonna be a draw, for a while. Don't know why I referred to this finished track as "scary and swooping," but it sure is different enough from the bonus instrumental source, "Moods For Cellos."
I may have confused "Three Ravens" for "Raider," which is my fave now, with the calling voices I mentioned, like an Appalachia-to-British Isles ballad ritual the Velvet Underground might've dug: " 'Raider,' she cries, 'you got tearrrs in your eyes, oh you're dreeam-ing mmmeee." Excellent bass by Jerry Scheff, bowed banjo and hammered dulcimer by David Lindley and Solomon Feldthouse of Kaleidoscope.
I shouldn't have said that "Henske and Yester do almost all of it themselves." Yes, Yester does a lot, but, as well as Zal and some Kaleidoscopians, jazz bassist Ray Brown shows up, ditto Tim Buckley's sometime co-writer, Larry Beckett, and the splendid session/touring drummer Fast Eddie Ho (who played on Buckley's Yester-produced Goodbye and Hello, also with the Mamas and Papas and many others).
Anybody heard Rosebud, Henske & Yester's later group? Still wondering about Modern Folk Quartet too.

Heard a track from this today and very lovely it was too.

http://www.numerogroup.com/products/jimmy-carter-and-dallas-county-green-summer-brings-the-sunshine

THE HEATERS,
ONE OF L.A.’S BEST-KEPT SECRETS OF THE NEW WAVE,
RELEASES 1983 RECORDINGS SOME 33 YEARS LATE
Omnivore to release American Dream: The Portastudio Recordings on August 19. Features new liner notes from band members.

STUDIO CITY, Calif. — The Heaters were one of L.A.’s hottest live acts in the late ’70s, opening for heavyweights like Talking Heads, Van Halen, and Cheap Trick. The band’s explosive stage technique, visual smarts, great pop songwriting, and Mercy Bermudez’s soaring lead vocals — the sound of Phil Spector mixed with the energy of punk — made them the band to see on the Sunset Strip. Sadly, their debut album (one of the most highly anticipated releases of the day) was plagued with problems and captured none of their magic. It was a commercial failure, with little exposure in radio and no sales. A second album “sounded” better, but met the same fate.
However, sisters Maggie and Missy Connell along with Mercy Bermudez kept recording on a Portastudio, concentrating on the girl-group side of their sound. They created tracks that would become a Holy Grail for not only Heaters and girl-group fans, but for anyone who was lucky enough to have heard them. Rhino Records loved the material and wanted it re-recorded it for a new release, but the three thought the songs should be released as they were, and turned down the deal. That was more than 30 years ago.
American Dream: The Portastudio Recordings, due out August 19, 2016 on Omnivore Recordings, is the first-ever official release of those 10 tracks from Maggie, Missy, and Mercy as the Heaters. Their glistening harmonies, which drew on the golden era of girl groups, the ’50s and ’60s, and were filtered through the ’80s, will finally be widely available — in the 21st century! But great music is timeless, and the time has come for the true sound of the Heaters to reach the masses the way it was intended.
According to Maggie Connell: “Today anyone with a computer can record an album at home. That was not the case when Missy, Mercy, and I began the Porta Project. Before 1983, album making was like an occult science — available only to the chosen few. Young musicians were blindfolded novices and producers were High Priests. So there was something subversive about recording yourself . . . like Toto defrocking the Wizard of Oz by discovering the ‘man behind the curtain.’ Today technology has created a more level playing field . . . along with greater freedom. Yet I wonder if that freedom has led to better music. There is something enlivening about pushing against limitation, and having something to prove — if only to yourself. So, I’m grateful for my part in this record — and for all the frustration that inspired it.”
With the full cooperation, and liner notes, by the band, we can finally turn up the Heaters!
Track Listing:
1. American Dream
2. All I Want To Do

3. 10,000 Roses

4. Every Living Day

5. Just Around The Corner
6. Sandy
7. I Want To Love Again
8. Rock This Place

9. Love Will Be Hurrying To You
10. I’ll Meet You There

Blonde Redhead announces Numero Group box set collecting early material, shares rare early single "Big Song"

STREAM: "Big Song" -
Soundcloud / Pitchfork
https://soundcloud.com/numerogroup/blonde-redhead-big-song-1/s-8RCqT

VIDEO: Trailer Video -
https://www.youtube.com/watch?v=GrHDACdGNnE

Teeming with the energy and grit of pre-Giuliani Manhattan, Blonde Redhead's long out-of-print early recordings have finally crawled their way out of the '90s basement thanks to Numero Group who will issue a 4LP / 2CD set on Sept. 30. Weighing in at 37 tracks, Masculin Féminin compiles the band's first two albums for Steve Shelley's Smells Like Records (self-titled and La Mia Via Violenta), their period singles, extant demos, and radio performances across four LPs or two CDs. Dozens of previously unpublished photographs illustrate two lengthy essays on this essential New York band's formative years.

This is the latest installment in Numero Group's 200 Line series which has also included releases from Unwound, Bedhead, Codeine, White Zombie and The Scientists.

"These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of '60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy." -Arto Lindsay

TOUR DATES:

06/16 - Brooklyn, NY - Red Hook Summer Stage



Blonde Redhead
Masculin Féminin
(Numero Group)
Street Date: Sept. 30, 2016

Track List:

Masculin
LP 1 - Self-titled

1. I Don't Want U
2. Sciuri Sciura
3. Astro Boy
4. Without Feathers
5. Snippet
6. Mama Cita
7. Swing Pool
8. Girl Boy
LP 2 - 7"s and Bonus Material

9. Amescream
10. Big Song
11. Inside You
12. Vague
13. Jet Star
14. This Is The Number Of Times I Said I Will But Didn't (4 Track Demo)
15. Instrumental (Live at Snacktime)
16. Slogan Attempt
17. Swing Pool Instrumental (Live at Snacktime)
18. Woody (4 Track Demo)

Féminin
LP 1 - La Mia Vita Violenta

19. (I Am Taking Out My Eurotrash) I Still Get Rocks Off
20. Violent Life
21. U.F.O.
22. I Am There While You Choke On Me
23. Harmony
24. Down Under
25. Bean
26. Young Neil
27. 10 Feet High
28. Jewel

LP 2 - 7"s and Bonus Material

29. Flying Douglas
30. Harmony (7" Version)
31. 10 Feet High (7" Version)
32. Valentine
33. Not Too Late
34. (I Am Taking Out My Eurotrash) I Still Get Rocks Off (KCRW Session)
35. Pier Paolo (KCRW Session)
36. Country Song (La Mia Vita Violenta Outtake)
37. It Was All So Sudden (4 Track Demo)

Soundcloud advance track & YouTube trailer remind me of some comparisons of Blonde Redhead to younger Sonic Youth trying to be more accessible, re (what I hear as) bad vocals and dull riffs---but maybe they got better?

xpost The Heaters:The band’s explosive stage technique, visual smarts, great pop songwriting, and Mercy Bermudez’s soaring lead vocals — the sound of Phil Spector mixed with the energy of punk seems plausible after to listening to these vintage demos (occasionally clunky as played, though never ever as sung). Although the 60s meets 80s thing, such a thing in some of the 80s, mostly obviously comes across in the first and last tracks: "I'll Meet You There" is stately, swaggering sincerity, jangle-to-twangle and even maybe a Moog briefly improving on 50s-60s-to-80s sax: Bangles-worthy, if not Bangles-challenging (nah, they could handle it now).

"American Dream" seems like a de facto parody and celebration of 60s-80s, high-stepping like "Uptown Girl" (though here's where some of the clunking comes in), serenading someone whose smile is like a new car, "Your hair is like an airport," and even changing faster than "a color TV"---hmmm changing colors, a passing ziiing---little bit of everyday science fiction-reader's snidery there, like xpost United States of America's 60s s/t. By the same token, it's a bit we-get-it-already as written, though proud and fine singing, even ditto final instrumental flourish.

Other lyrics are mostly played 60s-girl-group straight---which also means healthy emotional range, which can incl. flamboyant as hell, from the daze when Ellie Greenwich and her mostly female competitors (yeah, sorry Phil) were concocting AM radio chartbusting showstoppers, not waiting for Broadway to finally cough up Grease and Hairspray.
Oh, one more 60s-80s lyrics exception (and I guess this is the one where "punk" is the closest to applying, re if and where it might get radio/video play): "Sandy" starts like maybe a cover of the Boss's song, but it's another original serenade, girl-to-girl, though also like the cute-friendly-girls-dressed-as-boys-dressed-as/for-girls British Invasion-power-pop publicity pic, she's playing a guy maybe, like in Shakespeare's time, OK---but then suddenly she's explaining, in thee midst of this midsummer night's cold call, "He's in love with his own feelings/He doesn't really see-ee you, he just wants to bee-ee you," and then the full-group chorus really spells it out: "That boy wants to be a girl/That boy wants to be a girl!" Punchline adds another surprise, but still.
60s-wise,rec to fans of the Shangri-Las etc., their influence on early Laura Nyro, also other very belatedly resurrected girl groups like Honey Ltd., who had their own cosmic harmonic thing, incl. in more country-pop reincarnation as Eve.

60s=>80s-wise, yeah the Bangles a bit there at the very end (right before that, they do pick up the pace and the guitars a bit more than previously). Otherwise, Cyndi Lauper's early 80s group Blue Angle maybe, though think Lauper did all the belting, maybe---Annie Golden and Shirts? Don't think I ever heard them, but back in the day said to have a bit of early 60s/Broadway influence (and before that, same was true of early Blondie, esp. with Shadow Morton, who did the same for Noo Yawk Dolls and actual early-mid 60s groops). Other examples worth hearing--??

Blue *Angel*--sorry Cyndi!

"Right before that" (re "they do pick up the pace and guitars a bit more than previously"): tracks 8 and 9.

Anybody heard the two Heaters albums that *were* released in the 80s? Not so good if even the publicist says they weren't, but I still want to check them out.

Bear Family Records and MVD Entertainment Group reach exclusive distribution agreement for the US market

Bear Family Records, the German independent record label specializing in reissues of archival country, rock 'n' roll, rhythm 'n' blues, blues, folk and soul music, will have exclusive distribution in the US (for the first time) via MVD Entertainment Group. The label has been in existence since 1975, founded by collector Richard Weize, started with the double LP "Going Back to Dixie" by Bill Clifton.

Bear Family's oldest recording archives date back to 1896, but a great deal of their releases contain material from the 1960s and '70s. The label has become known for its extravagant box sets and the company describes itself as "a collector's record label" due to its primary business, which is reissuing rare recordings in CD format in small amounts. Historically, Bear Family material has had only limited availability in the US, stocked at Ernest Tubb Record Shops and through mail order sources. With the MVD deal in place, Bear Family box sets will be widely available in the US.

"With joining the MVD Entertainment group of labels, Bear Family is making the next step," said Detlev Hoegen of Bear Family. "While as a record label we are preserving the past, with MVD as our distribution partner we are meeting the challenges of today's global market."

Hoegen also presides over Cree Records, a new-ish imprint of Bear Family specializing in Caribbean, calypso, soul, funk, reggae, disco, and obscure European releases. The label is heavily expanding in the vinyl market and will have approximately 20 new titles on LP (12" 180 gram, 10", and 45s).

"We are so proud to be working closely with Detlev and his team, and especially proud to be affiliated with such a strong brand as Bear Family." said Ed Seaman, COO of MVD. "This opens new doors for our growing business and allows MVD to expand further into the high end music collector's market."

xpost on Blonde Redhead. They did get better, on the third album. Then they got worse, though slowly, and eventually were the soundtrack to buying clothes in Soho (New York). This is probably close to their peak:

https://www.youtube.com/watch?v=T_b-WxQo47U

holy shit @ Bear Family news

Yeah that's awesome... hopefully be able to buy their single CDs for less than $27 or whatever.

Speaking of xxpost Henske & Yester and their prior involvement w members of the Modern Folk Quartet, the MFQ stars in the dramatic climax of this "Stairway" vs. "Taurus" coverage:
http://www.rollingstone.com/music/news/led-zeppelin-stairway-trial-gets-ugly-as-plaintiffs-rest-their-case-20160618
It figures that, even now, a Stone writer would get shook by x-ray looks at the Zep mystique, since LZ long ago entered the RS Boomer Pantheon, and once you're in, you're in. But doesn't really diminish what they did with what they found.

Still, these particular comparisons (by the defense; basically standard practice, as in trials of John Fogerty, Charlie Daniels, etc. etc.) are a bit startling.

re: Modern Folk Quartet - I *adore* the lone track I have of theirs from the Back to Mono boxset "This Could Be the Night". Don't think anything else has ever surfaced, but I would be curious to hear any that did.

"To Catch a Shad" = not bad!

guess I should have specified nothing else produced by Phil Spector has ever surfaced

Uh-oh (re Pentangle, what about, er, "White Summer?)
http://www.rollingstone.com/music/news/led-zeppelins-10-boldest-rip-offs-20160622

And re xpost Kaleidoscope guys on Farewell Alderbaran, one of 'em, Lindley, was sometimes said to be the source of Page's approach to bowed guitar, although JP said a fellow session muso told him to try it.

He also called Kaleidoscope "the best band I've ever seen," and I think he did mean US, not UK, K, though can't find interview right now.

I thought most people put bowed guitar down to The Creation's Eddie Phillips who was certaionly using it in the mid 60s
https://www.youtube.com/watch?v=uC4CcclI2NI

though there may be other sources, but they are a band worth checking out if you're not familiar with them.

Thanks! I should have checked them out a long time ago.

NEW ORDER

Remastered And Updated Version Of Singles Compilation
To Be Rereleased On September 9 Via Warner Music

"All the perks of indie, dance and pop in one seamless package... the results are still terrific
listening". - Pitchfork

"Singles' is a peerless and ultimately simple example of how wonderful pop music can be."
- NME

LOS ANGELES - One of the most celebrated back catalogues in music history is set to be rediscovered when New Order's SINGLES compilation is released in remastered and updated form on September 9, 2016.

SINGLES charts New Order's finest moments, ranging from their 1981 debut "Ceremony" through to the influential classic "Blue Monday" and other career highlights including "Confusion," "True Faith," "Regret," and "Crystal" plus the chart-topping football anthem "World in Motion."

A decade after its initial release, SINGLES has been refined to become a greatly improved representation of the band's history. The renowned Frank Arkwright (The Smiths' Complete) at Abbey Road has remastered the collection with all audio sourced from high quality transfers.

In addition, SINGLES adds "I'll Stay With You" from 2013's Lost Sirens album and replaces the correct single edits or mixes for the tracks "Nineteen63," "Run 2," "Bizarre Love Triangle," "True Faith," "Spooky," "Confusion" and "The Perfect Kiss." The result is a considerable upgrade on the previous version of the album.

This new version of SINGLES will be available in three formats: a heavyweight 180 gram 4LP vinyl box set, a double-CD, and on digital/streaming services.

SINGLES

Track Listing:

Disc 1

Ceremony
Procession
Everything's Gone Green (7'' version)
Temptation (original 7" version)
Blue Monday
Confusion (UK 7'' promo edit)
Thieves Like Us (7'' promo edit)
The Perfect Kiss (7'' edit)
Sub-Culture (7'' version)
Shellshock (7'' edit)
State of the Nation (7'' edit)
Bizarre Love Triangle (7'' remix edit)
True Faith (7'' edit)
Touched by the Hand of God (7'' edit)
Blue Monday '88 (7'' version)

Disc 2

Fine Time (7'' version)
Round and Round (7'' version)
Run 2 (7'' remix edit)
World in Motion
Regret
Ruined in a Day (radio edit)
World (The Price Of Love) (radio edit)
Spooky (minimix)
Nineteen63 (Arthur Baker radio remix)
Crystal (radio edit)
60 Miles An Hour (radio edit)
Here To Stay (radio edit)
Krafty (single edit)
Jetstream (radio edit)
Waiting for the Sirens' Call (Rich Costey radio version)
Turn (Stephen Street edit)
I'll Stay With You ('Lost Sirens' LP version)

Manufactured Reissues Four Rare Jazz LPs On July 22nd
Featuring Milton Marsh and Brother Ah (Sun Ra Arkestra)
Previously Unreleased Brother Ah Material Coming In November
https://gallery.mailchimp.com/78dc98191efe28151fba166f0/images/23df17a2-f92f-4283-aea4-5a8caf5a7522.jpg

more info and audio:
http://us2.campaign-archive1.com/?u=78dc98191efe28151fba166f0&id=753e244dba&e=591064d8e7

eh, since I brought it up:
http://www.billboard.com/articles/news/7416371/led-zeppelin-stairway-to-heaven-trial-verdict

the Creation are fantastic

Will def be delving more into the C.

Just might order this, out July 1--guess he was imitating Skip James, but something in him responded to that sound:

https://images-na.ssl-images-amazon.com/images/I/61IarTjLI7L.jpg

https://images-na.ssl-images-amazon.com/images/I/91nofC%2BzKuL._SL1500_.jpg

Amazon sez:
(2-CD set) His was the voice of the Woodstock generation who asked 'baby, do you want to go' in the Canned Heat anthem Going Up the Country. Now Severn Records releases The Blind Owl, a compilation of Alan Wilson's greatest works with the legendary band he helped form. The Blind Owl features 20 songs of satisfying blues boogie including My Time Ain't Long, Mean Old World, and the band's breakout recording On the Road Again, plus Wilson's prophetic Poor Moon and fan favorite Time Was. In September of 1970 Alan overdosed, making him a member of the 27 Club. Still his legacy remains strong today as proven in this collection of remarkable recordings. The Blind Owl is a must for serious blues collectors as well as fans of 60's psychedelic rock. Packaged in 2-CD digipack with cover art provided by The 27s book.
if back image is messed up, here's another track list:

Disc: 1
1. On the Road Again
2. Help Me
3. An Owl Song
4. Going Up the Country
5. My Mistake
6. Change My Ways
7. Get Off My Back
8. Time Was
9. Do Not Enter
10. Shake It and Break It
11. Nebulosity/Rollin' & Tumblin'/Five Owls

Disc: 2
1. Alan's Intro
2. My Time Ain't Long
3. Skat
4. London Blues
5. Poor Moon
6. Pulling Hair Blues
7. Mean Old World
8. Human Condition
9. Childhood's End

Product Details
Audio CD (July 1, 2016)

AFTERSCHOOL SPECIAL: THE 123s of KID SOUL
FROM NUMERO GROUP
CHRONICLES SECRET HISTORY
OF TEENAGE SOUL SENSATIONS
The names may not be household
— Next Movement, Brighter Side of Darkness, Five Ounces of Soul, Scott Three — but the sound stands up to soul’s elder stars. In stores September 16.

Scott Three
CHICAGO, Ill. — The formula was simple: marry bubblegum and soul to the absolute sincerity of an enthusiastic child, cross your fingers and pray for airplay. But while the youthful sums of that formula may have grown up and walked away from their illusions of stardom, their permanent records remain.
By 1973, Michael, Tito, Jermaine, Marlon and Jackie were as hip as kids could get — household names with lunchboxes, coloring books, a Saturday morning cartoon, and an Alpha-Bits cereal commercial pushing the J5 brand onto any kid with television reception.
Their impressive run of four consecutive #1 singles playing on both pop and R&B stations cemented their appeal to both whites and blacks, prompting MGM to launch the Osmonds as the safer (read: white) alternative. And parents? Well, Michael had that wrapped up with his impossible-not-to-love mini-James Brown thing. Even the group’s song selection straddled both sides, with “Zip-a-Dee-Doo-Dah” and “ABC” for kids, and contemporary standards “Standing in the Shadows of Love” and “My Cherie Amour” for the older crowd. This marketing and merchandising juggernaut created the kid soul explosion.
On September 16, 2016, Numero Group will release the compilation Afterschool Special: The 123Ss of Kid Soul. A decade removed from the label’s acclaimed Home Schooled compilation comes a fresh batch of talent-show titans. With enterprising parents, neighbors, and teachers turning play dates into recording dates, groups like Magical Connection, Little Man and the Inquires, and Five Ounces of Soul emulated the Jacksons, who’d made grade-school stardom appear easy as ABC. Afterschool Special: The 123s of Kid Soul contains 19 tiny tunes ranging from bilingual D.A.R.E. anthem, to James Brown bio, to young love and life beyond the playground.

Track Listing:
1. I'm A Special Kid Bethlehem Children's Choir
2. Runnin' Wild (Ain't Gonna Help You) Scott Three
3. Guessing Game Jimi Hill
4. You Got Me Believing (Dreamin' 'Bout You) Leonard Kaigler
5. I Love You Still Cash
6. Because I Love You Brighter Side Of Darkness
7. Everywhere You Go Next Movement
8. I Want A Little Girl The Bennetts
9. Simon Says Future Kind
10. I Am Free No Dope For Me The Dynamics
11. The Revolution Will Not Be Televised Brother's Rap
12. We Don't Dig No Busing (The Busing Song) Greer Brothers
13. Funky Breakdown Little Man & The Inquires
14. Love Got A Piece Of Your Mind Five Ounces Of Soul
15. Girl Why Do You Want To Take My Heart Magical Connection
16. It's Time For Love Soul Emotions & Co.
17. Losing My Girl Brotherly Five
18. The Other Guy The Mighty Mustangs
19. James Brown Nancy Dupree
# # #

Music Industry, 1993: everyone is looking to sign the "next" Nirvana. Atlantic Records found exactly the band they were looking for in the Melvins. Birthed in the Pacific Northwest gloom of Aberdeen that would spawn grunge music and culture, the Melvins were writing songs that were clearly inspired by the right stuff and written for the right people...and they had Nirvana's unequivocal stamp of approval, which meant everything in the early 90's. For the next four years after their signing, the Melvins would deliver three stellar, influential albums that were criminally only moderately appreciated at the time. In the past 23 years, they've continued onwards with Buzz Osborne, Dale Crover and a revolving cast of bassists at the helm, cementing themselves as one of the most important American rock bands of all time.

Houdini, Stoner Witch, and Stag have all been out-of-print on vinyl for over two decades and original copies can command into the three figures in back alley craps games. Third Man Records is proud to reintroduce these titles, officially available June 24th, to the hungry vinyl-buying public, all remastered from original analog tapes, pressed on 180-gram vinyl and given the deluxe, gatefold jacket treatment.
https://www.youtube.com/watch?v=SJ5nQXnd_LE

huh I have Lysol on vinyl, had no idea that was worth more than $20

They didn't mention that one, and prices for others may be speculative in more ways than 1, re can command into the three figures in back alley crap games ho ho.

http://files.ctctcdn.com/c58a551d001/4dd093b0-8d9c-4f0d-8a65-436c74e00dc4.jpg

BORIS announce 10th anniversary Pink album deluxe reissue, U.S. tour performing Pink in its entirety

Hear & share "Are You Ready?" https://soundcloud.com/sargent-house/boris-are-you-ready/s-Xi3N5

Japanese trio Boris announce the 10th anniversary deluxe reissue of Pink today and premiere one of 9 previously unreleased tracks from the new edition via Pitchfork. See track list below.

Boris will launch a full U.S. headlining tour in July in which they will perform Pink in its entirety. The band's new Sargent House labelmates Earth will play all dates except two in Canada. Please see complete dates below.

Pink, the landmark 2006 album by Boris, which earned widespread critical praise -- including Pitchfork's Top 10 Albums of 2006 -- will be reissued in a deluxe edition this summer to commemorate the album's 10th anniversary.

The deluxe 3xLP box set and 2xCD features an entire album of previously unreleased tracks recorded during the Pink album sessions in 2004-2005. The bonus Forbidden Songs collects 9 tracks of the same hyperactive, accessible and aggressive caliber of the original album, available here for the first time, mixed (with additional editing and arrangement) in 2015 and mastered in January 2016. Like the original U.S. vinyl release, the Pink (Deluxe Edition) LP set has three longer edits of songs that were truncated on the original CD issue ("Farewell", "Pseudo-Bread" and "My Machine"). Otherwise, both the LP and CD versions have the same audio as the 2006 release. And, Pink (Deluxe Edition) also features the artwork of the original Japanese release, made by the band members themselves.

In 2006, Pink was Boris' 10th album and a major breakthrough that earned new fans outside of the underground metal community -- the track "Farewell" was even featured in Jim Jarmusch's classic film The Limits of Control. The album landed on countless "best of the year" lists from underground metal sites to mainstream rock magazines. And the praise was certainly well deserved for its more accessible sound and explorations into shoegaze and ambient structures alongside brutal noise, searing psychedelia and apocalyptic doom.

Pink succeeds at what most bands cannot do: swiftly changing styles from song to song, while always sounding distinctly like themselves. The seamless, explosive set of fan favorites from the classic longtime lineup of drummer/vocalist Atsuo, guitarist/vocalist Wata and bassist/guitarist/vocalist Takeshi still sounds as mindblowing as it did a decade ago. And, Forbidden Songs continues with the same unbridled creativity and ferocity. These songs aren't outliers, they're rather more like the director's cut version of the original album.

Boris is now in their 24th year as a band -- 20 years in the classic trio lineup -- and showing no signs of slowing down. They have always demolished expectations of what a band can do musically and aesthetically. And in looking back with Pink (Deluxe Edition), the band's trajectory as experimenters and innovators over subsequent releases becomes even clearer.

Pink (Deluxe Edition) will be available everywhere (excluding Japan) on July 8th on 3xLP box set, 2xCD and download via Sargent House.

BORIS / EARTH / SHITSTORM TOUR 2016:
07/22 San Diego, CA @ The Casbah
07/23 Phoenix, AZ @ Crescent Ballroom
07/25 Dallas, TX @ Trees
07/26 Austin, TX @ The Mohawk
07/28 Ybor City, FL @ The Orpheum
07/29 Orlando, FL @ The Social
07/30 Atlanta, GA @ The Masquerade
07/31 Asheville, NC @ The Orange Peel
08/01 Nashville, TN @ Third Man Records
08/03 Carrboro, NC @ Cat's Cradle
08/04 Washington, DC @ 930 Club
08/05 Brooklyn, NY @ Warsaw
08/06 Philadelphia, PA @ Union Transfer
08/07 New Haven, CT @ College Street Music Hall
08/09 Boston, MA @ Paradise Rock Club
08/10 Montreal, QC @ Bar Le Ritz P.D.B. (no Earth)
08/11 Toronto, ON @ Lee's Palace (no Earth)
08/12 Cleveland, OH @ Grog Shop
08/13 Grand Rapids, MI @ Pyramid Scheme
08/14 Chicago, IL @ Metro
08/16 Madison, WI @ Majestic Theater
08/17 Minneapolis, MN @ Fineline Music Cafe
08/18 Lawrence, KS @ Granada Theatre
08/19 Denver, CO @ Bluebird Theater
08/20 Salt Lake City, UT @ Urban Lounge
08/22 Seattle, WA @ Neumo's
08/23 Portland, OR @ Wonder Ballroom
08/25 San Francisco, CA @ The Fillmore
08/26 Los Angeles, CA @ The Regent Theater
08/27 Las Vegas, NV @ Hard Rock Hotel - Psycho Las Vegas

Artist: Boris
Album: Pink (Deluxe Edition) 3xLP
Label: Sargent House
Release Date: July 8th, 2016

LP I: Pink

Side A
01. Pink
02. Woman On The Screen
03. Nothing Special
04. Blackout

Side B
5. Electric
6. Six, Three Times
7. Afterburner
8. Pseudo Bread (long version)

LP II: Pink

Side C
9. My Machine (long version)
10. Farewell (long version)

Side D
11. Just Abandoned Myself

LP III: Pink Sessions "Forbidden Songs"

Side E:
1. Your Name Part 2
2. Heavy Rock Industry
3. SOFUN
4. Non/Sha/Lant
5. Room Noise

Side F
6. Talisman
7. N.F. Sorrow
8. Are You Ready?
9. Tiptoe

Artist: Boris
Album: Pink (Deluxe Edition) 2xCD
Label: Sargent House
Release Date: July 8th, 2016

Disc I: Pink
01. Farewell
02. Pink
03. Woman On The Screen
04. Nothing Special
05. Blackout
06. Electric
07. Pseudo Bread
08. Afterburner
09. Six, Three Times
10. My Machine
11. Just Abandoned Myself

Disc II: Pink Sessions "Forbidden Songs"
01. Your Name Part 2
02. Heavy Rock Industry
03. Sofun
04. Non/Sha/Lant
05. Room Noise
06. Talisman
07. N.F.Sorrow
08. Are You Ready?
09. Tiptoe

On the Web:
www.borisheavyrocks.com (Official site: Japan)
www.sargenthouse.com/Boris
www.facebook.com/borisheavyrocks
borisheavyrocks.tumblr.com (BORIS news U.S.)

Follow BORIS on Twitter: @Borisheavyrocks

Um, wow...

Betty Davis - The Columbia Years 1968-1969
LP/CD, Light In The Attic
Release Date: 7/1/2016

One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song 'Uptown' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix -- personally inspiring the classic album, Bitches Brew. Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions -- never heard, never bootlegged -- predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers. The vibe is intrinsically unique, fresh, and futuristic -- jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner. Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders -- including trombonist Wayne Henderson and pianist Joe Sample. All tracks previously unreleased (except track B5/8). Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders. Remastered from the original analog master tapes.New interviews, rare photos, and unseen historical documents from the Teo Macero archive.

Pink is one of those albums I bought because everyone was recommending it. On paper it pushes all of my buttons. But I've never liked it.

That's pretty much how I feel about Boris in toto. I tried! I think the one with Kurihara is the only one I'd keep.

http://d31hzlhk6di2h5.cloudfront.net/20160619/fb/d9/6c/da/d039f240ca7e7ce8c866315d_602x602.jpg

Still happy, still together…
’60s POP LEGENDS THE TURTLES COME OUT OF THEIR SHELLS
WITH LONG-AWAITED REISSUES OF THEIR CLASSIC ’60S ALBUMS
ON AUGUST 19
The Complete Original Albums Collection is a six-CD box set;
two-CD All the Singles collects the A and B sides
of every original 1965-1970.
Compilations overseen by Howard Kaylan and Mark Volman.

LOS ANGELES, Calif. — During their original 1965-1970 run, the Turtles led a musical double life, scoring a lengthy run of unforgettable pop hits — such as “Happy Together,” “Elenore,” “You Baby” and “She’d Rather Be With Me” — while making albums that were among the era’s most distinctive, inventive and gently subversive. With co-frontmen Howard Kaylan and Mark Volman providing heavenly harmonies, infectious sonic craft and effervescent humor, the Turtles were a ubiquitous presence on Top 40 radio for much of the ’60s, while earning their counterculture credentials with such adventurous LPs as the Ray Davies-produced Turtle Soup and the wildly eclectic The Turtles Present the Battle of the Bands, on which they impersonated a different fictional act on each track.
Originally released on the small White Whale label, the Turtles’ original albums have remained stubbornly out of print for many years, leaving fans with various greatest-hits collections that only scratched the surface of the band’s deep and rewarding catalog. That situation changes on August 19, 2016, when the Turtles’ label FloEdCo, in association with Manifesto Records, celebrates the band’s 50th anniversary with the release of a pair of definitive CD packages that encompass, for the first time, the whole of the Turtles’ recorded output from 1965 to 1970.
The Complete Original Albums Collection is a six-CD box set of the six albums that the Turtles released between 1965 to 1970, plus a wealth of rare bonus material. Each of the band’s first three albums — It Ain’t Me Babe, You Baby and Happy Together — is presented in its original mono and stereo mixes, while each of the remaining three — The Turtles Present the Battle of the Bands, Turtle Soup and Wooden Head — provide a generous assortment of rare bonus tracks, including some previously unreleased material.
The two-CD All the Singles collects the A and B sides of every original 1965-1970 Turtles 45, with the tracks presented in the same mono or stereo mixes that were heard on the original singles. All the Singles also features several tracks that were prepared for singles release but not issued at the time.
Both sets have been meticulously researched and prepared from the original master tapes by renowned engineer Bill Inglot, and both contain detailed liner notes by noted writer and archivist Andrew Sandoval. The resulting packages offer a unique insight into one of rock’s most misunderstood bands.
“We were thought of as a hit-making machine, but buried in there was a very thought-provoking group,” Mark Volman notes. “We really cared about what was going on ... We were never really afforded the credibility of bands like the Byrds.”
The Turtles, Volman points out, were “making records that made it to the radio, but were still challenging and adventurous records. Experimental, but at the same time full of commerciality. The Turtles were really walking on a fine edge. We were only two years out of high school and we were making some pretty challenging music.”
After the Turtles disbanded at the end of the decade, Howard Kaylan and Mark Volman maintained their partnership, serving a five-album stint as members of Frank Zappa’s Mothers of Invention before releasing several albums as Flo and Eddie. They also had an extended run as FM rock DJs, provided voices for animated films and became in-demand studio singers, lending their trademark harmonies to a wide range of acts from T. Rex and Alice Cooper to Bruce Springsteen and the Ramones. Today, the pair continues to carry the Turtles’ legacy forward, leading the band’s present-day incarnation on their wildly successful annual Happy Together tours. This year’s tour launches on June 3 in Biloxi, Mississippi and continues through September.
http://theturtles.com/tour/

http://d31hzlhk6di2h5.cloudfront.net/20160619/21/c5/4c/11/91ead129195f506537758265_560x530.jpg

http://d31hzlhk6di2h5.cloudfront.net/20160619/4a/14/b9/d0/549b99e0b005602297d14bb4_602x602.jpg

Oh yeah, and more info, audio samples (30" ea., but all tracks) from xpost Betty Davis prev. unreleased
http://lightintheattic.net/releases/2429-the-columbia-years-1968-1969

We've been talking about 'em on her thread:

YES

― chr1sb3singer, Tuesday, June 28, 2016 11:59 AM (Yesterday) Bookmark Flag Post Permalink

listening to the clips now, seems more hard R&B than funk, but still interesting

― Dominique, Tuesday, June 28, 2016 12:03 PM (Yesterday) Bookmark Flag Post Permalink

yeah from the clips, i dunno if it really supports the idea that betty was the inspiration behind the bitches brew sound, everything here is pretty straight ahead (though maybe some of it gets more wigged out as the songs progress). but it sounds cool anyway!

― tylerw, Tuesday, June 28, 2016 12:09 PM (Yesterday) Bookmark Flag Post Permalink

this just strikes me as a bit of a stretch: "The concepts explored on these previously unheard sessions fueled concepts that wouldn’t be fully realized until years later with Miles’ seminal On The Corner."

― tylerw, Tuesday, June 28, 2016 12:14 PM (Yesterday) Bookmark Flag Post Permalink

Yeah, hard to tell what just what might eventually happen in these tracks---for 30" excerpts especially, might have been better not to make 'em all the intros. The voice does sound kinda thin, but *not* tuneless, as some have said upthread. The band sounds stronger right off and all through. Suspect it's not nearly as wild or raunchy as the finished albums may be ---still haven't heard 'em, but I wanna, and this too.

― dow, Tuesday, June 28, 2016 12:30 PM (Yesterday) Bookmark Flag Post Permalink

Don't think this page lists release date, but press sheet says July 1.

― dow, Tuesday, June 28, 2016 12:31 PM (Yesterday) Bookmark Flag Post Permalink

estimated ship date is 7/11

― tylerw, Tuesday, June 28, 2016 12:32 PM (Yesterday) Bookmark Flag Post Permalink

Here's what I said on Facebook yesterday:

Heard it this morning. It's not a lost album - it's demos. And if the personnel listed are really present, you coulda fooled me. The music is semi-generic late '60s soul/funk, so if Herbie Hancock and Larry Young are playing keyboards, they're not given enough room to stretch out; it's impossible to tell it's them. I didn't hear a note of saxophone, either, so where was Wayne, exactly? McLaughlin, though, is in full Jack Johnson mode, which is great, and the rhythm section (Billy Cox and Mitch Mitchell) are as "tightly loose" as they were behind Jimi. Davis's lyrics (on the three songs she wrote) are sketches at best. The cover of Cream's "Politician" is good, the cover of Creedence's "Born On The Bayou" isn't - too Tina Turner-ish by half. And the last three tracks, the ones done with Hugh Masekela in 1968, are just OK in a showbizzy, Vegas-pop kind of way (think Tom Jones). It's good-not-great; there's some studio dialogue from Miles which is intermittently hilarious (he tells her to keep her gum in her mouth when she sings); Betty fans (of which I am not really one, honestly) will almost certainly love it. But the stuff she did later was much more exciting.

Not surprising--even the 30" samples sounded like demos---but I'll check it out anyway. (No Larry Young though, dang.)

http://d31hzlhk6di2h5.cloudfront.net/20160601/d1/95/ba/e1/01cfe79debb3ec25ea057775_560x560.jpg

INDEPENDENT RAMSEUR RECORDS HONORS
BLUES HERO JOSH WHITE
WITH VINYL REISSUE OF HIS SEMINAL 1956 LP
JOSH AT MIDNIGHT ON AUGUST 19

Album celebrating 60th anniversary
“The incredible Josh White, at the absolute peak of his powers! Universally acclaimed as Josh's very finest album (Elektra 102)”
—Jac Holzman, Founder and President of Elektra Records 1950 - 1974

.
CONCORD, N.C. — In a massively influential career that spanned several decades, South Carolina-bred singer-guitarist Josh White (1914-1969) established himself as a pioneering musical force, a uniquely charismatic performer and a popular entertainer whose appeal transcended the racial and social barriers of the time.
At a time when African-American blues artists were routinely marginalized, White performed successfully on Broadway and in nightclubs, film and radio. He also emerged as a respected civil rights crusader and a trusted confidant of President Franklin D. Roosevelt, who in 1941 invited White to be the first African-American artist to give a White House Command Performance.
Despite the fame and success that he achieved during his lifetime, and his influence upon a diverse array of artists ranging from Nat “King” Cole to Bob Dylan, White has largely been forgotten by contemporary audiences. The roots-savvy North Carolina-based independent label Ramseur Records plans to return White and his music to spotlight with its vinyl reissue of the vintage LP Josh at Midnight, originally released in 1956 on the then-fledgling Elektra label. The album will be re-released in a deluxe vinyl edition on August 19, 2016.
Recorded with a single microphone by Elektra founder Jac Holzman over two nights in a converted Manhattan church in late 1955, Josh at Midnight finds White delivering spare, impassioned performances of a dozen spirituals and blues numbers. The artist is accompanied throughout the sessions by noted jazz bassist Al Hall and baritone vocalist Sam Gary.
By the time Josh at Midnight was recorded, White had been blacklisted for his social activism and his career was in decline. This situation prevented him from recording for larger record companies, but the idealistic Holzman (who was a staunch admirer of White’s music) was willing to take a chance. His faith was rewarded when White’s Elektra recordings became some of the struggling label's biggest sellers, helping to revive the artist’s career and propel Elektra’s evolution from tiny indie imprint to successful industry force. Josh at Midnight remained one of Elektra’s top-selling titles for years, and became a fixture in many an album collection at the time.
As Holzman writes in his liner notes, “Josh at Midnight is probably the finest Josh White recording ever made. Sixty years later it still dazzles with the radiance of a great artist, thoughtfully recorded, whose contribution is unchallenged and firmly set in the bedrock of American vernacular music.”
The Josh at Midnight reissue is a labor of love for Ramseur Records founder Dolphus Ramseur, who’s been a committed White fan since childhood, when he first heard Josh at Midnight's lead track “St. James Infirmary” on a local radio station's blues show. White’s music has remained a touchstone in Ramseur’s life ever since. After meeting Jac Holzman through their mutual association with the Carolina Chocolate Drops, Ramseur became determined to restore Josh at Midnight to the vinyl marketplace with the same attention to quality and detail for which Ramseur Records has become known.
The Josh at Midnight reissue was mastered with the participation of original producer Holzman, as well as legendary engineer Bruce Botnick and fabled mastering engineer Bernie Grundman.
“Josh was a special artist and this is a special record,” Ramseur comments. “It wasn’t about making money — I just felt like this music should be available. Josh was such an important artist and a unique voice and he was a really big star at one point. I want more people to know about him, and this is a good place to start.”

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LL OF THE BEACH BOYS’ FIRST-EVER RECORDINGS
FROM 1961-1962 FINALLY SEE LIGHT OF DAY AS
BECOMING THE BEACH BOYS:
THE COMPLETE HITE & DORINDA MORGAN SESSIONS,
DUE OUT ON OMNIVORE RECORDINGS ON AUGUST 26
Recordings date back to band’s pre-Capitol days in Hawthorne, Calif.,
providing glimpse of band’s earliest studio work

http://www.rollingstone.com/music/news/hear-beach-boys-rare-somber-surfer-girl-from-first-sessions-20160628

LOS ANGELES, Calif. — In September of 1961, Brian Wilson, Mike Love, Al Jardine, Carl Wilson and Dennis Wilson stepped up to a microphone together for the first time at the home of Hite and Dorinda Morgan to demo the Beach Boys’ first three songs. Between that September date and March 1962, before signing a seven-year contract with Capitol Records on May 24, 1962, they committed nine songs to tape under the direction of the Morgans.
Some iconic, others obscure — “Surfin’,” “Luau,” “Lavender,” “Surfin’ Safari,” “Surfer Girl,” “Judy,” “Beach Boy Stomp” (aka “Karate”), “Barbie,” and “What Is A Young Girl Made Of”— Every surviving take, false start, master take and studio banter during these historic recordings is gathered on this landmark collection, Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions.
On August 26, 2016, Omnivore Recordings will release Becoming The Beach Boys: The Complete Hite & Dorinda Morgan Sessions, the first-ever release of all of the group’s earliest recordings. In these 62 tracks, with more than 40 previously unissued, the genesis of one of the greatest vocal groups of the 20th century can be heard. The liner notes detail the origins of the band and their earliest songs, and the booklet includes photos of the early rare records drawn from these recordings, as well as tape boxes from the sessions. The set is fully authorized by the Beach Boys.
From the liner notes by Jim Murphy, author of the book Becoming The Beach Boys, 1961-1963: “Appropriately enough, “Surfin’,” the Beach Boys’ first effort, released in late November 1961, had its origin near the ocean. During a Saturday morning fishing trip on the Redondo Beach Pier, Mike and Dennis noted there were guitar instrumentals conjuring the feel of surfing, but no one had yet sung about it. ‘I remember Dennis and Michael going to the beach, and when they came back they were talking about making a song about surfing,’ Carl recalled. ‘That’s the first thing I remember as far as the reality of a group actually forming.’”
With a career spanning 55 years, the Beach Boys have sold more than 100 million records, charted over 80 songs worldwide, had 36 U.S. Top 40 hits, and are widely recognized as one of the most critically acclaimed and influential bands of all time. They were inducted into the Rock and Roll Hall of Fame in 1988 and the album Pet Sounds has been preserved in the National Recording Registry by the Library of Congress and inducted into the Grammy Hall of Fame. In 2001, the group received a Grammy Lifetime Achievement Award.
According to Murphy’s notes, “Here in these seminal recordings are the nascent Beach Boys, the premier vocal group of American popular music, and this is where it all began.”
Track listing:
Disc One
Surfin’
1. (Demo) 2. (Takes 1–2) 3. (Take 3) 4. (Take 4) 5. (Take 5)
6. (Take 6) 7. (Take 7) 8. (Take 8) 9. (Master)

Luau
10. (Demo – Take 1) 11. (Demo – Take 2) 12. (Demo – Take 3) 13. (Takes 1–2)
14. (Takes 3, 5–6) 15. (Take 7) 16. (Takes 8–11) 17. (Take 12) 18. (Master)

Lavender
19. (Rehearsal – Take 1) 20. (Rehearsal – Take 2) 21. (Rehearsal – Take 3)
22. (Take 1) 23. (Take 2) 24. (Take 4)

Surfin’ Safari
25. (Takes 3–4) 26. (Takes 5–6) 27. (Take 10) 28. (Overdub – Take 1 on Take 60
29. (Overdub – Take 2 on Take 10) 30. (Stereo Overdub)* 31. (Master)

Disc Two

Surfer Girl
1. (Take 1) 2. (Take 2) 3. (Take 3) 4. (Take 4) 5. (Take 5)
6. (Take 6) 7. (Master) 8. (Overdub – Lead Vocal)

Judy
9. (Take 1) 10. (Take 2) 11. (Overdub – Takes 1–2) 12. (Overdub – Take 4)
13. (Master) 14. (Demo – April 1962 Guitar Solo)

Beach boy Stomp (aka Karate)
15. (Take 1) 16. (Rehearsal – Take 2) 17. (Overdub – Take 1 on Take 1)
18. (Overdub – Take 2 on Take 1) 19. (Master)

Barbie
20. (Overdub – Take 1)* 21. (Takes 2–4)* 22. (Take 5)*
23. (Take 7)* 24. (Single Master) 25. Album (Master)

What Is A Young Girl Made Of
26. (Demo) 27. (Overdub – Take 1)* 28. (Overdub – Take 3)* 29. (Overdub – Takes 4–5)*
30. (Overdub – Take 6)* 31. (Overdub – Take 7)* 32. (Master)

All Tracks Performed by The Beach Boys Except “Barbie” and “What Is A Young Girl Made Of” Performed by Kenny And The Cadets
All Tracks Mono except *

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LITTLE RICHARD TO BE CELEBRATED
WITH DELUXE 5-LP BOX SET
Mono Box: The Complete Specialty and Vee-Jay Albums
due out July 15th on Specialty Records

LOS ANGELES, Calif. — Specialty Records — an imprint of Concord Bicycle Music — is pleased to announce the release of Mono Box: The Complete Specialty and Vee-Jay Albums: a deluxe, 5-LP box set that celebrates one of the most influential entertainers in popular music history, Little Richard. The collection includes the entire output of studio albums that Little Richard had recorded for both the Specialty and Vee-Jay labels, spanning 1957–1965. The albums, each featuring original label and jacket art, have been meticulously remastered from analog tapes and are presented in their original mono mixes. Completing the collection is a 16-page booklet featuring new liner notes by journalist Bill Dahl, plus era-specific photos.

In the early ’50s, Little Richard Penniman combined the spirit of church music, the bawdiness of blues and the swing of New Orleans jazz and turned it into something altogether new — rock ’n’ roll. When the Macon, Georgia native signed to Art Rupe’s Specialty Records, Little Richard began to develop his signature sound and flamboyant persona. His legendary debut album, Here’s Little Richard (1957), is a bold introduction to the artist, featuring the iconic tracks “Tutti Frutti” and “Long Tall Sally.” His 1958 follow-up, Little Richard, finds the singer on his rise to superstardom, with hits like “Lucille,” “Good Golly Miss Molly” and the title track of Jayne Mansfield hit flick The Girl Can't Help It, in which Little Richard appeared. The artist’s third and final album for Specialty, The Fabulous Little Richard (1959), was released soon after Richard had traded in a life of fame to focus on spreading the gospel. The LP featured standout tracks from Richard’s 1955-57 Specialty sessions, including “Whole Lotta Shakin’ Going On,” “Lonesome and Blue” and “Kansas City.”

Having taken several years out of the spotlight to focus on religion, Little Richard returned to his rock ’n’ roll roots in the early ’60s. This period kicked off with a successful European tour, followed by a new record contract with Vee-Jay Records. His first release with the label was 1964’s Little Richard Is Back — a triumphant collection of old favorites and new tunes, with a backing band that featured a young Jimi Hendrix on guitar. Richard’s second and final studio release with Vee-Jay was 1965’s His Greatest Hits. Despite the name, this album is not a compilation, but rather features the singer revisiting his classic hits nearly a decade later, introducing new arrangements and instrumentation. In his liner notes for the Mono Box, musicologist Bill Dahl writes, “As the end of the decade grew near and the first rock and roll revival loomed, Richard emerged at its forefront, his outrageous image earning him overdue network TV exposure.” Indeed, by the end of his tenure on Vee-Jay, Richard had firmly cemented his status as a rock ’n’ roll legend. Dahl continues, “It’s impossible to imagine how the genre would have developed if not for his massive innovations.”

Mono Box: The Complete Specialty and Vee-Jay Albums will be released July 15th on Specialty Records.

The Chills' Kaleidoscope World
Reissued For The First Time On 2xLP Vinyl & CD
Out August 19th On Flying Nun Records
Listen to previously released early version:
https://soundcloud.com/flyingnunrecords/the-chills-oncoming-day-early-version/s-JfUgX

Kaleidoscope World is not just the starting point for The Chills, but an insight into the world of New Zealand guitar-pop and the ‘Dunedin Sound’ – an influence which carries on to indie-pop bands around the world today. Originally released in 1986, the compilation captures the best of the magical early period recordings of The Chills and simply oozes excitement and possibility. Now re-issued on a deluxe 2xLP and CD set, it will feature six bonus, b-sides, demos and live tracks plus an expanded gatefold cover with photos, posters and liner notes from journalist Martin Aston.

The world’s first look at The Chills came via the 1982 Dunedin Double compilation – featuring four acts (The Chills, The Verlaines, Sneaky Feelings and The Stones) all hailed from the New Zealand city in the deep south. Recorded on a portable 4-track it was distinctly lo-fi and in tune with the DIY ethic at the heart of the burgeoning Flying Nun label.

It was a sound in part born out of geography and location, with the spaciousness and remoteness of New Zealand itself matched with the glowing songs of chief Chill - Martin Phillipps - a music savant that somehow wrangles psychedelic pop and folk, Syd Barrett and Brian Wilson, all with Phillipps’ innate ability to sound both joyous and sad within a moment.

What was initially 8 songs (later expanded to 18 and now 24) have a unique bittersweet innocence from the title track through to the happy - sad aura of “Frantic Drift” and “Rolling Moon.” And amongst all the fragile melodies mixed with a childlike wonder, is “Pink Frost” – for many The Chills’ most beloved track – an eerie, haunting track, the band’s first ‘hit,' the Flying Nun equivalent of “Love Will Tear Us Apart”. Surrounded by the aura of death following a dream Phillipps’ had, it also touches on a sense of desolation and yearning for a connection to the wider world and is no better example of the marvelous songwriting ability of this band from the world's southernmost point. The Chills' Kaleidoscope World reissue will be out August 19th on Flying Nun Records.

aleidoscope World Tracklist
1. Kaleidoscope World
2. Satin Doll
3. Frantic Drift
4. Rolling Moon
5. Bite
6. Flame Thrower
7. Pink Frost
8. Purple Girl
9. This Is The Way
10. Never Never Go
11. Don't Even Know Her Name
12. Bee Bah Bee Bah Bee Boe
13. Whole Weird World
14. Dream By Dream
15. Doledrums
16. Hidden Bay
17. I Love My Leather Jacket
18. The Great Escape
19. Oncoming Day (Early Version)
20. Dan Destiny and The Silver Dawn (Unplugged)
21. Martyns Doctor Told Me
22. I’ll Only See You Alone Again
23. Green Eyed Owl (Live)
24. Smile From A Dead Dead Face (Live)

The Chills Online
http://www.softbomb.com/
https://www.facebook.com/thechills/
https://twitter.com/TheChills
http://flyingnun.co.nz/

Fucking FINALLY.

Yeah, and this looks nice too---take it away, metacritic:

Cluster: 1971-1981 [Box Set]
Metascore 92
Universal acclaim
based on 7 Critics
What's this?
User Score 4.9
Mixed or average reviews
based on 27 Ratings
Your Score
0
Summary: The nine-disc box set for the German experimental band formed by Dieter Moebius and Hans-Joachim Roedelius features the albums released during the duo's first decade as a band (they would reunite in 1989 and 1987 before finally ending in 2010)
http://www.metacritic.com/music/1971-1981-box-set/cluster

Compare, contrast Critics, Users, but still---

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Numerophiles-

In the thirteen years we’ve been in business, The Numero Group has managed to issue nearly 275 unique titles across a plethora of formats. A decade ago it was easy to keep our little twelve album catalog in stock at every mom and pop retailer in the world. These days, the Numero bin card at your favorite local record store is not nearly as robust. Blame fatigue, too many other competing products (seriously, the major label reissue industrial complex is probably the #1 problem), the shrinking number of stores, or just plain disinterest, but the fact remains that it’s damn hard to walk into a record store in 2016 and buy the Brotherman soundtrack on LP. For your die hard Numero fans out there (all 19 of you), we’ve finally found the solution: open up our own shop.

On Friday, July 8th, the Numero Factory Outlet will throw open its doors to the world. The 300 square foot space is located in our main warehouse at 2533 South Troy Street in Chicago. It’s a great place to come if you’re in the city on business or vacation and want to see how the soup is made. It’s also a good place to pick up the latest Numero record without having to pay for shipping if you live in town. It is not a great place to come and buy used records. From time to time we will host our friends’ bands or let people spin records in our custom DJ booth. Those events may or may not be on Fridays, but regardless, our standard hours of operation (unless noted) are Fridays from noon to 8PM. Parking is not available on site but there are metered and non-metered options within crawling or walking distance.

To celebrate our 2533rd release, we are having a 25% sale on everything in the store. Our staff will be playing records all day for your amusement. When you’re done shopping we recommend you go to La Chaparrita, which is right around the corner. After that you’re on your own.

Other highlights from the last 60 days:
Pre-order these now and have them delivered early + get bonus junk!

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Eccentric Soul:
Sitting In The Park
Hear the document of one man’s passion crossing over into obsession. Chicago radio disc jockey and soul archivist Bob Abrahamian was deeply devoted to celebrating and documenting unknown Chicagoland group harmony music. Upon his untimely passing in 2014, he left behind hundreds of radio programs and a daunting collection of 35,000 carefully-selected 45s. Our collection borrows its title from Abrahamian’s long-running and acclaimed WHPK radio show, and it spins a tale that’s cautionary, inspiring, and set to the sounds of the impossible-to-find tracks that made Bob Abrahamian’s on-air playlist and animated the radio programs that were his life’s work. Collected here are 12 (16 on the CD) artists featured on Sitting In The Park, in their own words and through the lens of our friend Bob.

CD/LP/Stream http://numerogroup.com/products/eccentric-soul-sitting-in-the-park

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White Zombie:
It Came From N.Y.C.
Years before Beavis and Butt-head headbanged “Thunder Kiss ’65” and “More Human than Human” into the eternal rock video canon, there was primordial White Zombie—a quintessential, diabolically loud byproduct of Manhattan’s underground rock scene, born of art-school rendezvous and squalid apartment circumstance. Get reintroduced to White Zombie as New York noise-rock, a grotesque creation that clawed and threatened its way to crossover metal glory. It Came From N.Y.C. resurrects White Zombie’s eternally out-of-print early EPs and LPs across five LPs or three CDs. The accompanying 108-page book painstakingly documents White Zombie’s punishing progression through scores of unpublished photos, period discography, a T-shirtography, and tales from the terrifying early years that stitch together the sordid story of a band whose true power eclipsed its mainstream heyday. White Zombie lives. Don’t be afraid.

3CD/5LP/Stream http://numerogroup.com/products/white-zombie-it-came-from-nyc

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Young Senators
The Young Senators are an exemplary progenitor of DC’s hyper-local, hyper-celebrated Go-Go scene. Peers of Chuck Brown’s Black Heat and Soul Searchers, the septet was led by energetic singer and conga player Jimi Dougans, and featured saxophonist Leroy Flemming, guitarist Calvin Charisty, keyboardist Frank Hooker, drummer James Johnson, bassist Wornell Jones, and trumpeter Phillip Guilbeau. The band issued two singles on the the tiny Innovation label, before joining up with Motown’s Eddie Kendricks in 1972 for his sophomore effort People…Hold On. The Young Senators’ fuzzed-out brand of psychedelic soul is often bootlegged, but finds their first legitimate release in 45 years via these remastered sides.

Jungle B/W That's The Way It Is
http://numerogroup.com/products/the-young-senators-jungle-bw-thats-the-way-it-is

Ringing Bells (Sweet Music) Part 1 B/W Part 2
http://numerogroup.com/products/the-young-senators-ringing-bells-sweet-music-part-1-bw-part-2

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Joanna Brouk:
Hearing Music
She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk's little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse.Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the ’70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

2CD/2LP/Stream http://www.numerogroup.com/products/joanna-brouk-hearing-music

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Scientists:
A Place Called Bad
With a sound that was swampy, primal and modern-urban all at once—as much in the tradition of rock ’n 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. The themes of getting wasted, driving around 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 to create a sound all their own. Deluxe mail order only version includes previously unissued Cheap Nasties 7" EP (limited to 1000) or 10 song cassette (limited to 100)!

4CD/2LP/Stream http://numerogroup.com/products/the-scientists-a-place-called-bad

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Project Twelve
We are nearly sold out of our mail order-only Project 12 record club. If you’re on the fence about plopping down $100 or $250, let us remind you that copies of the 94 East LP have sold for nearly $200 to unsuspecting rubes around the globe. The most recent batch includes stunning records by Tommy McGee, Tucker Zimmerman, and an unreleased Circuit Rider album from 1984. If you order today you will get all nine of the records that have shipped. If you do not order today you will eventually just end up buying the ones you want on Discogs for $75 each which is really stupid.

(They've also got that Blonde Redhead Masculin Feminin thing I posted recently.)

some x-posts

I have the Chills' Kaleidoscope World Creation LP but will definitely be checking the reissue out!
Bought the Cluster Box Set, it's heavy... :) (and beautiful, and great, of course)

I'm gonna have to stop by there for a lil' pre-birfday somethin for myself.

Liking the Robert Bensick reissue on Smog Veil...vocals are a bit dated (creepy?) but like the vibe...Getting a Gary Wilson/Jobriath vibe from it...nice

wait is that numero group factory outlet actually going to have regular hours? b/c i'd totally stop by on saturday.

Just Fridays

holy shit how did I miss that about the Turtles box set upthread!! is there a link for that

Try their site: http://theturtles.com/

yeah it's not on there

Turtles box is up on Amazon for $68 on preorder right now.

That paste is wayyy upthread now---for thee curious, here's a link to original press release:
https://t.e2ma.net/message/y2wfi/mdpv1d
I wanna hear Turtle Soup, produced by Ray Davies, and Battle of the Bands, where they play as a different band on each track. Never heard anything but the singles (hi again singles, good to see you've got your own new collection too).

both of those albums are among my favorites of the era, really inventive, funny, clever

WAXWORK RECORDS ANNOUNCES DELUXE RE-ISSUE OF
JOHN CORIGLIANO'S ORIGINAL SCORE FOR ALTERED STATES

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Waxwork Records is thrilled to release the deluxe LP re-issue of ALTERED STATES. Directed by Ken Russel, the film focuses on Professor Edward Jessup's (William Hurt) research conducted in isolation tanks under the influence of psychoactive drugs like mescaline, ketamine, and LSD. The film is also the film debut of actors William Hurt and Drew Barrymore.

Waxwork’s new release is a deluxe re-issue of the now classic 1980 score by Pulitzer Prize winning, Oscar winning, and five time Grammy winning composer, John Corigliano.

The audio has been sourced from the original masters, and this new LP re-issue has been officially and enthusiastically approved by the composer.

The album artwork is created by Australian artist duo, We Buy Your Kids, and the heavyweight old-style gatefold jacket features a deluxe Glitter Coating.

Exclusive liner notes have been provided by composer John Corigliano and are featured on a 12”x12” insert with artwork by We Buy Your Kids.

The re-mastered-for-vinyl Grammy nominated score has been pressed to 180 Gram Purple and Violet “Hallucination” Swirl vinyl and sounds incredible.

LP Package Details Include

Heavyweight 180 Gram Purple and Violet “Hallucination” Swirl Vinyl
Re-Mastered For Vinyl From The Original Masters
Old Style Tip-On Gatefold Jacket with Glitter Coating
New Artwork By WE BUY YOUR KIDS
Composer Liner Notes by John Corigliano
LISTEN: Altered States Original Score by John Corigliano (Samples) -
https://soundcloud.com/waxwork-records/sets/altered-states

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^^^ also reissued on CD within the last year (by either intrada or la la land, I can't remember)

Yeah, I think I posted about that too!

THAT WAS NOW, THIS IS THEN: Anthology’s Surf Archive delivers the first ever reissues of Evolution and Sea Of Joy in deluxe vinyl, CD, and digital editions.

Today also marks the anticipated expansion of ANTHOLOGY RECORDINGS with a new website and the announcement of ANTHOLOGY EDITIONS, a partnership with book label/archivists, BOO-HOORAY.

Tamam Shud
Evolution
ARC019 / Release Date: Aug 5, 2016

Listen to “Mr. Strange” HERE
https://www.youtube.com/watch?v=gZR11nbBxc8&feature=youtu.be

Evolution is the name of an album and a surf film, both entwined by the very nature of the material and the musical group involved, Tamam Shud. Led by Lindsay Bjerre, the quartet of surfers-turned-musicians (or the other way around) were significant purveyors of the underground progressive music movement in Australia circa 1968 - 1972.

The approach Tamam Shud took to create the Evolution soundtrack was to have the film screened on the recording studio wall while the augmented group matched the action with sound, performing, essentially, a free-form musical jam. The end results were compelling enough to discard any concept of a narration - a standard procedure for all previous surfing films. As a result, the film became a piece of art - a visual and musical experience. The music became the narration. The vinyl edition features booklet liner notes by Aussie surf historian Stephen McParland and other-wordly ephemera.

Tully
Sea Of Joy
ARC040 / Release Date: Aug 5, 2016

This newly restored classic caresses shores beyond Australia’s beaches for the first time ever for Anthology’s Surf Archives.

Sea of Joy was director Paul Witzig’s fourth surf film and his first to deviate from the tried and sounds of The Sunsets / Tamam Shud. To express his cinematic vision, Witzig chose the enchanting sounds of Tully, the legendary Sydney band who rose from the ashes of Levi Smith’s Clefs into prominence as the backing band for the June 1969 Australian production of the musical HAIR.

Like many surfers and non-surfers alike, Witzig had been mesmerised by Tully's concert performances. By the time finished filming his latest surfing epic, Evolution, the sound of Tully had changed though. Gone was the organ-dominated sound (the group was reputedly the first Australian band to use the Moog synthesiser), replaced by more gentle melodies, many with spiritual significance.

Recorded at EMI's Sydney studios, Tully's soundtrack material was subsequently edited for the album release into cohesive musical interludes. As such, they are held together in the album sequence by a magnetic musical flow that starts with “Sea Of Joy (Part 1)” and ends with “Sea Of Joy (Part 2).” Vinyl edition features booklet liner notes by Aussie surf historian Stephen McParland and other-wordly ephemera.

Anthology Editions
Fall 2016
Anthology Recordings/Mexican Summer and Boo-Hooray are pleased to announce their new joint venture, Anthology Editions. Helmed by Anthology Recordings / Mexican Summer’s founder Andres Santo Domingo and Boo-Hooray’s renowned curator Johan Kugelberg, Anthology Editions will present a multimedia experience that will utilize not only the physical mediums of hardbound books, heavyweight vinyl and exhibitions. First batch of releases include Jack Womack's Flying Saucers Are Real!, Tino Razzo's Party In The Back (A Brief History of Suburban Decay), and the enhanced edition of Rizzoli's God Save The Sex Pistols.

www.anthologyrecordings.com

Not surf music a la the Ventures etc. so far...

I think it's a bit more acoustic. Though the other Tamam Shud lp the Goolutionites & the Real People is a pretty great psychedlic concept lp with the young guitarist who was later on the Khavas Jute lp.
That's available from Aztec and is worth picking up , has some really great stuff on it.

HERB ALPERT CATALOGUE CONFIRMED FOR WORLDWIDE REISSUE

*All releases, several of which have been out of print in Europe for over 30 years, will be presented with their original artwork*

Following the hugely successful re-release of ‘Whipped Cream & Other Delights’ and ‘Christmas Album’ at the end of 2015, on September 9th 2016, legendary musician Herb Alpert will re-release 24 classic albums from his illustrious career on CD with a further four titles to be released on LP.

Each individual title has been remastered from the original analog tape mixes by Grammy-winning mastering engineer Bernie Grundman. Grundman, who was the original mastering engineer on many of the original Tijuana Brass and Alpert albums, also mastered and hand cut all four of the new vinyl re-releases using a specially designed lathe.

LISTEN TO THE HERB ALPERT CATALOGUE SAMPLER

To generations of music fans, Alpert is the dark-haired, trumpet-playing songmaker whose name instantly brings to mind memorable songs like The Lonely Bull, A Taste of Honey, This Guy’s in Love with You and Rise. These are but a few of the tunes Alpert recorded either as leader of the legendary Tijuana Brass or as an artist in his own right, yielding five #1 hits, 9 Grammy awards, 14 Platinum and 15 gold albums – plus a staggering 72 million albums sold worldwide.

To musicians worldwide, Alpert’s name implies an immediately recognisable and distinctly relaxed, economically-spoken instrumental style. To the entire music business, Alpert re-mains the “A” in A&M Records, one of the most visionary record labels of the last half century.

Today, the litany of Alpert’s public and lesser-known accomplishments also include his work as a widely acclaimed painter and sculptor, his success as a Broadway producer with a tal-ent for sniffing out prize-winning theatre, and his philanthropic work which has seen his foundation donate millions to worthy causes.

LP – VINYL REISSUES

South Of The Border
What Now My Love
Going Places
Rise

CD REISSUES

The Lonely Bull
Volume 2
South Of The Border
Going Places!!
What Now My Love
S.R.O.
Sounds Like
Herb Alpert’s Ninth
The Beat Of The Brass
Warm
The Brass Are Comin’
Summertime
You Smile–the Song Begins
Coney Island
Main Event Live (w/Hugh Masekela)
Rise
Beyond
Magic Man
Fandango
Keep Your Eye On Me
North On South St.
Midnight Sun
Anything Goes
I Feel You

Oh yeah, had a friend who was big on Rise; the title track was kind of a come-back hit, I think, with a mysterious Latinoid vibe, kind of foreboding, fatalistically romantic, but putting its back into it ( pretty good rhythm tracks).
P. different from his sunshine 60s staples.

http://i2.cmail20.com/ei/i/92/D6E/238/043536/csimport/sjr-lp341-nigeria-60-slve_1.jpg

Nigeria Freedom Sounds!
Popular Music and The Birth Of Independent Nigeria 1960-63: Calypso, Highlife, Apala, Mambo, Juju
SOUL JAZZ RECORDS

Buy / Listen

Soul Jazz Records' new Nigeria Freedom Sounds! is out in all good retail and internet stores this Friday or direct from us right now!

"A Comprehensive guide. A fascinating compilation with extensive background information included." THE GUARDIAN ****

Soul Jazz Records’ new Nigeria Freedom Sounds! features a stunning selection of material spotlighting the vibrant musical scene in Nigeria at the start of the 1960s. With a wealth of musical and cultural history and newly independent from Britain, Nigerian music during this era was complex, diverse and forward-thinking, with musicians as excited in exploring their country’s own musical lineage with styles such as Juju and Apala as they were in adapting and absorbing outside influences such as Ghanaian Highlife, Caribbean Calypsos and Mambo and more.

This album features many of the defining artists of this time who helped shape the Nigerian musical scene. Artists include I.K. Dairo and his Blue Spots, Haruna Ishola and his Group, E.C. Arinze, Sammy Akpabot and His All Stars, Godwin Omobuwa and his Soundmakers, Ganiyu Kale and His Guinea Mambo Orchestra and many more.

Few nations on earth are as diverse as Nigeria, and the wide assortment of Nigerian music styles collected on this album reflect the country’s rich variety of cultures. Western-influenced dance music, played on European instruments such as guitar, brass, and woodwind sits alongside traditional musical styles, made with indigenous instruments such as the talking drum, marimba, or obo. And there is also religious musical styles first brought to Nigeria by European Christians and Islamic traders from North Africa. And of course, there are points where these musical styles overlap, merging into one another to create unique new sounds.

This album is released as CD + booklet + slipcase, heavyweight gatefold double vinyl edition + download code, and digital release. The CD includes a large outsize 48-page book containing extensive sleevenotes by compiler Danny Fitzgerald, original photography, artist biographies, as well as selection of Nigerian adverts celebrating its independence and original artwork from some of the rare original Nigerian 45s on which this music was first (and only ever) released. The heavyweight gatefold 2xLP comes with full sleevenotes and download code.

Read GUARDIAN newspaper review here
https://www.theguardian.com/music/2016/jul/07/nigeria-freedom-sounds-popular-music-and-the-birth-of-independent-nigeria-review?CMP=share_btn_link

Tracklisting
1 I.K. Dairo and his Blue Spots – E Ma Mobun Saya
2 Chris Ajilo and his Cubanos – Ariwo
3 I.K. Dairo and his Blue Spots – Aye Wa Kael
4 Charles Iwegbue and his Archibogs – Baby I Tire
5 Haruna Ishola and his Group – Iba Awon Agba
6 E.C. Arinze – Chukwu Fulum Nanya
7 Victor Ola-Iya and his Cool Cats – Cool Cats Invitation
8 Ganiyu Kale and his Guinea Mambo Orchestra – Iyawo-Ile
9 E.C. Arinze – Freedom Highlife
10 I.K. Dairo and his Blue Spots – Bonfo
11 Haruna Ishola and his Group – Owo Ni Fari
12 Apolos Empire Rhythm Orchestra – Cut your Coat According To Your Size
13 E.C. Arinze – Lumumba Calypso
14 Sammy Akpabot and his All Stars – Save For A Rainy Day
15 Ishie Brothers – Onyeoma Rosa
16 Godwin Omobuwa and his Soundmakers – Look, Look, Look
17 E.C. Arinze – Saturday Night
18 J.O. Araba and his Rhythm Blues – Iyawo Ma Pa Mi
19 Godwin Omobuwa and his Soundmakers – You Cheat Me
20 E.C. Arinze – Ozo Emena
21 Tes Dandies Dance Band – Obo Mi Ebe Mi
22 J.O. Araba and his Rhythm Blues – Olowofuja Sawa
23 I.K. Dairo and his Blue Spots – Omo Alara
More Info & Audio
https://soundsoftheuniverse.com/sjr/product/popular-music-and-the-birth-of-independent-nigeria-196063

https://soundsoftheuniverse.com/img/aWtncDFUQWNvcWRoMzdtOURkdTdWQT09/sjr-lp335-venezuela-70-slve1.jpg

If that cover image is gone, it's Venezuela 70---Cosmic Visions of a Latin American Earth: Venezuelan Experimental Rock In the 1970s

Soul Jazz Records’ new Venezuela 70 is the first-ever album of its kind to take a look at the groundbreaking experimental rock music made in Venezuela and created in the 1970s – during a time when the country was both a modern cultural and economic powerhouse in Latin America on account of wealth from its vast oil supplies.

Venezuela lies at the northern part of South America, with neighbouring Colombia to its west and Brazil to its south. The north coast borders the Caribbean.

Whilst much of 1960s Venezuelan rock music emulated British and USA styles, the 1970s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan.

These Venezuelan artists looked to the future while exploring their country’s own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, Secos e Molhados (all of which feature on Soul Jazz Records’ earlier Brazil 70).

A similar parallel can be made in Europe with the experimental German groups of the 1970s (Can, Amon Duul, Harmonia, Neu all featured on Soul Jazz Records’ Deutsche Electronische Musik) who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity.

Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.

More info, audio here: https://soundsoftheuniverse.com/sjr/product/cosmic-visions-of-a-latin-american-earth

It's strange, a few weeks ago the deluxe 2CD reissue of Grace Jones' Warm Leatherette (1980) was listed on the U.S. Amazon site, then disappeared. So I ended up ordering it from Amazon UK, and finally got it last weekend. Not sure if the U.S. release was delayed. Anyway, it inspired me to write about it and make a mix called Island Life: Music from and Inspired by Compass Point Studio in Funky Nassau (can be found linked from either Island Life image in the piece).

http://fastnbulbous.com/grace-jones-warm-leatherette-the-compass-point-trilogy/
Spotify (missing most of the deluxe issue goodies but has much of my mix): https://open.spotify.com/user/1212496385/playlist/45dhET5vf8Boc0dSwF6ux6

Did you have it delivered to the States? I've never tried that, also wondering about paying in US bucks. (I've ordered from UK dealers on US Amazon; that's pretty seamless.)

And thanx much for posting Grace Jones mix x comments!

Yeah, I used to do it more often, as I would get stuff delivered in 5 days. Now it takes a couple weeks, but at least the xchange rate is better.

Some good coming out of Brexit? Wonder if the rates will change with the new PM supposedly meaning stability?

https://mvdb2b.com/i/300dpi/MVD7498BR.jpg

The Return Of Rubén Blades
coming to Blu-ray and digital formats on July 22

Robert Mugge's portrait of actor, writer, attorney, activist, and
Grammy Award winning world music artist Ruben Blades.

trailer:
https://www.youtube.com/watch?v=W9UxgHWLaUE&feature=youtu.be

Between 1982 and 1984, music filmmaker Robert Mugge produced two feature length music docs for the UK's brand-new fourth TV network, appropriately named Channel 4 Television. Those two films were BLACK WAX with Gil Scott-Heron, now newly re-released on DVD and Blu-ray by MVD Visual, and GOSPEL ACCORDING TO AL GREEN. After both were completed, Andy Park, Channel 4's Commissioning Editor for Music who had funded both films, announced he would soon be leaving the channel. Mugge quickly realized, if he wanted Park to commission another film from him, he would need to act fast.

Therefore, in short order, Mugge proposed a film about the staging of Stephen Sondheim's then forthcoming musical Sunday in the Park with George. But before shooting could begin, the composer grew fearful that cameras could aggravate the stresses of an already challenging collaboration. So, sadly, that proposal was scrubbed.

Next up was a possible portrait of P-Funk mastermind George Clinton. But that proposal, too, was abandoned when the artist's own management noted his tendency not to show up when and where expected. Imagining what could happen to their modest budget if they booked crew, equipment, and supplies for a particular time and place only to have their subject fail to show, Mugge and Park soon abandoned that project as well.

Finally, in early 1985, Mugge proposed, and Park approved, a portrait of Panamanian-American singer, songwriter, musician, activist, essayist, lawyer, and politician Ruben Blades, who could rightly have been named "The Most Interesting Man in the World" decades before the tongue-in-cheek Dos Equis commercials dubbed actor Jonathan Goldsmith as such. At the time, Blades was the darling of American rock critics thanks to release of the 1984 Elektra album Buscando América, Blades' most successful attempt yet at "crossing over" into mainstream Anglo acceptance, even as his longtime Latin fans stayed with him. His previous albums on salsa label Fania Records, with and without Nuyorican musician and bandleader Willie Colón, had made him a household name among Spanish-speaking salsa fans worldwide. But Blades was looking for far more, both musically and otherwise, and he seemed on the verge of becoming a multi-hyphenated, bilingual superstar.

The release of Buscando América, with its intricate Latin dance rhythms, its rocklike intensity, and its poetic, Spanish-language reflections on the often turbulent relationship between the U.S. and Latin America, showed Blades to be a major cultural force. But what made him so much more "interesting" as a film subject was that, simultaneously, he was starring in a highly autobiographical independent film titled CROSSOVER DREAMS which he himself had co-written, was earning a Master of Laws degree (LL.M.) in International Law from Harvard Law School, was publishing political essays in both Spanish and English, was splitting his time between the U.S. and his native Panama in anticipation of future political ambitions, was reading scripts for additional acting roles in the hope of improving the image of Latinos in Hollywood films and TV series, was touring internationally with his superb band, and was planning ever new material he hoped would further dissolve barriers between the English-language and Spanish-language music industries. As a documentary filmmaker seeking to capture the life and career of Rubén Blades on film, Mugge saw his own biggest challenge as simply keeping up with this seemingly tireless potential subject.

Happily, Blades, Mugge, and Park did come to terms, after which Mugge and his crew spent the spring and summer of 1985 shooting the following: a concert by Blades and his band Seis del Solar at New York City club S.O.B.'s (Sounds of Brazil); an interview with Blades at his New York City apartment; a conversation between Blades and author Pete Hamill in a New York City park; Blades' graduation from Harvard Law School (including conversations with his mother and his dean); a Spanish-language recording session in Los Angeles featuring Blades and guest vocalist Linda Ronstadt; a joint interview with Blades and Ronstadt (who was then contemplating recording her own albums of Mexican songs she learned at home as a child); and a trip by Blades to his hometown of Panama City. In Panama, Blades was filmed on the balcony of his new high-rise apartment overseeing his city's changing landscape, in front of the bank where he once worked as an attorney,
joining his father for a visit to the neighborhood where he grew up, in a courtyard discussing his intention to run for president of Panama one day, and walking along the Panama Canal discussing the sometimes tense relations between his native and adopted countries.

In the three decades since this film was made, Blades has accomplished much of what he set out to do, including (1) becoming a respected actor in Hollywood and independent films and television series; (2) continuing to serve as an effective political essayist and activist; and (3) continuing to record and perform powerful world music with both Spanish and English lyrics, and winning eight Grammy Awards and five Latin Grammy Awards along the way. Among his other awards and honors are a 2005 honorary degree from the Berklee College of Music and a 2011 Harry Chapin Humanitarian Award presented by ASCAP and partner WhyHunger for his international charity work. Just a few of the many films and TV programs in which he has starred or appeared are THE MILAGRO BEANFIELD WAR, MO' BETTER BLUES, THE TWO JAKES, PREDITOR 2, THE JOSEPHINE BAKER STORY, CRAZY FROM THE HEART, THE SUPER, X-FILES, CRADLE WILL ROCK, COLOR OF NIGHT, ONCE UPON A TIME IN MEXICO, and FEAR THE WALKING DEAD. In 1997, Blades also headed the cast of The Capeman, Paul Simon's first Broadway musical. Although his run for the Panamanian presidency in 1994 was unsuccessful, he served as Panama's minister of tourism from 2004 through 2009 and, reportedly, is considering another run for the presidency in 2019. For more career highlights, please explore Blades' Spanish-language website and his English-language Wikipedia page. Blades has been married to singer LubaMason since August 4, 2006.

Songs performed in the THE RETURN OF RUBÉN BLADES are "Todos Vuelven," "Buscando América," "Tiburon," "Muévete," "Silencios," and "Pedro Navajo" (with "Mack the Knife"). Here is Blades introducing and then performing "Buscando América" in the filmhttps://vimeo.com/156288935"> https://vimeo.com/156288935

PRESS QUOTES

"THE RETURN OF RUBÉN BLADES captures Mr. Blades's charisma and his sincere engagement with issues outside music. [It] follows the singer to Harvard, where he gets his master's degree in international law; to his old neighborhood in Panama; to California for a recording session with Linda Ronstadt; and to New York for a performance at S.O.B.'s. The music is a joy, as danceable as it is intelligent, and Mr. Blades makes every nuance count."
- Jon Pareles, New York Times

"THE RETURN OF RUBÉN BLADES is a must-see...a refreshing portrait of an artist with a demonstrative grace and an irresistible beat. Listening to Blades discuss his work and then seeing him perform it onstage with his band is a lesson in humility, courage, and musicianship. Mugge's affectionate and smart movie is a vision shared by two soulmates who believe the world can be discovered and better understood through music."
- Martin Keller, Twin Cities Reader

"Robert Mugge has given us an indelible portrait of a musician whose music is only a part of a rich,
thoughtful life. Superb."
- Harper Barnes, St. Louis Post-Dispatch

"If music - specifically salsa music - is the soul of Robert Mugge's documentary, THE RETURN OF RUBÉN BLADES, then singer-songwriter Rubén Blades himself provides this film's considerable heart and mind. Like Blades...the film exudes a sincerity and a relaxed charm that is hard to resist. If the point of a so-called concert film is to provide insight into an artist and his work, then THE RETURN OF RUBÉN BLADES is a major success."
- James Verniere, Boston Herald

"THE RETURN OF RUBÉN BLADES is an elliptical essay on politics and culture...a lovely and
leisurely impressionistic documentary...somewhere above and beyond the realm of ordinary documentary journalism."
- Noel Weyrich, Philadelphia City Paper

Dunno why duplicate of vimeo link; one that works is at very end of graf---or here:
https://vimeo.com/156288935

CELEBRATING THE GENIUS OF RAY CHARLES

The Atlantic Years In Mono LP Boxed Set
Includes Seven Fully Re-mastered Studio Albums On 180-Gram Vinyl

Release Date: September 23rd 2016

LOS ANGELES – A music legend like no other, Ray Charles earned the nickname “Genius” for recording countless jazz, country, R&B and pop masterpieces during a career that spanned seven decades. Rhino will celebrate what would have been Brother Ray’s 86th birthday on September 23, with a new vinyl boxed set that features mono mixes for the seven outstanding solo studio albums he recorded for Atlantic Records.

For this new collection, the following albums have been fully re-mastered from the original mono analog tapes, echoing the experience of the era, when most fans were hearing music on record players, jukeboxes and radios that played music monaurally: Ray Charles (1957), The Great Ray Charles (1957), Yes, Indeed! (1958), What’d I Say (1959), The Genius Of Ray Charles (1959), The Genius After Hours (1961), and The Genius Sings The Blues (1961).

Presented in an elegant hardbound box, each album is pressed on high-quality, 180-gram vinyl and packaged in sleeves that replicate the original releases in exacting detail. The set also includes a perfect-bound booklet with period photos by Atlantic’s in-house photographer at the time, Lee Friedlander, and liner notes by Ray Charles biographer and Grammy-winning writer David Ritz.

The music included in Ray Charles: The Atlantic Years In Mono begins with Charles’ self-titled debut from 1957 which gathers the #1 R&B hit singles, “I’ve Got A Woman,” “A Fool For You,” “Maryann” and “Drown In My Own Tears.” The follow-up, The Great Ray Charles, arrived just a few months later. It was the artist’s first jazz album and featured “The Ray,” a song written by his close friend Quincy Jones. On the 1958 album Yes Indeed!, Charles began to use new eight-track recording technology to record memorable songs like “Blackjack,” “Lonely Avenue” and “Leave My Woman Alone.”

Charles reached an even wider audience in 1959 with two stone classics: What’d I Say and The Genius of Ray Charles. The title track for the first became the artist’s first Top 10 pop hit and his first gold record, getting play on both R&B and mainstream radio stations. Today, it is considered one of the most influential songs in the history of music, with Rolling Stone ranking it as #10 on their list of the “500 Greatest Rock and Roll Songs of All-Time.” The follow-up — which won the Grammy for Best Vocal Performance: Album — features Charles backed by a full orchestra and strings on “It Had To Be You” and “Come Rain Or Come Shine” as well as “Let The Good Times Roll,” which won the Grammy for Best Rhythm & Blues Performance.

The final two albums included are The Genius After Hours and The Genius Sings the Blues. The former includes unused songs from the 1956 sessions that yielded The Great Ray Charles like “Ain’t Misbehavin’” and “Charlesville.” The latter album is a compilation of songs recorded throughout the artist’s first two years at Atlantic, and showcases his artistic development on standout tracks like “(Night Time) Is The Right Time,” and “I’m Movin’ On.”

RAY CHARLES: THE ATLANTIC YEARS – IN MONO
Album and Track Listing

RAY CHARLES (1957)
Side One
1. “Ain’t That Love”
2. “Drown In My Own Tears”
3. “Come Back Baby”
4. “Sinner’s Prayer”
5. “Funny (But I Still Love You)”
6. “Losing Hand”
7. “A Fool For You”
Side Two
1. “Hallelujah I Love Her So”
2. “Mess Around”
3. “This Little Girl Of Mine”
4. “Mary Ann”
5. “Greenbacks”
6. “Don’t You Know”
7. “I Got A Woman”

THE GREAT RAY CHARLES (1957)
Side One
1. “The Ray”
2. “My Melancholy Baby”
3. “Black Coffee”
4. “There's No You”
Side Two
1. “Doodlin’”
2. “Sweet Sixteen Bars”
3. “I Surrender Dear”
4. “Undecided”

YES INDEED! (1958)
Side One
1. “What Would I Do Without You”
2. “It’s All Right”
3. “I Want To Know”
4. “Yes, Indeed!”
5. “Get On The Right Track Baby”
6. “Talkin’ ‘Bout You”
7. “Swanee River Rock (Talkin’ ‘Bout That River)”
Side Two
1. “Lonely Avenue”
2. “Blackjack”
3. “The Sun’s Gonna Shine Again”
4. “I Had A Dream”
5. “I Want A Little Girl”
6. “Heartbreaker”
7. “Leave My Woman Alone”

WHAT’D I SAY (1959)
Side One
1. “What’d I Say – Part I & II”
2. “Jumpin’ In The Mornin’”
3. “You Be My Baby”
4. “Tell Me How Do You Feel”
5. “What Kind Of Man Are You?”
Side Two
1. “Rockhouse – Part I & II”
2. “Roll With My Baby”
3. “Tell All The World About You”
4. “My Bonnie”
5. “That’s Enough”

THE GENIUS OF RAY CHARLES (1959)
Side One
1. “Let The Good Times Roll”
2. “It Had To Be You”
3. “Alexander’s Ragtime Band”
4. “Two Years Of Torture”
5. “When Your Lover Has Gone”
6. “Deed I Do”
Side Two
1. “Just For A Thrill”
2. “You Won’t Let Me Go”
3. “Tell Me You’ll Wait For Me”
4. “Don't Let The Sun Catch You Cryin'”
5. “Am I Blue”
6. “Come Rain Or Come Shine”

THE GENIUS AFTER HOURS (1961)
Side One
1. “The Genius After Hours”
2. “Ain’t Misbehavin’”
3. “Dawn Ray”
4. “Joy Ride”
Side Two
1. “Hornful Soul”
2. “The Man I Love”
3. “Charlesville”
4. “Music, Music, Music”

THE GENIUS SINGS THE BLUES (1961)
Side One
1. “Early In The Mornin’”
2. “Hard Times (No One Knows Better Than I)”
3. “The Midnight Hour”
4. “The Right Time”
5. “Feelin’ Sad”
6. “Ray’s Blues”
Side Two
1. “I’m Movin’ On”
2. “I Believe To My Soul”
3. “Nobody Cares”
4. “Mr. Charles’ Blues”
5. “Some Day Baby”
6. “I Wonder Who”

Looks great!

http://img.ymlp20.com/6464Sunset_JCSearly--1.jpg

SONGS OF THE NIGHT: DANCE RECORDINGS, 1916-1925 COLLECTS SEMINAL WORKS BY VIRTUOSO BANDLEADER JOSEPH C. SMITH ON ARCHEOPHONE RECORDS

July 29th Release Celebrates Centennial of First Recording Sessions by Smith, Who Transformed the Soundtrack of Social Dancing from its Early Polite Forms into a Jazzier Milieu

FOR IMMEDIATE RELEASE

CHAMPAIGN, IL & LOS ANGELES, CA (TUESDAY JULY 19, 2016) — Grammy-winning historical reissue label Archeophone Records announced today that innovative orchestra leader Joseph’s C. Smith’s Songs of the Night: Dance Recordings, 1916-1925 is slated for wide release on July 29.

Songs of the Night is the first-ever compilation of Joseph C. Smith’s Orchestra and celebrates the centennial of the virtuoso’s first recordings. This compilation includes 47 tracks on two CDs with restoration and remastering by Grammy-winning producer and engineer Richard Martin and features a 32-page full-color booklet with rare photos and an extensive essay. The set also celebrates all the “firsts” Smith was famous for: he was the first to record Cole Porter and George Gershwin songs; he was the first to include vocal refrains on dance records, such as “Smiles”; he had the first hits of future standards like “Hindustan,” “Rose Room,” “Alice Blue Gown,” and “Three O’Clock in the Morning”; and he was the first bandleader to spotlight instrumental solos on dance records, such as the laughing trombone on “Yellow Dog Blues.”

“During his brief time in the limelight, Smith set new standards for dance bands. In the era before Whiteman, the Dorseys, and Miller, when records were made by faceless studio bands conducted by ghost leaders, his band had a name,” said Ryan Barna in his Grammy-nominated album notes.

America was in the midst of a dance craze in 1916, as young hoofers took to hotel ballrooms to try out the latest steps. Playing nightly to dinner and dance patrons at New York’s famed Plaza Hotel, Joseph C. Smith’s Orchestra was one of many ensembles across the country providing rhythm and beat. But Smith did something that the others didn’t: he made dancing to the phonograph possible. Gobbling up Smith’s records of up-to-date waltzes, challenging fox trots, and clever novelties, consumers found they could stage their own private dances without a live band.

What’s more, Smith’s Orchestra provided a launching pad for many musicians who developed into superstars in their own right. Many of them perform solos on this collection: trombonist Harry Raderman; xylophonists Teddy Brown and George Hamilton Green; pianists Hugo Frey, Harry Akst and William Bergé; and saxophonist Rudy Wiedoeft.

CD and Digital Track List:

CD 1
1. Songs of the Night
2. Money Blues
3. I’ve a Shooting Box in Scotland
4. Havanola
5. Poor Butterfly
6. Allah’s Holiday
7. St. Elmo
8. Dance and Grow Thin
9. Missouri Waltz
10. Calicoco
11. When You Come Back
12. Smiles
13. Rose Room
14. Mary
15. Hindustan
16. Rockin’ the Boat
17. Head Over Heels
18. Mickey
19. Dear Old Pal of Mine
20. Somebody’s Sweetheart and Good Morning, Judge
21. Rainy Day Blues
22. Coo Coo
23. The Vamp


CD 2
1. Who Did It?
2. Peggy
3. Yellow Dog Blues
4. Happy
5. Lovely Summertime
6. That Naughty Waltz
7. Karavan
8. Ching-a-Ling’s Jazz Bazaar
9. Love Nest
10. Alice Blue Gown
11. Sally
12. I Lost My Heart to You
13. Why, Dear?
14. It’s You
15. Stealing
16. Three O’Clock in the Morning
17. While Miami Dreams
18. Rose of Stamboul
19. Where Is the Man of My Dreams
20. Sweetheart of Sigma Chi
21. Stella
22. It Ain’t Gonna Rain No Mo!
23. Driftwood
24. I Like You Best of All

About Archeophone Records
Based in Champaign, Illinois, Archeophone Records produces critical editions of the world’s oldest recordings: audio tracked prior to 1925, during the acoustic (i.e., pre-microphone) era of recording. Archeophone has received twelve Grammy nominations for its reissues, with its 2005 release Lost Sounds: Blacks and the Birth of the Recording Industry, 1891-1922 winning the Best Historical Album Award at the 49th Grammys. Additionally, the label has provided consultation and audio restorations for TV shows such as Boardwalk Empire. Songs of the Night is the 66th reissue produced by Archeophone. It is distributed by Alternative Distribution Alliance (ADA) and available in both CD and digital formats.

For more information, please contact:
http:// www.itsalivemdia.com

Description of the Ray Charles reissues looks great, that is. Hopeful about the Joseph, and at least it isn't the kind of hype I see every day.

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/Faith+No+More2.JPG

paste of text messed up, whole press release is here (bonus tracks for both etc):

http://view.e.wbr.com/?qs=8d0b863638b4b1e9d741271bbf14c8f941e3ca3ed2335f1c6e491fd004018f27663aa325efe666431c92f40ada02f27a60417ce626d18397a8aa6e36c5d73a29

Recorded by Steve Albini in 1990, Daisychain Reaction is a raw blast of Midwestern post-punk from the heyday of indie rock. It includes Poster Children's

most well-known song "If You See Kay."

The album was released on Twin/Tone Records in 1991 and re-released in 1992
on Sire Records in the US and Creation Records in the UK. It has been unavailable
on vinyl since.

In celebration of the 25th anniversary of Daisychain Reaction's release, Lotuspool
Records is proud to present the definitive vinyl edition of this early '90s classic, available on Sept. 30th.

The album's twelve songs have been remastered from the original tapes and cut
to lacquer by Bob Weston of Chicago Mastering Service and pressed onto 180 gram black vinyl.

The package features a 12-page retro fanzine with a new, exclusive essay by Jon Fine (author of Your Band Sucks) and reflections on the making of the album by
members of the band. In addition, a digital download card for three previously unreleased tracks (an early version of "Where We Live" from the Albini Flower Plower sessions and 1989 demo versions of "If You See Kay" and "Where We Live") is included.

Poster Children will be touring the US in the fall of 2016.

TOUR DATES

09/23 - Champaign, IL - Pygmalion Festival
09/29 - Brooklyn, NY - St. Vitus
09/30 - Washington DC - DC9
10/1 - Philadelphia, PA - Johnny Brenda's
10/2 - Boston, MA - Great Scott
10/12 - Los Angeles, CA - The Echo
10/13 - San Francisco, CA - Bottom Of The Hill
10/14 - Portland, OR - Doug Fir
10/15 - Seattle, WA - Barboza
10/16 - Vancouver, BC - The Cobalt
11/23 - Chicago, IL - Schuba's (2 Shows)

RHINO ROLLS OUT ROCKTOBER

Limited Edition Releases Available Every Tuesday This October

Featuring Rock 'N' Roll Greats Alice Cooper, Buckcherry, Deep Purple,
The Flamin' Groovies, Foreigner, Heaven & Hell, Iron Butterfly, Jet, Small Faces,
The Stooges, Twisted Sister, T. Rex, ZZ TOP And More

In a year packed with the Olympics and a Presidential election, Rhino will be celebrating another great American tradition - rock 'n' roll - with their first ever ROCKTOBER campaign, featuring 13 limited edition releases from some of the biggest names in rock. Rhino's ROCKTOBER kicks off with the first round of releases on Tuesday, October 4 and continues with unique releases every Tuesday throughout the month. ROCKTOBER will feature releases from such iconic artists as Alice Cooper, Buckcherry, Deep Purple, The Flamin' Groovies, Foreigner, Heaven & Hell, Iron Butterfly, Jet, Small Faces, The Stooges, Twisted Sister, T. Rex, and ZZ TOP.

Full details on all titles are listed below, including quantities available in the US. All releases will be available exclusively at participating brick and mortar retail outlets.
(info, links, cover art etc):
http://view.e.wbr.com/?qs=685cb74f22bdf690779cedae872ae53cc912e7927c15021960f82c5c882f972877fcdbf7d6211ab321365cafe2da56cc707b5d38072975c07e1d5dbb2d1251a0

I shoulda said! These are are all fancy vinyl: clear, red, brown and yellow (Stooges), others & others

Where are you getting all this stuff from?

Just email---you should see the ones I don't post!

http://files.ctctcdn.com/2950a13a001/34f27e3c-8780-407c-b77e-bbcba9febb09.jpg

Psychic TV's classic first studio album Force The Hand Of Chance by Psychic TV is back on vinyl for the first time in over 25 years. (release: 8/18.)

Cut from the original masters in the WEA UK vaults, this will be a limited edition pressing of only 1000 copies. Forced Exposure will be exclusively distributing 700 standard copies while the Genesis P-Orridge webstore offers an exclusive deluxe edition of 300 available by mail order only.

Force The Hand of Chance remains one of Psychic TV's most seminal albums boasting classic tracks such as "Just Drifting", "Ov Power" as well as a vocal feature by Soft Cell's Marc Almond on the haunting "Guiltless".

Force The Hand of Chance
Psychic TV
Angry Love Productions
August 18, 2016

1 - Just Drifting
2 - Terminus
3 - Stolen Kisses
4 - Caresse
5 - Guiltless
6 - No Go Go
7 - Ov Power
8 - Message from the Temple

Psychic TV Live Dates:

8/12: Los Angeles - Cinefamily *
8/12: Los Angeles, CA - Berserktown 3 at Teragram Ballroom %
9/16: Brooklyn, NY - Music Hall of Williamsburg ^
9/17: Hudson, NY - Basilica SoundScape #
9/21: Toronto, ON - Lee's Palace
9/23: Montreal, QB - POP Montreal at Theatre Fairmount
9/29: Portland, OR - Star Theatre
9/30: Vancouver, BC - Venue Nightclub
10/1: Seattle, WA - Macefield Festival
10/24: Athens, Greece Modu
10/26: Republic of Georgia - TBA
10/28: Moscow, Russia - TBA
10/30: St. Petersburg, Russia - Zal Ojidaniya
11/1: Tel Aviv, Israel - The Zone
11/3: Kiev, Ukraine - Sentrum
11/5: Wroclaw, Poland - WIF festival
11/7: London, UK - Shepherds Bush Empire
11/9: Leeds, UK - Wardrope

* - Live Soundtrack to Jarman's In the Shadow of the Sun
% - Performing Force the Hand of Chance
^ - Alienist Record Release Show
# - Genesis Breyer P-Orridge and Edley ODowd Collaboration

More on Psychic TV and Genesis P-Orridge:

Born in 1981 from industrial music behemoth Throbbing Gristle, Psychic TV is fronted by Throbbing Gristle's founder: anti-hero, artist, and Pandrogenist, Genesis P-Orridge.

Psychic TV is particularly known for its intense and visceral live performances and for a creative lineage that includes cultural luminaries such as William S. Burroughs, Derek Jarman, and Timothy Leary, among others.

Right from the outset, Psychic TV in turn made highly innovative and unflinchingly provocative music blending elements of psychedelia and dance with Industrial sounds (named "HYPERDELIC" by Genesis). As with Throbbing Gristle, the details of Psychic TV's packaging, marketing and the radical lifestyle of the musicians were all treated as equally crucial components of the final aesthetic statement. For some 14 odd years, Psychic TV recorded and released dozens of live and studio albums ending up in the Guiness Book Of Records for releasing more albums in one year than any other artist (even Elvis!). Psychic TV was terminated in the mid 90's as Genesis pursued further musical goals with h/er spoken-word and expanded poetry/video installation project Thee Majesty.

In 2003, artist and percussionist Edley ODowd gently but persistently persuaded Genesis to rekindle her rock spirit and Psychic TV. Edley succeeded and they played their first public show that December. The reactivated ensemble led by ODowd, has been touring the world and releasing music ever since.

The full history of Genesis Breyer P-Orridge and her varied seminal musical exploits of the past three decades as well as her soclo-cultural adventures would easily fill a book. Soft Skull/Shortwave Books published "Painful but Fabulous: The Lives and Art of Genesis P-Orridge" in 2003 and more recently with "Thee Psychick Bible" in hardcover in 2009 and paperback in 2010). Genesis continues to exhibit artwork around the world. Most recently at Art Basel, Miami, The Serpentine Gallery, London and a career retrospective at The Warhol Museum, Pittsburgh. H/er most current exhibition "Try To Altar Everything" is at The Rubin Museum in New York City through August 2016.

Already living a creative further chapter of h/er "life" book Genesis continues to provoke and explore in her very public private life; from replacing all her healthy teeth with solid gold permanent replicas in an homage to Pierre Clemente in
Luis Bunuel's "Belle De Jour." Littering the dictionary and culture with new words for new, original ideas Genesis can be said to follow the serious process and joy-filled strategy of "When there is no example imagine it, when there is no word for it, invent one."

Genesis Breyer P-Orridge is the legendary English singer-songwriter, musician, poet, performance, and visual artist. P-Orridge rose to notability as founder of the COUM Transmissions art collective, which operated in Britain from 1969 to 1976. P-Orridge fronted the pioneering industrial band Throbbing Gristle between 1975 and 1981 and the experimental multimedia commonage Psychic TV from 1981 to present. In 1996, P-Orridge and partner Jackie "Lady Jaye" Breyer P-Orridge embarked on the Pandrogyne Project. P-Orridge currently performs within he/r spoken word project, Thee Majesty, and the most current incarnation of Psychic TV labeled PTV3. Collaborators include Aaron Dilloway, Merzbow, Tony Conrad, William S. Burroughs, Timothy Leary, Monte Cazazza, Hafler Trio, White Stains, Z'ev, and countless others. P-Orridge's visual works have been exhibited in hundreds of exhibitions across the world over the past 46 years, recently culminating in retrospectives at the Andy Warhol Museum and the Rubin Museum of Art.

Stone coverage by Kory Grow begins here:

Pink Floyd have raided their vaults for a massive, 27-disc box set anthologizing their first seven years together, The Early Years 1965 – 1972, due out on November 11th. It will contain unreleased outtakes and demos, TV appearances, seven hours of concert recordings, 15 hours of video (including concert performances, interviews and three feature films), over 20 unreleased songs, an updated version of their Zabriskie Point soundtrack and more, documenting the period before Dark Side of the Moon. The group will also put out a more affordable, two-disc compilation, The Early Years – Cre/ation.
The audio will comprise 130 tracks...(cont. below, w links to related news)
http://www.rollingstone.com/music/news/pink-floyd-detail-massive-27-disc-early-years-box-set-w431264

Shoulda called that 2-disc Ru/Le.

Several reissues from Sound Of The Universe news:

https://soundsoftheuniverse.com/img/dWdEU3IxK3pCRUs2ZVRwZEd3Wm1PUT09/r-326967-1250105792-jpeg.jpg

Gil Scott-Heron & Brian Jackson
Winter In America
STRATA-EAST

Classic album featuring 'The Bottle' with 4 bonus tracks(on cd only). Gil Scott Heron is a legendary soul/jazz/spoken word hero and this is one of his greatest and most unique albums. It was the album which made his name and transformed him into a pop success by virtue of the popularity of the track The Bottle, which it includes. A clue to the quality of this classic album is that it was recorded for the seminal indie deep jazz label Strata East, whose releases were rarely short of superb. This is his deepest and most mellow and jazzy album, and is embued with a beautiful sense of peaceful sadness.

CD/New LP (180g)
*CD bonus tracks
1. Peace Go With You Brother
2. Rivers Of My Fathers
3. A Very Precious Time
4. Back Home
5. The Bottle
6. Song For Bobby Smith
7. Your Daddy Loves You
8. Watergate Blues
9. Peace Go With You Brother
10. Winter In America - Live*
11. Song For Bobby Smith -alternate Take*
12. Your Daddy Loves You - Alternate Take*
13. The Bottle - Live*
Info (CD already sold out at SOTU, worth looking around for; they do have LP)
https://soundsoftheuniverse.com/product/gil-scott-heron-brian-jackson-winter-in-america

More Info

"More info" superfluous; already incl. relevant link.

https://soundsoftheuniverse.com/img/Z3B6ZjlDb1k5ZFYra1hnczBIWnN4UT09/black-octopus-paul-jackson-2.jpg

Absolutely seminal album of rare groove funk jazz from Headhunters' bass player Paul Jackson. All-star line-up featuring Herbie Hancock, Bernie Maupin, Webster Lewis. Only ever released in 1978 in Japan,

1. Black Octopus Part 1 - Many Directions
2. Black Octopus Part 2 - Eight Ways Of Love
3. Funk Times Three
4. Burning In The Heat (Of Your Love)
5. Tiptoe Thru The Ghetto

LP
more info, audio:
https://soundsoftheuniverse.com/product/paul-jackson-2-black-octopus

http://i6.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-1136585-1344098378-1956-jpeg_5.jpg

Dorothy Ashby
Afro-Harping (1968)
CADET

Definitive deep funky album from harpist Dorothy Ashby. Excellent late 60's soulful jazz harp recorded for Chess with arrangements by Richard Evans and a killer (unknown) line-up! Samples galore, from "Soul Vibrations" and "Come Live With Me", plus a version of "Little Sunflower". Like an earlier version of Alice Cotrane's seminal 70s releases on Impulse. (maybe not some of the material; see track list)

LP, CD

1. Soul Vibrations
2. Games
3. Action Line
4. Lonely Girl
5. Life Has Its Trials
6. Afro-Harping
7. Little Sunflower
8. Theme From Valley Of The Dolls
9. Come Live With Me
10. The Look Of Love
more info, audio: https://soundsoftheuniverse.com/product/dorothy-ashby-afro-harping-1968

http://i8.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-896553-1172141084-jpeg_7.jpg

Absolutely essential jazz funk album! A rare groove classic and the only album James Mason recorded.(looks like they've got several by him, if same James Mason). Every track's a winner but look out for "Sweet Power Your Embrace", "Free" and "Slick City" in particular
LP

1. sweet power your embrace
2. good thing
3. free
4. mbewe
5. funny girl
6. slick city
7. rhythm of life
8. hey hey hey
9. i've got my eyes on you
10. dreams

oops, here's more info & audio link for James Mason:
https://soundsoftheuniverse.com/product/james-mason-rhythm-of-life-1977

http://i9.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-799364-1457293780-1419-jpeg_8.jpg

Pharoah Sanders
Journey To The One (1980)
THERESA

Includes the deep jazz dance Dingwalls classic "You've Got To Have Freedom", a Gilles Peterson favourite and one of the biggest tunes of the day.
2-LP, CD

1. Greetings To Idris
2. Doktor Pitt
3. Kazuko (Peace Child)
4. After The Rain
5. Soledad
6. You've Got To Have Freedom
7. Yemenja
8. Easy To Remember
9. Think About The One
10. Bedria
more info, audio:
https://soundsoftheuniverse.com/product/pharoah-sanders-journey-to-the-one-1980

http://i6.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-490285-1379429844-5525-jpeg_15.jpg

Dorothy Ashby
The Rubaiyat Of Dorothy Ashby
CADET

Classic album from jazz harpist Dorothy Ashby, originally released in 1970 on the Cadet label, and produced by Richard Evans! Her funkiest album by far, featuring "The Moving Finger"!
LP
1. Myself When Young
2. For Some We Loved
3. Wax And Wane
4. Drink
5. Wine
6. Dust
7. Joyful Grass And Grape
8. Shadow Shapes
9. Heaven And Hell
10. The Moving Finger
more info, audio:
https://soundsoftheuniverse.com/product/dorothy-ashby-the-rubaiyat-of-dorothy-ashby

http://i7.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-728221-1348185786-3972-jpeg_16.jpg

Weldon Irvine
Cosmic Vortex (1974)
BMG

By 1974, 31 year-old Weldon Irvine was ready for the next phase of his career. Having spent years working variously as a pianist, band leader, composer, arranger and road manager with the likes of Joe Henderson and Nina Simone, his breakout moment as a solo artist finally came in 1974, when he signed with RCA Records. Finally backed with a budget that could match his ambitions, Irvine's first release was Cosmic Vortex, a sprawling, monumental work that embodied a musician at the height of his powers. The result is an album that molds his jazz instincts for free-form improvisation to fit a deep funk aesthetic, but also matched with strong, spiritual lyrics.
LP, CD

1. Love your brother
2. Walk that walk; talk that talk
3. Love Jones
4. I'll name it tomorrow
5. Cosmic Vortex
6. Quiet (In memory of Duke Ellington)
7. Let yourself be free
8. Love your brother
more info, audio:
https://soundsoftheuniverse.com/product/weldon-irvine-cosmic-vortex-1974

http://i3.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-404499-1295602057-jpeg_22.jpg

Ray Barretto
Acid
FANIA

Featuring the classic slow and sinuous title track with that killer bassline and trumpet, plus the explosive salsa of 'El Nuevo Barretto' and 'Sola Te Dejare', the funky, catchy boogaloo of 'Soul Drummers', and the Coltrane-inspired deep latin jazz of 'Espiritu Libre'!

LP

1. El Nuevo Barretto
2. Mercy Mercy Baby
3. Acid
4. A Deeper Shade of Soul
5. Soul Drummers
6. Sola Te Dejare
7. The Teacher of Love
8. Espiritu Libre
more info, audio
https://soundsoftheuniverse.com/product/ray-barretto-acid

http://i6.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-660346-1253812255-jpeg_35.jpg

Mulatu Astatke
Mulatu Of Ethiopia
WORTHY RECORDS

This is perhaps the best album from cult Ethiopian deep jazz hero Mulatu Astake

This highly sought-after rarity is probably the best AFrican deep jazz record there is - imagine a 1970s indy label deep jazz release but recorded in Africa on a label run by the national airline!
LP
1. Mulatu
2. Mascaram Setaba
3. Dewel
4. Kulunmanquel
5. Kasalekut-hulu
6. Munaye
7. Chifara
more info, audio:
https://soundsoftheuniverse.com/product/mulatu-astatke-mulatu-of-ethiopia

http://i1.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-1067914-1253809134-jpeg_30.jpg

The Lyman Woodard Organization
Saturday Night Special
STRATA

classic deep jazz LP on the little known Strata label out of Detroit, which was the precursor to New York's Strata East! Features the top track 'Creative Musicians.'
LP

1. Saturday night special (part 1)
2. Saturday night special (part2)
3. Joy road
4. Belle isle daze (part 1)
5. Belle isle daze (part 2)
6. Creative musicians
7. Cheeba (part 1)
8. Cheeba (part 2)
9. Alien barnes
10. On your mind
11. Help me get away
more info, audio:
https://soundsoftheuniverse.com/product/the-lyman-woodard-organization-saturday-night-special

http://i9.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-3725805-1341899714-9290-jpeg_28.jpg
The Headhunters
Survival Of The Fittest (1975)
ARISTA

Super funky Herbie Hancock spin-off project featuring the musicians from his classic 'Headhunters' album.
LP

1. God Made Me Funky
2. Mugic
3. Here And Now
4. Daffy's Dance
5. Rima
6. If You've Got It, You'll Get It
more info, audio:
https://soundsoftheuniverse.com/product/the-headhunters-survival-of-the-fittest-1975

http://i10.cmail20.com/ei/i/F3/F5F/C02/200021/csimport/r-732273-1461005532-2946-jpeg_19.jpg

Oneness Of Juju
African Rhythms
BLACK FIRE MUSIC
LP

1. African rhythms
2. Kazi
3. Funky wood
4. Tarishi
5. Mashariki
6. Chants
7. Don't give up
8. Incognito
9. Poo too
10. Liberation dues

more info: https://soundsoftheuniverse.com/product/oneness-of-juju-african-rhythms

apparently there were a few more jazz harpists than I thought

Dorothy Ashby's pretty great. Afro-Harping is on Spotify. Definitely interested in that Paul Jackson; wish it was coming out on CD.

http://numerogroup.com/sendy/uploads/1469917676.jpg

From Numero:

Master Wilburn Burchette:
Psychic Meditations Series

California mail-order mystic Master Wilburn Burchette was first known from his ads, hidden in the back pages of Fate Magazine, Beyond Reality, and Gnostica News. On offer: Burchett's seven-part, block-printed "Psychic Meditation Course," designed to teach people how to listen to music. To go along with his lessons, Burchette sold a series of instrumental guitar and electronic records featuring ornate hand-drawn cover designs, complete with listening instructions from the Master himself. Since just his twelfth year, Burchette had been transfixed by the parapsychological, spending as much time reading books on Tibetan mysticism fundamentals as he did practicing guitar, the vibrations of which he used to create tonal pictures and patterns. After time spent teaching classical guitar, Master Wilburn Burchette released seven albums in the seven years spanning 1971 through 1977, before abruptly burning and discarding everything related to his musical e xplorations.

On the heels of this year’s Project Twelve album Mind Storm, we’re continuing the Master’s course and issuing 1973’s Guitar Grimoire, 1975’s Music of the Godhead for Supernatural Meditation, and 1976’s Transcendental Music for Meditation on deluxe vinyl in limited editions of 500 each.

http://files.ctctcdn.com/c58a551d001/11e4299c-02e3-48c4-87f2-f40f38891c51.jpg

"I was obsessed with this record when it was first released and it still blows my mind -- a forgotten classic of American underground rock" -- Mark Lanegan

"Caustic Resin made a bunch of great f***ing records and The Medicine Is All Gone was one of their best. The riff (and everything else) of the lead track 'Cable' is from one of the finest songs not only of 1998, but ever. You need this record." -- Dylan Carson (Earth)

90s heavy psych band Caustic Resin announce the deluxe reissue of their celebrated 1998 album The Medicine is All Gone today with a song stream at Brooklyn Vegan. The double LP reissue is the album's first time ever on vinyl (anyone remember CDs?), remastered from the original analog tapes. The album opener "Cable" is here:
https://soundcloud.com/brett-netson/cable/s-aUK3L

Caustic Resin vocalist/guitarist Brett Netson is also a longtime member of indie rock heroes Built To Spill and currently plays in drone legends Earth as well as fronting his own Brett Netson and Snakes. Earth joins Boris for an extensive U.S. tour starting this Friday, July 22nd. Please see dates below.

Recorded in 1998 with engineer Phil Ek (Fleet Foxes, Modest Mouse, Mudhoney, Built To Spill, The Shins, Band Of Horses), the album was a highpoint both sonically and in terms of songwriting in the 15 year career of the Boise rock trio. Initially released on Alias Records, after many years of the album's high repute passing, largely by word of mouth, from devoted fans and record store clerks to, well, anyone who would listen, the calls and campaigns for this landmark album to be released on vinyl have finally been heeded.

Even after over a decade and a half The Medicine Is All Gone still sounds remarkable. Its authenticity and organic nature grant it a timeless quality, its honesty and raw emotion stirring the soul in a way that only the most magical of music can.

The album is an intoxicating ride through the heaviest of psychedelic trips, its avalanche of layered guitars cascading into fathomless waters of calm respite before the white knuckle ride rises again and again. Its vocals and lyrics sound as though they are the last gasp scream uttered by a man who stands at the precipice of his own mortality. And indeed he might have been.

In 1998 Caustic Resin had been around for 10 years and their longstanding line up of Brett Netson (vocals and guitar) Tom Romich (bass) and James Dillion (drums) had all but burned itself out with its dedication to rock n' roll and the worst aspects of the associated lifestyle. Their drugged out sound was one dictated by experience not secondhand inspiration. By the time they recorded The Medicine Is All Gone they were like a space rock Icarus, blinkered in their efforts to force every last effort into a final flight after being fatally scorched by the sun. These sometimes terrifying contemporary blues songs tell tales of estranged families, destructive drug and sex relationships, paranoia, religious reflections, death and spiritual redemption.

The Medicine Is All Gone stands as a unique entry in the canon of stoner rock and makes much of its fellow alumni seem tame in comparison. It is an astonishing achievement when judged solely on its musicality, but, as an end product, it is nothing short of a miracle when considering the mental illness, addiction, homelessness and criminality issues its makers were facing around the time of its construction. The explosive, violent chemistry of the trio that produced this classic music would sadly never issue a full album's worth of material again.

As a collection of songs the album flows together incredibly well, ebbing and flowing like a lysergic dream, although there are definite highlights. These include scene setter "Cable," "Hate In Your...," "Salamander," " Dripping" and the incongruous but heartfelt (and at times scathing) "Man From Michigan." Towards the album's close we are introduced to the unforgettable "Mysteries of..." which was inspired by a hallucination during a near fatal overdose of heroin and a later dream involving the preacher from the movie/book Wise Blood by Flannery O'Connor, the track morphing into full throttle rendition of Argent's "Hold Your Head Up."

When I received The Medicine Is All Gone it looked worryingly like some low rent Scandinavian black metal album, Caustic Resin's addled members staring scarily out from plain mug shots on the cover. Their lack of pretence visually and deep obligation to an 80's underground non aesthetic belied the care and effort taken to craft the music contained within. The artwork of this reissue is only slightly different, taken from an old promo poster from the time of the album's initial release. It has been weathered by time in a way this music never could. This reissue also contains the original mastering notes from Phil Ek (engineer) to Roger Seibel (mastering engineer).

Although the band did not survive in the format contained here, the individual members thankfully did and even reconvened for a show at 2014 Treefort Festival in their native Boise, Idaho. Brett Netson has been a full time member of Boise alternative rock band Built To Spill for the last decade, fronts his own relatively new band Brett Netson and Snakes, has played with the likes of Mark Lanegan and Earth and is a committed family man. He has also recently founded his own label, Scavenger Cult, this reissue of The Medicine Is All Gone being its second release.

The Medicine is All Gone will be available on 2xLP and download on September 9th via Scavenger Cult Records .

BORIS / EARTH TOUR 2016:
07/22 San Diego, CA @ The Casbah
07/23 Phoenix, AZ @ Crescent Ballroom
07/25 Dallas, TX @ Trees
07/26 Austin, TX @ The Mohawk
07/28 Ybor City, FL @ The Orpheum
07/29 Orlando, FL @ The Social
07/30 Atlanta, GA @ The Masquerade
07/31 Asheville, NC @ The Orange Peel
08/01 Nashville, TN @ Third Man Records
08/03 Carrboro, NC @ Cat's Cradle
08/04 Washington, DC @ 930 Club
08/05 Brooklyn, NY @ Warsaw
08/06 Philadelphia, PA @ Union Transfer
08/07 New Haven, CT @ College Street Music Hall
08/09 Boston, MA @ Paradise Rock Club
08/10 Montreal, QC @ Bar Le Ritz P.D.B. (no Earth)
08/11 Toronto, ON @ Lee's Palace (no Earth)
08/12 Cleveland, OH @ Grog Shop
08/13 Grand Rapids, MI @ Pyramid Scheme
08/14 Chicago, IL @ Metro
08/16 Madison, WI @ Majestic Theater
08/17 Minneapolis, MN @ Fineline Music Cafe
08/18 Lawrence, KS @ Granada Theatre
08/19 Denver, CO @ Bluebird Theater
08/20 Salt Lake City, UT @ Urban Lounge
08/22 Seattle, WA @ Neumo's
08/23 Portland, OR @ Wonder Ballroom
08/25 San Francisco, CA @ The Fillmore
08/26 Los Angeles, CA @ The Regent Theater
08/27 Las Vegas, NV @ Hard Rock Hotel - Psycho Las Vegas

Never heard Caustic Resin before but after giving it a listen I pre-ordered that sucker. Nice.

Is that Burchette some mail order only jive? I need those in my life but goddamn I hate mail order.

The first LP was only for subscribers to Numero's Project Twelve series of underground etc. ltd. eds., and these latest LPs are mail-order too, though you don't have to subscribe, you can just order them individually. They're also available as MP3s and FLACs----come to think of it, the vinyl *might* be in the bricks-and-mortar xpost Numero Store----anyway, even though Burchette's Project Twelve-only LP Mind Storm, is sold out, this is a good place to start (you'll see links to pages for his new reissues here too)---good backstory details (that pink storm, brothers and sisters!)

http://www.numerogroup.com/products/master-wilburn-burchette-mind-storm

Oh yeah, Mindstorm is also available on MP3 and FLAC, even though the vinyl is gone, and even for non-subscribers to Project Twelve.

I don't think Mindstorm is one of the stronger Burchette titles. That 3-pack looks pretty tempting. I sold my original copy of Psychic Meditation Music a few years ago, and I can't say I miss it, but those other two are terrific (esp Guitar Grimoire, which is the one I'd buy if I was only buying one).

Also interesting to see the belated Caustic Resin love. Always liked them. I think they'd have been more popular if people didn't associate them so strongly with Indie RockTM bands like Modest Mouse and Built To Spill. I wonder if their rep would be different if they'd released their albums on different labels and marketed themselves to the Crazy Horse-and-krautrock-lovin' crowd rather than pacnw bros and coeds.

You know they might've. I'd heard the name and just thought "indie rock" which isn't my cup at all.

Starting to listen now: get the Crazy Horse (possibly meeting Cobain) right away, and maybe some kraut by track 2, but not more than via the hit-and-miss of my limited knowledge---what Germanic-Euro--associations do y'all hear? I'd like to delve further into such bands.

P. sure that they're also into early Black Sabbath, even more than avowed fan Cobain.

http://crackmagazine.net/2016/08/seminal-rave-classic-full-mask-hysteria-remastered/

Wowza.

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/d077d000-b9cb-43a3-a069-41ec2e92bf11.jpg

Waxwork Records is excited to announce the expanded film score re-issue to H.P. LOVECRAFT’S FROM BEYOND.

Directed by Stuart Gordon (Re-Animator, Castle Freak) and starring Jeffery Combs and scream queen Barbara Crampton, H.P. LOVECRAFT’S FROM BEYOND is a 1986 Science-Fiction Body-Horror film featuring an immense soundtrack by composer Richard Band (Re-Animator, Puppet Master).

The music of H.P. LOVECRAFT’S FROM BEYOND by composer Richard Band won the award for Best Original Soundtrack at the Catalonian International Film Festival in Stiges, Spain. Waxwork’s newly re-mastered release marks the first time that the complete FROM BEYOND soundtrack has been released on vinyl.

Features include deluxe packaging with 180 gram colored vinyl, heavyweight old style tip-on gatefold jackets, liner notes from both director Stuart Gordon and composer Richard Band, and all new artwork by Marc Schoenbach of Sadist Art Designs.

Release details include two variants:

180 Gram Blue With Pink Slime Splatter Vinyl
Complete, Re-mastered and Expanded Soundtrack
Director Liner Notes By Stuart Gordon
Composer Liner Notes By Richard Band
Heavyweight Old-Style Tip On Gatefold Jacket
Art By Marc Schoenbach Of Sadist Art Designs

180 Pink Slime Vinyl
Complete, Re-mastered and Expanded Soundtrack
Director Liner Notes By Stuart Gordon
Composer Liner Notes By Richard Band
Heavyweight Old-Style Tip On Gatefold Jacket
Art By Marc Schoenbach Of Sadist Art Designs

https://soundcloud.com/waxwork-records/sets/from-beyond

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/2fef23e6-6178-42cc-b540-0816fa8f4373.jpg

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/f6eb7ddf-173a-41a9-870f-33679bfc9e97.jpg

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/c9e9df40-b033-4cd1-9e7c-4b511128d9ae.jpg

Side A
1. From Beyond
2. The Resonator & Main Title
3. We Saw Creatures
4. Back To The Pretorious House
5. Crawford’s Anxiety
6. Pretorious’ Madness
7. She’s So Pretty
8. The Lampyre From Beyond, Part 1

Side B
9. The Lampyre From Beyond, Part 2
10. Mutations
11. Escape From The Hospital & Beyond The Pretorious House
12. The Final Battle In The Beyond
13. Catherine Survives… But?
14. End Title

more from Sounds Of The Universe eletter:

http://i2.cmail20.com/ei/i/D2/AE6/E50/195453/csimport/bewithlp0-air-air-lp-1024x1024_1.jpg

Long Island's AIR only made one album. Quite simply it is a transcendent masterpiece of soulful jazz-rock fusion. Treasured by 'selector' luminaries such as Jeremy Underground, MCDE, Floating Points and Hunee, this startling record is beloved by everyone who has heard it. Buying the original - if you can find it - would set you back a small fortune so Be With's latest archival release is one that is already being warmly welcomed from all corners of the global record-buying community.
More info & audio: https://soundsoftheuniverse.com/product/air

https://soundsoftheuniverse.com/img/TXFqTk5BSTJwQnJMUmZaNkd1Z0Z6QT09/batsumi-batsumi.jpg

2016 repress of this landmark afro-jazz album from South Africa!

Matsuli follow up their brilliant Dick Khoza reissue with a deep spiritualised afro-jazz album from 1974! An urgent Batsumi sound, reverbed-drenched, propulsive, tight-locked drums and mesmerising bass. Some of the tracks here featured on Strut's fabulous 'Next Stop To Soweto' compilation. Out of print since the 1970s, and never issued outside of South African in its entirety.
More info & audio: https://soundsoftheuniverse.com/product/batsumi-batsumi

https://soundsoftheuniverse.com/img/U3FEVTRoYTZ5Z01uMlVMOTc5cHYrUT09/230912.jpg

Aybee's Deepblak label revisits the Afrikan Science's 'Means And Ways' for its first ever physical issue since its release in 2011 (digitally only). 11 tracks of the deepest, broken techno and other-wordly, Detroit inspired soundscapes feature in this killer debut.
More info & audio: https://soundsoftheuniverse.com/product/afrikan-sciences-means-and-ways

https://soundsoftheuniverse.com/img/MklrbG1qSGxqZTZCS1JVSHN3K01Mdz09/cover-ki-3.jpg

An exquisite slice of psychedelic jazz-funk, Funk Factory was criminally overlooked upon release but became a crate-diggers classic over time. The LP is most famous for containing the peerless dusty groove of "Rien Ne Va Plus", heavily lifted by the Beastie Boys for their Paul's Boutique standout "Car Thief". Funk Factory represents so much more than a Dust Brothers sample-source. The entire album represents a space-aged opus, featuring tripped-out keys, tight drums and baked synths; all laced by Urszula Dudziak's ethereal vocals drifting around the exceptional instrumentation.

More info & audio: https://soundsoftheuniverse.com/product/-funk-factory

That Batsumi album is magnificent.

Been listening to this: http://www.mrbongo.com/products/eloah-os-orixas-vinyl-lp-cd

The first three Colin Newman albums, "A-Z," "Provisionally Entitled The Singing Fish" and "Not To," all released as double CDs, with an astounding 49 unreleased tracks between them! Article, track listing and details here, courtesy of John Robb at Louder Than War:

http://louderthanwar.com/colin-newman/#.V7NI_ZTsYaE.twitter

Saw this reviewed in the latest Record Collector and was quite happy.
https://opticnerverecordings.com/products/folk-devils-beautiful-monsters-singles-and-demo-recordings-1984-86-cd
https://cdn.shopify.com/s/files/1/1207/3168/products/FOLKDEVILS_COVER_362dcdd8-3a85-4097-9f08-f47ac57da426_1024x1024.jpg?v=1464400025
There was a Folk Devils release last year that didn't come in cd form. not sure what was on it.
Now this is happening and features all the singles plus some demoes.

I liked their material at the time seemed to be closer to teh Gun club than the garage versions of the Birthday Party I was seeing around the time. But I think they were their own beast, like.

Gun Club, eh? Will look for that, thanks.

http://img.wennermedia.com/article-leads-horizontal-1400/rs-numero-098420a3-9fb3-457f-a06b-e1271f11b9f3.jpg

West Coast fans of revered archival record label Numero Group can celebrate, as the Chicago-based label will travel from Bloomington, IN to Seattle, WA this fall to set up pop-up shops in several cities.
According to a statement from the label, "on sale will be every in-print Numero CD, LP, cassette, 45, T-shirt, poster and whatever other additional weirdness they can cram into a 15-passenger van." After debuting in Indiana(...)
http://www.rollingstone.com/music/news/numero-group-announces-west-coast-pop-up-store-tour-w434662

These are a couple of new collections that have come out recently I picked up. Both are nicely done. Just got them and am working through them this weekend.

https://images-na.ssl-images-amazon.com/images/I/61AtCHuQRkL.jpg

https://www.amazon.com/Im-Freak-Baby-Journey-Through/dp/B01FSHQ0LW/ref=sr_1_1?ie=UTF8&qid=1471813949&sr=8-1&keywords=i%27m+a+freak+baby

The Scientists - A Place Called Bad (4 CD)

https://images-na.ssl-images-amazon.com/images/I/81IeKdF5yEL._SL1200_.jpg

https://www.amazon.com/Place-Called-Bad-4xCD/dp/B01H4EVSXC/ref=pd_sim_15_1?ie=UTF8&psc=1&refRID=310H8V5G0X1E7M4HW3W4

Yeah, need to get them both.
do Like a bit of Scientists particularly with Brett Rixon onboard. Looked pretty great behind a drumkit. That's him 2nd right in the photo there.

& that early 70s hard rock thing with freak baby is so satisfying. Wish I'd picked up that Cries From The Midnight Circuas set a few years ago too.

I want that I'm A Freak Baby comp for sure.

Picked up the Tin House reissue on Lion - this time it has bonus tracks - and it's pretty good bluesy, Cream-y rock stuff from 1971. Does a good job skirting the worst elements of the era, some really creative guitar work in parts.

Lion's also doing two more Laurence Vanay reissues on CD - Le Petite Fenetre and Les Soleils de la Vie. Great, weird, soundtracky stuff by the wife of one of Magma's early bassists. Kinda indescribable but elements of jazz, rock and folk run through her stuff.

JANE'S ADDICTION CELEBRATE STERLING SPOON ANNIVERSARY WITH NEW VINYL BOXED SET

New Six-LP Collection Coming October 21 From Rhino Includes Nothing's Shocking, Ritual de lo Habitual, Plus the Vinyl Debut Of Rarities, A Complete Live Show From 1990, And More

Jane's Addiction will celebrate a "Sterling Spoon Anniversary" this year to commemorate the release of Ritual de lo Habitual and the first Lollapalooza. The revelry began in July when the band launched a highly anticipated tour that includes Ritual de lo Habitual played in its entirety each night.

The party will continue in October when the band releases STERLING SPOON, an epic, six-LP collection that includes Nothing's Shocking and Ritual de lo Habitual, along with the vinyl debuts for the 1990 concert recording Live From The Palladium and a selection of rarities, demos, and live takes from the 1997 compilation Kettle Whistle.

The band, which has been directly involved with the set's creative direction, selected LA-based Ernesto Yerena to produce its cover art. Limited to just 5,000 pieces worldwide, STERLING SPOON will be available on October 21 for a list price of $99.98.

The collection focuses mainly on the Los Angeles-based quartet's first incarnation - Perry Ferrell (vocals), Dave Navarro (guitar), Eric Avery (bass), and Stephen Perkins (drums) - and includes the band's landmark studio albums: Nothing's Shocking (1988) and Ritual de lo Habitual (1990). It was those recordings that made the group underground heroes with songs like: "Jane Says," "Ocean Size," "Mountain Song," and the #1 Modern Rock hits "Been Caught Stealing" and "Stop!"

Jane's Addiction made great albums, but it was the band's live shows that cemented its legend. As a testament to it stage prowess, STERLING SPOON includes the group's entire performance at the Hollywood Palladium from December 1990, a concert recording that was originally released in 2008 as part of the Rhino's boxed set A Cabinet of Curiosities. Among the highlights are thunderous performances of such classics as: "Three Days," "Stop!" and "Summertime Rolls."

STERLING SPOON
Six-LP Set Track Listing:

Nothing's Shocking
Side One:
1. Up the Beach
2. Ocean Size
3. Had a Dad
4. Ted, Just Admit It...
5. Standing in the Shower...Thinking

Side Two:
1. Summertime Rolls
2. Mountain Song
3. Idiots Rule
4. Jane Says
5. Thank You Boys

Ritual De Lo Habitual
Side One:
1. Stop
2. No One's Leaving
3. Ain't No Right

Side Two:
1. Obvious
2. Been Caught Stealing

Side Three:
1. Three Days
2. Then She Did

Side Four:
1. Of Course
2. Classic Girl

Kettle Whistle Extractions
Side One:
1. Kettle Whistle
2. Ocean Size (Demo)
3. My Cat's Name is Maceo (Demo)

Side Two:
1. Had a Dad (Outtake)
2. So What!
3. Mountain Song (Demo)
4. Been Caught Stealing (Outtake)
5. City (Soul Kiss 88)

Live At The Hollywood Palladium 1990
Side One:
1. Drum Intro
2. Up the Beach
3. Whores
4. 1%
5. No One's Leaving

Side Two:
1. Ain't No Right
2. Then She Did
3. Had a Dad

Side Three:
1. Been Caught Stealing
2. Three Days

Side Four:
1. Mountain Song
2. Stop!
3. Summertime Rolls
4. Ocean Size

Picked up the Tin House reissue on Lion - this time it has bonus tracks - and it's pretty good bluesy, Cream-y rock stuff from 1971. Does a good job skirting the worst elements of the era, some really creative guitar work in parts.

Lion's also doing two more Laurence Vanay reissues on CD - Le Petite Fenetre and Les Soleils de la Vie. Great, weird, soundtracky stuff by the wife of one of Magma's early bassists. Kinda indescribable but elements of jazz, rock and folk run through her stuff.

― Hamilton, Joe Frank & Two-Thirds of Asphyx (GOTT PUNCH II HAWKWINDZ), Tuesday, August 23, 2016 2:00 AM (14 hours ago) Bookmark Flag Post Permalink

I think the Laurence Vanay were limited edition so probably worth grabbing sooner rather than later.
I wound up looking them up about a month ago.

I've been hoping for a Jane's Addiction upgrade on cd for years. has there been one?
Or is there anything like that coming along with this set? Similar release date or anything?

I am happily rolling about in the swampy murk of the Scientists box set, which arrived last weekend. It's especially a treat because my Blood Red River and Human Jukebox CDs had mysteriously disappeared. A perfect stew of The Sonics, Stooges, Radio Birdman, The Cramps, Gun Club, The Flesh Eaters and The Birthday Party for the ultimate template of garage noir. Lovingly curated with all the singles and EPs in chronological order, plus a thick booklet with the band's history. My favorite reissue of the year so far.

I'm A Freak Baby looks cool, though I have a lot of those songs. I love that it start's with Stray's "All In Your Mind," one of my favorites. Iron Maiden even covered it. Similar comps:

Blow Your Cool: 20 Prog/Psych Assaults From the UK
Cosmarama: Blow Your Cool 2
Forge Your Own Chains: Heavy Psychedelic - Ballads And Dirges 1968-1974
White Lace & Strange: Heavy Psych & Power Fuzz
The Room of Loud Sound: Heavy Psych from the USA 1968-1972 (White Lace & Strange Vol. 2)
Visit to Spaceship Factory: 20 Gems From Early Years of Prog

BTW, I dropped the ball on getting the Radio Birdman 8 disc box set a couple years back and now it's nowhere to be found. Anyone care to swap FLACs?

Was this mentioned previoulsy?
Intersystems box set limited to 500 on vinyl and cd I think
http://www.forcedexposure.com/Catalog/intersystems-intersystems-3cd-box/NMN.094CD.html
ALGA MARGHEN

First historical edition! Limited to 500 copies. This three-disc box collects Number One Intersystems (1967), presenting the correct side sequence and (for the first time) the original tracks' sub-section divisions; Peachy (1967), with (for the first time) the correct track separations, timings, and titles; and Free Psychedelic Poster Inside (1968), with (for the first time) the original (double) track titles. All works remastered by Intersystems founding member John Mills-Cockell for this edition. The three-CD box includes full-color digipak sleeves and a 56-page booklet with two texts by Intersystems founding members Michael Hayden and John Mills-Cockell situating Intersystems in the contexts of contemporary art and music, a text by Nick Storring about the original three records and Intersystems founding member Blake Parker, the complete chronology of Intersystems Presentations, and 23 full-page images illustrating the dense evolution of this short-lived and essential mixed-media collective.

Margo Guryan - 29 Demos - Finally makes its way to vinyl.

At last, the follow up to Take A Picture. 29 fully-fleshed-out soft-pop masterpieces from Margo’s songwriting vault, available on vinyl for the first time ever.

http://staticapp.icpsc.com/icp/loadimage.php/mogile/392995/388e469282d398fd73ae90e4f7add266/image/jpeg

In the 1960s, a decade where tragedy, beauty and societal change cascaded over a booming population of young adults, popular music was evolving in multiple directions. Blues-based rock, Brill Building pop, British Invasion madness, Motor City soul, funky southern syncopation, acid- laced psychedelia, and more all developed more or less concurrently. Indeed, music progressed at such a rapid pace that even a few weeks could reveal major changes. Assessing the music of this period requires an attention to detail and an appreciation of the artists who created pivotal moments in its evolution. That is to say, an artist like Margo Guryan.

Songwriter, singer, musician, and lyricist Guryan grew up in the NYC suburbs and was a musical prodigy. Signed as a writer to Atlantic Records at age 19, she immersed herself in the jazz world and attended the Lenox School of Jazz where she worked with Ornette Coleman and Don Cherry, and studied with Bill Evans, Max Roach, Milt Jackson, and others. Meanwhile, her compositions were recorded by Harry Belafonte, Cass Elliot, Jackie DeShannon, and many more. Married to jazz trombonist and pianist Bob Brookmeyer, her course seemed set.

All of that changed when her friend, pianist-songwriter David Frishberg, raved about The Beach Boys’ Pet Sounds album and especially the song “God Only Knows.” Guryan took his advice, gave it a spin, and it proved to be a life-changing event. “I thought it was just gorgeous,” she said. “I bought the record and played it a million times, then sat down and wrote 'Think of Rain.' That's really how I started writing that way. I just decided it was better than what was happening in jazz.” Along with “Think of Rain,” Guryan continued writing in this new pop direction, eventually landing a deal with Bell Records.

The resulting 1968 album, Take a Picture, was a sunshine pop masterpiece, full of inventive arrangements, lilting melodies and Guryan’s gossamer voice. Lauded by Billboard Magazine which predicted “strong sales,” marketing for the album was hampered by Guryan’s refusal to perform. Having seen the life of a musician up close through Brookmeyer's career, she wanted no part of it. Consequently, Bell Records withdrew promotion funds and let the album wither on the vine.

While that might be the end of most music careers, interest in Guryan’s music has grown steadily over the decades, largely due to Japanese record collectors. Take A Picture was first reissued in Japan, followed by Spain (for Europe) and the USA.

In 2001, a CD collection titled 25 Demos was released; a group of intricately-recorded songs featuring imaginative instrumentation. Now, for the first time on vinyl, Modern Harmonic gathers these songs and adds four tracks for 29 Demos. In stores on 8/26/16, 29 Demos is a double colored vinyl (one red, one blue) masterpiece and finally gives Guryan a proper follow-up to Take a Picture. This release is a must for any connoisseur of timeless melodies and offers insight into a time when pop music’s possibilities seemed endless. You’ll file this album alongside Brian Wilson, Claudine Longet, The Mamas and The Papas, Spanky and Our Gang, and The Left Banke. Eventually. When you can bring yourself to take it off the turntable.

http://www.cherryred.co.uk/product/eclection-remastered-expanded-edition/
Eclection s/t lp out today on Esoteric. The band that Mr Sandy Denny, Trevor Lucas first appeared in London with.

{img]http://www.cherryred.co.uk/wp-content/uploads/2016/06/ECLECTION_web-600x600.jpg?b01cf9[/img]

NEW REMASTERED & EXPANDED DEFINITIVE EDITION OF THE CLASSIC 1968 FOLK / PROGRESSIVE ROCK ALBUM
• WITH THREE BONUS TRACKS PREVIOUSLY UNRELEASED ON CD
• FULLY RESTORED ARTWORK AND LINER NOTES

Esoteric Recordings are pleased to announce the release of a newly re-mastered and expanded edition of the classic 1968 self-titled album by the legendary folk / progressive rock band Eclection.

Formed in London in 1967, Eclection was a truly international group, featuring Norwegian born Georg Kajanus (known then as Georg Hultgreen) on guitars and vocals, Australians Kerrilee Male (vocals) and Trevor Lucas (vocals, bass), Canadian Michael Rosen (guitars, vocals) and Briton Gerry Conway (drums). Eclection signed with Jac Holzman’s Elektra label and made their first public appearance supporting Tom Paxton at the Royal Festival Hall in 1967.

Influenced strongly by artists such as Bob Dylan, The Mamas & Papas, The Byrds & Fred Neil, the group took both folk and rock influences to create their own unique sound (often drawing comparisons to Jefferson Airplane). Blessed by the superb vocalist Kerrilee Male, Eclection also gained a prominent supporter in DJ John Peel. Released in 1968, their sole, self-titled album is now regarded as a classic of the era and also as a starting point in the careers of Trevor Lucas and Gerry Conway (who formed Fotheringay with Sandy Denny in 1970) and also Georg Kajanus (who would front the 1970s group Sailor).

This expanded edition of “Eclection” has been newly re-mastered from the original Elektra master tapes, features three bonus tracks originally released as singles in 1968 (including the re-make of “Please (MKII) featuring Dorris Henderson on vocals following the departure of Kerrilee Male from the band). The release includes a lavish booklet with rare & previously unseen photographs and liner notes featuring exclusive interviews with Georg Kajanus and Gerry Conway.

//e.snmc.io/lk/f/l/94523da37d773201eda6d166fa1d5853/1319468.jpg
is the image that should have shown with the above.

also mentioned in the Esoteric release report, the 3rd lp by Steamhammer. Came out last month

//e.snmc.io/lk/f/l/11b4273a89cbc3c6fce08fd0e5c85c41/2344149.jpg

NEW OFFICIAL REMASTERED EDITION OF THE CLASSIC 1971 ALBUM BY PROGRESSIVE / BLUES ROCK GROUP STEAMHAMMER
• FULLY RESTORED ARTWORK AND LINER NOTES
• REVIEWS IN “UNCUT”, “MOJO”, “RECORD COLLECTOR”, “CLASSIC ROCK” & “PROG” MAGAZINES
• COVERAGE ON RELEVANT WEBSITES & FANZINES

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the classic 1971 album by British Progressive / Blues Rock band Steamhammer.

Formed in 1968 by Kieran White and Martin Quittenton, Steamhammer came to prominence on the second wave of the British Blues boom of the late 1960s.

Their debut album was issued in 1968 and earned the band a loyal following which developed further thanks to their effective live performances. In Germany they became a popular concert attraction. Their second album “MK II” did much to enhance their reputation, but by this time, with line-up changes taking place, the band had moved into a more progressive direction, taking on board jazz influences.

By the close of 1970 Steamhammer had settled into a line-up of Keiran White (guitar, vocals), Martin Pugh (guitar), Steve Davy (bass, vocals) and Mick Bradley (drums). It was this line-up that recorded “Mountains” for the B&C label. “Mountains” would feature seven original compositions and a cover version of ‘Riding on the L&N’. Two of the album’s eight tracks were recorded at the Lyceum in London.

This new, official release has been newly re-mastered and includes a booklet with liner notes and fully restores the album artwork.

I think Speech is their masterpiece. Mountains is cool but kind of unmemorable, Speech is a dark, weird epic.

I should mention I got that Venezuela 70 comp mentioned upthread and it's pretty awesome, if surprisingly similar sounding for a bunch of different artists.

Anyways, coming out next month on Lion:

http://i63.tinypic.com/znlfno.jpg

VARIOUS “Puissance 13 + 2” (the Power of 13 + 2)

The atmosphere was wonderful throughout all of the recording sessions, sessions recorded in the open air, in the sunshine, amongst friends. We were motivated simply by the desire to play music, the music we love the way we wanted to play it. All the titles on this album are unreleased, and most of them were recorded specifically for this occasion.... this isn’t any old debut, it’s the Debut. — Laurent Thibault (1971)

Amazing sessions by the cream of underground French prog and psych bands, first released in 1971 on Thélème, a boutique label owned by Magma bassist and Barclay Records manager Laurent Thibault. When Thibault founded Thélème, he wanted to set up a prestige outfit. He had this in mind when he set out to fulfill his ambition of presenting a panorama of the French rock scene by gathering the best groups in France together on one double-album, to be recorded at the legendary Chateau d'Hérouville studio, live in the courtyard with no overdubs. Thibault had hoped that labels would allow their best acts to appear. Philips offered Magma (the version of ‘Mekanik Kommando’ appearing on Puissance is the first ever conceived or recorded by the band) and Catherine Ribeiro; Barclay allowed Alain Markusfeld to participate; Le Chant du Monde let Voyage appear. The band Catharsis said yes; so did Contrepoint, discovered by Magma’s René Garber. Thélème artists included Ergo Sum, MOR, Zabu, and Solitude. Two guests from America were recommended by Le Chant du Monde: folk-singers Roger Mason and Steve Waring. And happily Spectre, a band featuring legendary Hérouville engineer Dominique Blanc-Francart, brought the monster prog jazz funk synth madness of 'Arkham'. Brilliant!

•Features titans such as Magma, Catherine Ribeiro, Alain Markusfeld, Dominique Blanc-Francart, and more!

•One-time pressing of 500x copies, housed in a special textured linen finish gatefold jacket

•Lush four-page color insert has historical notes + band info + rare photos

Track List:
Side A:
01. Ergo Sum ‘All's So Comic’ 5:55
02. Magma ‘Mekanik Kommandoh’ 6:00
03. Spectre ‘Arkham’ 3:16

Side B:
01. MOR ‘Un Hini Da Garan’ 4:14
02. MOR ‘Here's to You’ 1:30
03. Zabu ‘Informer Blues’ 3:51
04. Solitude ‘Been Gone So Long’ 6:10
05. Solitude ‘Jappy's Boogie’ 2:13
06. Steve Warring ‘Bill Bailey’ 2:41

Side C:
01. Voyage ‘I'm On My Way’ 3:51
02. Design ‘Ils N'ont Rien Compris’ 5:00
03. Contrepoint ‘Unfathomable of the Seventh Time’ 8:14
04. Catherine Ribeiro + Alpes ‘Aria Populaire’ 2:07

Side D:
01. Claude Engel ‘Promenade’ 3:02
02. Catharsis ‘Charles’ 8:23
03. Roger Mason ‘On A Tapé’ 4:01
04. Alain Markusfeld ‘Iguane’ 4:42

a download link to an mp3 sampler, which has a little taste of every track on the record:

https://www.hightail.com/download/cUJXb2VIcVg1UjZxV2NUQw

Catalogue number: LION LP-165
UPC: 778578316518
Release date: 31 September 2016

http://louderthanwar.com/public-image-ltd-pil-will-reissue-metal-box-album-albums-super-deluxe-box-set-editions-28th-october-2016/#.V8Vp7UbjlF4.twitter

There's more description at that site
but here's the contents

‘Metal Box’ 4 CD
CD 1: Metal Box
CD 2: B-sides, mixes & radio sessions
CD 3: Unreleased Mixes
CD 4: Live at Manchester, Russell’s Club (The Factory) 18/6/79

Disc 1:
Remastered album
1. Albatross
2. Memories
3. Swan Lake (Death Disco)
4. Poptones
5. Careering
6. No Birds Do Sing
7. Graveyard
8. The Suit
9. Bad Baby
10. Socialist
11. Chant
12. Radio 4

Disc 2:
B-sides, mixes & radio sessions
1. Death Disco (7” edit)
2. Death Disco 12”
3. Half Mix / Megga Mix (b-side)
4. Death Disco – BBC TV, Top of the Pops July 12.7.72
5. Memories 12”
6. Another (b-side)
7. Poptones – BBCRadio 1, John Peel Sessions 1979
8. Careering – BBC Radio 1, John Peel Sessions 1979
9. Chant – BBC Radio 1, John Peel Sessions 1979
10. Poptones – BBC TV, Old Grey Whistle Test 5/2/80 (audio)
11. Careering – BBC TV, Old Grey Whistle Test 5/2/80 (audio)
12. Pied Piper (rare compilation-only track)

Disc 3:
Unreleased Mixes
1. Poptones (version 3) (unreleased)
2. Swan Lake (monitor mix)
3. Albatross (monitor mix) (alternative mix)
4. Swan Lake (“master”) (alternative mix) (unreleased)
5. Unknown INST Jam 1 (“Chant”) (unreleased)
6. Unknown Jam 2 (“Megachant”) (unreleased)
7. Music from an Oven (aka Memories) (unreleased)
8. Radio 4 (“symphony suite”) (unreleased)
9. Home is Where The Heart is (original mix) (unreleased)
10. Unknown INST 2 (unreleased)

Disc 4:
Live at Manchester, Russell’s Club (The Factory) 18/6/79 (unreleased)
1. Chant
2. Swan Lake (aka Death Disco)
3. Memories
4. Public Image
5. Annalisa
6. No Birds Do Sing

‘Metal Box’ 4 LP
LP 1: Metal Box
LP 2: Metal Box (continued)
LP 3: Live at Manchester, Russell’s Club (The Factory) 18/6/79
LP 4: Rare Mixes and BBC Radio Sessions

LP 1 & 2:
‘Metal Box’ studio album
Disc 1 (side 1):
Albatross
Memories

Disc 1 (side 2):
Swan Lake (Death Disco)
Poptones
Careering

Disc 2 (side 1):
No Birds Do Sing
Graveyard
The Suit

Disc 2 (side 2):
Bad Baby
Socialist
Chant
Radio 4

LP 3:
Live at Manchester, Russell’s Club (The Factory) 18/6/79 (unreleased)

Disc 3 (side 1):
Chant
Swan Lake (aka Death Disco)
Memories

Disc 3 (side 2)
Public Image
Annalisa
No Birds Do Sing

LP 4:
Rare Mixes & BBC Session

Disc 4 (side 1):
Swan Lake (monitor mix)
Albatross (monitor mix)

Disc 4 (side 2):
BBC Radio 1, John Peel Sessions 1979
Poptones
Careering
Chant

‘Album’ 4 CD
CD 1: Album
CD 2: Live at Brixton Academy 27.5.86
CD 3: Various, mixes & outtakes etc
CD 4: Original 1985 Album demos

Disc 1:
Remastered album
1. FFF
2. Rise
3. Fishing
4. Round
5. Bags
6. Home
7. Ease

Disc 2:
Live at Brixton Academy 27.5.86 (unreleased)
1. Kashmir
2. FFF
3. Low Life
4. Fishing
5. Poptones
6. Pretty Vacant
7. Banging the Door
8. Flowers of Romance
9. Bags
10. Round
11. Home
12. Public Image
13. Rise
14. Annalisa

Disc 3:
Various, mixes & outtakes etc
1. Things in E (aka Ease) (alternative Laswell mix) (1986) (unreleased)
2. Rise (7” edit)
3. Rise (instrumental)
4. Home (7” edit)
5. Rise (Bob Clearmountain remix
6. Home – BBC TV, Old Grey Whistle Test 20/5/86 (audio)
7. Round – BBC TV, Old Grey Whistle Test 20/5/86 (audio)

Bonus Tracks
1. Time Zone – World Destruction (12”)
2. Time Zone – World Destruction (Industrial Remix)


Disc 4:
Original 1985 Album demos
1. Animal (unreleased)
2. Black Rubber Bags (aka Bags) (unreleased)
3. European Cars (aka Round) (unreleased)
4. Fairwell Fairweather Friend (aka FFF) (unreleased)
5. Pearls Before Swine (aka Fishing) (unreleased)
6. Things in E (aka Ease) (instrumental) (unreleased)
7. Ben Hur (unreleased) (instrumental) (unreleased)
8. Cats (unreleased) (instrumental) (unreleased)
9. Have a Nice Day (unreleased) (instrumental) (unreleased)
10. Untitled 3 (unreleased) (instrumental) (unreleased)
11. Pearls Before Swine (aka Fishing) (alternate mix) (incomplete) (unreleased)

‘Album’ 4 LP
LP 1: Album
LP 2: Original 1985 Album demos
LP 3: Various, mixes & outtakes etc 1
LP 4: Various, mixes & outtakes etc 2

LP1:
‘Album’ studio album
Disc 1 (side 1):
FFF
Rise
Fishing
Round

Disc 1 (side 2):
Bags
Home
Ease

LP2:
Original 1985 Album demos

Disc 2 (side 1):
Animal (unreleased)
Black Rubber Bags (aka Bags) (unreleased)
European Cars (aka Round) (unreleased)
Disc 2 (side 2):
Fairwell Fairweather Friend (aka FFF) (unreleased)
Pearls Before Swine (aka Fishing) (unreleased)
Things in E (aka Ease) (instrumental) (unreleased)

LP3:
Various, mixes & outtakes etc 1

Disc 3 (side 1):
Things in E (Ease) (alternative Laswell mix) (unreleased)

Disc 3 (side 2):
Rise (7” edit)
Rise (instrumental)
Home (7” edit)


LP4:
Various, mixes & outtakes etc 2

Disc 4 (side 1):
Home – BBC Old Grey Whistle Test 20/5/86
Round – BBC, Old Grey Whistle Test 20/5/86
Rise (Bob Clearmountain remix)

Disc 4 (side 2):
Time Zone – World Destruction (12”)
Time Zone – World Destruction (Industrial Remix)

Hm, the live discs are intruiging but the alt versions and demos, meh.

Missed opportunity to include the parts Miles Davis supposedly recorded during the album sessions.

Kinda think that story is apocryphal at this point.

Earlier this year, Northern Spy Records released In Hollywood, 1971, a new record by Ravi Shankar presented across a limited edition of 2 LPs, for Record Store Day 2016. Profits from this release benefitted The Ravi Shankar Foundation, which serves to educate the world about Indian classical music and to preserve the archive of Ravi Shankar.

Northern Spy Records and East Meets West Music are now announcing a wider release of In Hollywood, 1971 on CD and digital formats. This edition contains the entire concert which is two hours long! The CD comes in a beautiful, gatefold wallet with two discs. The CD/digital versions contain about 40 additional minutes of material. Street date for those is 9/30/16. And the limited vinyl edition (originally a National Record Store Day exclusive) is available online for the first time!

Read Rolling Stone's news piece on the LP here: http://www.rollingstone.com/music/news/hear-ravi-shankar-raga-from-concert-attended-by-george-harrison-20160311

Pandit Ravi Shankar was a sitar master and pioneer; widely credited with popularizing sitar and Indian classical music in the West. Through his association with George Harrison, he also popularized the benefit concert with Concert for Bangladesh in 1971. Earlier that same year, Ravi Shankar performed a morning concert in his home on Highland Avenue in Hollywood, California with Harrison in attendance. As Ravi’s wife, Sukanya Shankar, attests in her amazing liner notes, this concert most certainly sowed the seed for the overwhelmingly successful Concert for Bangladesh.

These four Ragas are beautifully recorded, and they sound phenomenal after tape transfer, audio restoration, and mastering by Barry Phillips.
----

ARTIST: Ravi Shankar
TITLE: In Hollywood, 1971
STREET DATE:
CATALOG #: NS 073
FORMAT: Double LP in Gatefold Jacket, CD in Gatefold Wallet, Digital
PARTICIPANTS: Ravi Shankar (Sitar), Alla Rakha (Tabla), Kamala Chakravarty (Tanpura)

Recorded live June 12, 1971 in Hollywood, California. Private concert at the home of Ravi Shankar on Highland Avenue.

Music Producer: Shyama Priya
Executive Producer: Shyama Priya, Cat Celebrezze
Cover Photograph: Claudia Andujar
Inside Photographs: Henry Diltz

LINER NOTES:

Written by Sukanya Shankar, 2015

This is a treasure of a recording as it is not only a live recording of a rare morning concert but it was also an “at home” performance Raviji did for some special friends at his residence on Highland Avenue in Hollywood, California in 1971. It was during this gathering that he spoke about his distress over the plight of the people of East Pakistan (later known as Bangla Desh) in the aftermath of Cyclone Bhola. Being Bengali himself, he talked about wanting to do something to alleviate the suffering. George Harrison, in attendance that day, listened and from those conversations the seed was sown for what would later become the Concert for Bangladesh.

I telephoned Kamala Chakravarty in India, whom you hear on the recording playing tanpura (also Raviji’s one-time partner of twenty-five years) to find out details of the day, what the atmosphere was like. She is eighty-six now and she couldn’t remember in detail – there were so many musical nights! - but said that, at that time, it was not uncommon for Raviji to invite friends over and then all the four Beatles and people like Marlon Brando, Zubin Mehta, and Peter Sellers would to drop by!

This concert recording is unique musically as it is historically. The first piece is a beautiful raga composed by Raviji called Parameshwari. It opens with a little Aochar and a slow Gat in Teen taal of 16 beats and a fast gat in Ek Taal of 12 beats. The inspiration for this Raga goes back to Chengali, a little village near Kolkata. During the filming of his autobiographical film Raga, Raviji traveled to Chengali in the morning sometime in March 1968. While riding in the car, he conceived the nucleus of a melodic form that he later developed and called Kameshwari. By using the old Murchana (scale-wise progression) and Swara Bheda system (getting different ragas by changing the Sa or Do), he discovered three more ragas at the heart of Kameshwari, and Parameshwari was one of them. The other two are Gangeshwari and Rangeshwari. Parameshwari has flashes of known ragas Bageshri, Bhairavi and Bilaskhani Todi but it is pure Raviji.

Let us delve a little into what Raviji achieved when he created his ragas. A raga is not merely a cluster of notes with a theme or a motif. It is bound by some strict principles of its Arohana (ascending) and Avarohana (descending) characteristics. It usually has 5, 6 or 7 notes and sometimes permutations and combinations of these. It should have a Vadi, which is the most important note, and a Sam Vadi, which is usually the 4th or the 5th and note and secondary. What is core to the raga is its Prana or life and its power to be heard and to be propagated, to instill its emotional message in the heart of as many musicians and listeners as possible. Time will tell the validity of a new raga creation, by its acceptance, popularity and longevity. No matter how beautiful the raga, if you are the only one who can perform it, it is not considered to be of any consequence. Raviji’s ragas can be found in many artist repertoires - that tells you the intensity and emotional effect of his music and his creations.

Also playing brilliantly on this recording is Ustad Alla Rakha or Abbaji, as he was affectionately addressed, Raviji’s tabla accompanist of twenty-five years. You can hear Raviji’s appreciation and excitement for Abbaji’s improvisations during the performance. On Dhun you hear pure Raviji in all his sensuality and mastery! Raviji dedicated Dhun to Bangla Desh, again, telling you what was on his mind and weighing on his heart at the time. The final piece is Sindhi Bhairavi in Thumri (meaning “light classical style”). Raviji’s hands are flying in the fast Drut composition, but at he loses not one bit of musicality. Towards the end, the musical conversation between sitar and tabla is incredible. Hearing Raviji’s inimitable laughter at the conclusion broke my heart. Oh I miss him so much...but am so grateful we can share his music with you. - Sukanya Shankar, 2015

For more than 80 years, Ravi Shankar performed, taught, composed, and toured for the world stage. It was through this tireless dedication that he sought to bring the beautiful art and language of Indian Classical Music to the world and to promote peace through music, education and performance. With Ravi's passing in 2012, the Ravi Shankar Foundation carries on this, his most important legacy. Established in 1997, the Ravi Shankar Foundation's objectives are three-fold: educational initiatives to increase awareness of Indian Classical Music and the Gurukal system of learning; preservation efforts to archive and preserve the vast works of Ravi Shankar; and a dedication to East-West world music collaboration projects, in order to support core artistic creativity and freedom.
Shankar Foundation info, audio: http://www.ravishankar.org/mission.html

Game Theory - The Big Shot Chronicles (1986) - September 23, 2016
http://omnivorerecordings.com/music/the-big-shot-chronicles/

30th Anniversary expanded reissue of their revered 3rd album!

Omnivore Recordings continues the re-examination and re-appreciation of Game Theory’s stellar 1980s catalog with The Big Shot Chronicles. Passionate fans of the group all have a favorite GT album, and the band’s drummer, Gil Ray, refers to The Big Shot Chronicles as his favorite in a revealing interview with set co-producer and Game Theory constant/confidant Dan Vallor in the new reissue’s liner notes.

Once again helmed by Mitch Easter (R.E.M., Let’s Active), the 12-track album features an expansion of the band’s sound, and contains the MTV 120 Minutes staple, “Erica’s Word.” For its 30th anniversary, 13 tracks have been added—9 of which are previously unissued. From demos, outtakes, rough mixes, and live tracks, one can see the sonic trajectory the band was on—leading up to their arguable magnum opus, Lolita Nation. In addition to alternate versions of originals, this set includes a wealth of covers of songs by Todd Rundgren, Roxy Music, Big Star, The Velvet Underground, and more. Including some surprises.

The CD and Digital versions contain 25 tracks, while the LP component (first pressing on lime-green vinyl) has the original 12-track LP, with a download for the entire CD program. Packaging again contains a plethora of unseen images from long-time group photographer “Photo Robert” Toren. Add in liner notes including the aforementioned Ray/Vallor interview, an essay from Jason Cohen, and a remembrance from The Magnetic Field’s Stephin Merritt, The Big Shot Chronicles’ 30th anniversary is everything it should be, and much more.

The Chicago Reader said the album was “ambitious and elaborate . . . packed with sunny, ultracatchy melodies, sweet vocal harmonies, and soft-focus psychedelia.” So, take your first shot, or prepare for a bigger shot of The Big Shot Chronicles.

Big Star - Complete Third - October 14, 2016
http://omnivorerecordings.com/music/complete-third/

Includes every demo, rough mix, outtake, alt take and final master from the Third sessions known to exist.

“The small but rabid cult of Big Star, composed initially of rock critics and hometown Memphis hipsters, coalesced around 1972’s #1 Record, which supercharged the legacy of The Beatles and The Byrds, and 1974’s Radio City, which brought additional attitude and poignancy to the recipe. The shimmering brilliance of Big Star’s sound and songs on those two LPs, along with its underdog allure, would have been sufficient to perpetuate the band’s legend. But there was a third album, and that strange beast of a record made all the difference for subsequent generations of fans—many of whom formed bands of their own—who turned each other on to this music as if it were a secret religion or a trippy new drug.” —Excerpt from Bud Scoppa’s Complete Third liner notes.

“Ask any of the original participants who made the record, and none of them would say they expected this album to even see a real release, much less end up on Rolling Stone>’s list of the 500 best albums of all time… It’s an amazing snapshot of the artists and the times and circumstances in which the recordings were made. It’s a great testament to Third that an album that almost nobody was interested in at the time of its pressing, is now loved and sought out by an ever growing legion of fans. I guess that’s called ‘ahead of its time.’” —Excerpt from Adam Hill’s Complete Third liner notes.

After almost a decade of searching for unheard session recordings for Big Star’s third album, the wait for the results is finally over! While some demos and alternate versions of songs have dribbled out over the years on various compilations, all extant recordings made for the album are presented here for the first time in Complete Third. The collection boasts 69 total tracks, 29 of which are previously unheard session recordings, demos and alternate mixes made by producer Jim Dickinson and engineer John Fry. The set allows the listener to track the creation of the album from the original demos, through sessions and rough mixes, to the final masters of each song.

Besides the contextualizing main essay from writer/A&R man, Bud Scoppa, extensive notes from original participants and artists influenced by Big Star are also included: Mary Lindsay Dickinson, Mitch Easter, Adam Hill, Elizabeth A. Hoehn, Susanna Hoffs, Peter Holsapple, Gary Louris, Mike Mills, Cheryl Pawelski, Debbi Peterson, Pat Rainer, Danny Graflund, Jeff Rougvie, Pat Sansone, Chris Stamey, Jody Stephens, John Stirratt, Ken Stringfellow, and Steve Wynn.

Initially, the collection will be released in a 3-CD boxed set and digitally with three separate double LPs to follow, each vinyl volume representing a CD in the boxed set.

Dude you should read the wonderful long big star thread revive, so much knowledge dropped and factoids/memories shared. ilm at its best

Yeah, great stuff from Edd Hurt, for inst, and I've been trying to describe my impressions of the (promo) box on there, as I make time for another listening/posting session.

Meanwhile,

http://i2.cmail19.com/ei/i/08/114/E6B/194728/csimport/sjr-lp344-nigeria-disco-sleeve_1.jpg

Nigeria Soul Fever
Afro Funk, Disco and Boogie - West African Disco Mayhem!
Soul Jazz Records

Soul Jazz Records' new Nigeria Soul Fever! is out worldwide in all good retail and internet stores next Fri 9 Sep on 2CD pack/3xLP + download code/Digital.

Sleevenotes by Bill Brewster (author of Last Night A DJ Saved My Life)!

Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. Sleevenotes are by Bill Brewster (author of Last Night A DJ Saved My Life).

Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria.

Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.

These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the of the country.

Nigeria Soul Fever is released as triple-album vinyl + download, double-CD digi-pack and digital download. This album follows on from Soul Jazz Records’ 1960s collection Nigeria Freedom Sounds, released last month, and will be followed by the reissue of the incredibly rare and groovy Nigerian 1980 disco boogie funk album Tee Mac’s Night Illusion.

"Excellent new soul jazz compilation Nigeria Soul Fever: Afrofunk, Disco And Boogie: West African Disco Mayhem!" THE GUARDIAN

READ Guardian top 10 Nigerian Disco full feature here: https://www.theguardian.com/music/musicblog/2016/aug/10/nigerian-disco-10-of-the-best

racklisting
1 Joni Haastrup – Free My People
2 Christy Essien – You Can't Change A Man
3 Akin Richards & The Executives – Afrikana Disco
4 Tee Mac – Nam Myoho Renge Kyo
5 Joni Haastrup – Greetings
6 Don Bruce and The Angels – Ocheche (Happy Song)
7 Benis Cletin – Get Up and Dance
8 Colomach – Enoviyin
9 Joni Haastrup – Do The Funkro
10 Tee Mac featuring Marjorie Barnes – Living Everyday
11 Arakatula – Mr Been To
12 Angela Starr – Disco Dancing
13 Joni Haastrup – Wake Up Your Mind
14 Jimmy Sherry & The Musik Agents – Nwaeze
15 Benis Cletin – Soul Fever
16 Arakatula – Wake Up Africa

More info & audio: https://soundsoftheuniverse.com/sjr/product/nigeria-soul-fever

https://soundsoftheuniverse.com/img/TlZENXlJTXcvREEvaEtBaWhUVlJwdz09/sjr-lp-cd334-boombox-slve.jpg

Boombox
Early Independent Hip Hop, Electro and Disco Rap 79 - 82

Out now! Soul Jazz Records’ new ‘Boombox’ features some of the many innovative underground first-wave of rap records made in New York in the period 1979-82, all released on small, independent, often family-concern record companies, at a time when hip-hop music still remained under the radar. This first exuberant wave of innocent, upbeat, ‘party on the block’ rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. But where Flash, Kool Herc and Bambaataa were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s ‘Apache’ or Babe Ruth’s ‘The Mexican’, these first rap records were all made using live bands, often replaying then current disco tunes, whilst MCs rapped over the top, creating a unique sound that later became known derisively as ‘old school’. And while hip-hop started in the Bronx, rap on vinyl began in Harlem where long-time established rhythm and blues producer-owned record companies such as Joe Robinson’s Enjoy Records, Paul Winley’s Winley Records, Delmar Donnel’s Delmar International and Jack ‘Fatman’ Taylor’s Rojac and Tayster were the first off the mark to realise the commercial potential of rap music - releasing early ground-breaking records that all quickly followed in the wake of the first rap record, The Sugarhill Gang’s Rappers Delight, a million-selling worldwide hit. This collection celebrates these first old-school rap records, bringing together rare, classic and obscure tracks released in the early days of rap. Deluxe double CD-pack comes with slipcase, 40-page outsize perfect-bound booklet, extensive notes, exclusive photography and original label artwork. Triple-vinyl heavyweight vinyl includes full artwork, text and notes as well as free download code. REVIEWS: "Soul Jazz has a reputation for top-notch compilations that offer crash courses in a variety of of styles and genres both beloved and obscure; they are, in essence, the K-Tel of the millennial generation. This is one of the best Soul Jazz sets in ages, a legitimate party in a box, overflowing with underground deep cuts that have seldom — if ever — been spotted on other collections" FACT
1. Mr Sweety G – At The Place To Be
2. Love Bug Star-Ski and The Harlem World Crew – Positive Life
3. Neil B – Body Rock
4. Super 3 – Philosophy Rappin' Spree
5. Bramsam – Move Your Body
6. Black Bird & Kevski – On The Go
7. Count Coolout – Rhythm Rap Rock (CD only)
8. Harlem World Crew – Rappers Convention
9. Willie Wood & The Willie Wood Crew – Willie Rap
10. Bon-Rock & The Rhythm Rebellion – Searching Rap
11. Sugar Daddy – One More Time
12. Spoonie Gee and The Treacherous Three – The New Rap Language
13. TJ Swan – And You Know That
14. Portable Patrol – Cop Bop
15. Master Jay – We Are People Too
More info & audio (also for many more reissues)https://soundsoftheuniverse.com/sjr/product/early-independent-hip-hop-electro-and-disco-rap

Listening to Boombox now, struck by how much rock is in it so far, though pared down---didn't start w Run-DMC's take on "Walk This Way", for sure.

Speaking of minimalism,
She's ba-a-ack----wanna check Plastic Ono Band, but think I might skip the first two:

Secretly Canadian is honored to partner with Chimera Music on releasing Yoko Ono’s musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

Secretly Canadian and Chimera Music couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968's Unfinished Music No. 1: Two Virgins, 1969's Unfinished Music No. 2: Life with the Lions, and 1970's Plastic Ono Band, all out Nov. 11th via Secretly Canadian and Chimera Music, with more to come in 2017.

John Lennon and Yoko Ono - Unfinished Music No. 1: Two Virgins
Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history's greatest lovers, and Two Virgins is the musique concrète fever dream document of the pair falling in love in real time. The album is a curious and amazing suite recorded over one weekend in Spring 1968 at Lennon's Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. It's two young people attempting to weird one another out, attempting to make one another laugh, falling deeply into one another. John mucks around with delay and loops while Yoko exercises her expressionist vocalizations. The smoke and wine is nearly audible. Secretly Canadian's reissue also includes "Remember Love," which did not appear on the original release.

John Lennon and Yoko Ono - Unfinished Music No. 2: Life with the Lions
If Two Virgins is the ecstatic first kiss shared between two of pop culture's greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of "Our life and our love is our art — every nitty, gritty part of it." The collection begins with a more straightforward — at least in terms of explaining what it is — piece of improvised music, edited down from live performance at Cambridge University's Lady Mitchell Hall in March 1969. The entirety of Side B was recorded in a patient suite at London's Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child, John Ono Lennon II. The album cover photo was taken in the suite, with Ono in her hospital bed and Lennon in a sleeping bag made up on the floor next to her, both of them looking exhausted from the process. Secretly Canadian's reissue also includes Ono's "Song for John" and "Mulberry," which did not appear on the original release.

Yoko Ono Plastic Ono Band
This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Yoko Ono Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voormann and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1970, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 45 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today. Secretly Canadian's reissue also includes four additional songs - "Open Your Box," "Something More Abstract," "Why (Extended Version)," and "The South Wind" - that did not appear on the original release.

YOKO ONO DISCOGRAPHY TO BE REISSUED (bold out 11/11):
Unfinished Music No. 1: Two Virgins (1968)
Unfinished Music No. 2: Life with the Lions (1969)
Yoko Ono Plastic Ono Band (1970)
Fly (1971)
Approximately Infinite Universe (1973)
Feeling the Space (1973)
A Story (recorded in 1974, released as part of Ono Box in 1992)
Season of Glass (1981)
It’s Alright (I See Rainbows) (1982)
Starpeace (1985)
Unfinished Music No. 3: Wedding Album (1969)

trailer:
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

http://files.constantcontact.com/c58a551d001/699a1df1-ac4b-4f71-8829-8e398ab9e407.png

L.A. label RidingEasy Records and retailer/label Permanent Records proudly announce the third edition in their celebrated compilation series of long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid today with the premiere of the first track via Brooklyn Vegan. The song "Scream (It's Eating Me Alive)" by Grand Theft is available to hear and share HERE. (Direct Soundcloud). http://www.brooklynvegan.com/70s-stoner-rock-comp-brown-acid-the-third-trip-is-coming-stream-a-track/

Dangerous Minds. previously hosted the full album stream of the predecessor, Brown Acid: The Second Trip released back on April 20th, 2016. Hear/share the entire album HERE. (Direct Soundcloud)
http://dangerousminds.net/comments/listen_to_dms_exclusive_stream_of_rare_psychedelic_fuzz_from_the_70s_brown_

About Brown Acid: The Third Trip:

"Screaming out of the gate, here's the third volume of the critically acclaimed Brown Acid series! We curate these heavy compilations so the heads can hear the best songs they've never heard. As usual, this batch of tracks is off the rails. It's an absolute tragedy that these cuts aren't in heavy rotation on classic rock radio...yet.

"We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can't be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night's half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol' US of A with two exceptions, Ash-labelmate Australians, Chook, and the mighty Limeys, Factory.

"We won't take full credit for it, but we're sorry to say that these types of 45s have skyrocketed in value over the last little while and some of the records included in this volume have only changed hands a handful of times on the collector market. Although it's a bummer for the pocketbook, we say "Hell Yeah!" it's about time these rarities have become recognized as the priceless artifacts that they are.

"Unlike many labels doing compilations of rare dusties, we've actually gone to the trouble to contact the bands included here for permission to use their material. It was a long and arduous task to say the least, but it's the way it should be done. And we paid 'em! So sleep easy knowing that no one was ripped off in the making of this record.

"As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you've taken yet. You won't be sorry you did."
Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century -- particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins - often hoarding them in private collections, or selling at ridiculous collector's prices. 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 Third Trip.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. 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.

"There's a long list of songs that we'd love to include," Barresi says. "But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us."

Brown Acid: The Third Trip will be available everywhere on LP, CD and download on October 31st, 2016 via RidingEasy Records.

Taking another shot at the Yoko reissues project trailer (you know you want it)
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

so is this the ilx video glitch again? Happening w Chrome and Firefox both now; Firefox was okay in the previous problem time:
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

Maybe it's more about the magic of childehood, but this seemed like a reveletory album at the time: more soulfully ironic than the reverse, a convergence of bathhouse and mainstream, or more the underlying connections up front/coming out, a little ahead of the curve re Bowie, Reed etc hitting the big time, but not too far, in a way Madonna and her people made a basic component of her success (right time to "Vogue" with the 'burbs etc), and Lady Gaga is still following ("Born This Way" to Tony Bennett).

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/Bette+Midler+The+Divine+Miss+M+Deluxe+2115892_small.jpg

DIVINE AND DELUXE

Bette Midler's Iconic Debut, The Divine Miss M, Will Be Remastered For
A New Deluxe Edition That Includes Rare And Unreleased Recordings

Double-CD Set Available From Rhino On October 21

Midler Also To Appear As A Mentor On Season 11 Of NBC's The Voice

"Do You Want To Dance - Single Mix" Available Now

Rhino will revisit the early days of Bette Midler's incredible career with a deluxe version of her iconic 1972 debut album, The Divine Miss M. Midler will also make a "Divine" appearance this fall as a mentor for Team Blake on Season 11 of NBC's hit television series The Voice which premieres on September 19. Fans are also invited to preview the rare track "Do You Want To Dance - Single Mix" by going here:
https://youtu.be/oLwqP3z31Fk

https://www.youtube.com/watch?v=oLwqP3z31Fk&feature=youtu.be

THE DIVINE MISS M: DELUXE EDITION will be available on October 21 as a 2-CD set for a suggested retail price of $19.98 and includes the remastered album, plus a bonus disc of singles, outtakes and demos, as well as new liner notes written by Midler. The album will also be released digitally on the same day.

In the liner notes that accompany this new collection, Midler recalls the origin of her nickname: "I began being called The Divine Miss M around 1969, when I made my first appearance at the Continental Baths, a gay bath house located in the basement of the Ansonia Hotel, at Broadway and 74th Street in New York. My best friend, Bill Hennessy, a hairdresser I met on Fiddler on the Roof, called me that for years. It was my first night at the Baths, and before I went on, the owner, Steven Ostrow, stuck his head into the dressing room and asked how I wanted to be introduced. I said, 'Just tell them I'm divine!' And that's how it started."

The collection features a remastered version of the original album, including the Top 40 hits: "Do You Want To Dance" and "Friends," as well as the Top 10 smash, "Boogie Woogie Bugle Boy." Co-produced by Barry Manilow, The Divine Miss M was released in November 1972, reached the Top 10 on the album chart, and was later certified platinum by the RIAA. The following year, Midler won the Grammy Award for "Best New Artist."

THE DIVINE MISS M: DELUXE EDITION features a second disc with nine additional tracks. Among those are single mixes for "Friends" and "Chapel Of Love," as well as a version of "Do You Want To Dance" mixed by the album's co-producer, Joel Dorn. The set also includes five unreleased recordings: an alternate version "Superstar" (penned by Leon Russell and Bonnie Bramlett); demos for "Saturday Night" and "Mr. Freedom And I," plus the original, 1972 versions of "Old Cape Cod" and "Marahuana," songs that were later remixed for Midler's 1976 album, Songs For The New Depression. Her extensive catalog abounds with indelible hits like, "The Rose," "From A Distance" and the Grammy-winner, "Wind Beneath My Wings."

Bette Midler is one of the world's best-loved and most versatile entertainers. The Divine Miss M helped launch Midler's extraordinary career where she has garnered accolades in all quarters of show business. She's earned four Grammy Awards including Song of the Year (1989: Wind Beneath My Wings; 1990: From A Distance) and Record of the Year (1989: Wind Beneath My Wings); two Academy Award nominations, three Emmy Awards, one Tony Award, three Golden Globe Awards, and nine American Comedy Awards. Bette Midler has sold over 30 million albums worldwide and is only the second female singer to score a Top 10 album in the US in five consecutive decades.

The Divine Miss M: Deluxe Edition
2CD Track Listing:

Disc One:
"Do You Want To Dance"
"Chapel Of Love"
"Superstar"
"Hello In There"
"Am I Blue"
"Friends"
"Daytime Hustler"
"Leader Of The Pack"
"Delta Dawn"
"Boogie Woogie Bugle Boy"
"Friends"


Disc Two:
"Chapel Of Love" - Single Mix
"Boogie Woogie Bugle Boy" - Single Version
"Do You Want To Dance" - Single Mix
"Friends" - Single Mix
"Old Cape Cod" - Earliest Recording & Mix
"Marahuana" - Earliest Recording & Mix
"Superstar" - Alternate Recording *
"Saturday Night" - Demo *
"Mr. Freedom And I" - Demo *


*Previously Unreleased

On September 30, ABKCO will release The Rolling Stones In Mono box set on CD, vinyl, digital and hi res formats and a special limited package that includes The Rolling Stones In Mono (15 CDs or 16 vinyl LPs) bundled with a set of nine extremely limited Rolling Stones 7” vinyl singles. Each single is an exact reproduction of a significant hit record from a different country with original art matching how the single looked in that specific nation at the time of release. After the bundles are sold out, the remaining individual 7”s will only be available in local record stores in their respective countries.

These 7”s are:

Poison Ivy/Fortune Teller (UK, 1963)
Fortune Teller/Sad Day (Australia, 1966)
Tell Me (You’re Coming Back)/Carol (Japan, 1964)
Time Is On My Side/Congratulations (Norway, 1964)
Empty Heart/Around And Around (Netherlands, 1964)
Not Fade Away/I Wanna Be Your Man (Canada, 1964)
2,000 Light Years From Home/She’s A Rainbow (Germany, 1967)
We Love You/Dandelion (France, 1967)
Street Fighting Man/No Expectations (U.S., 1968)

The American version of “Street Fighting Man” was the Stones’ first picture sleeve single without an image of the band. Instead, it features a black and white photo of riot police at a protest, one officer with his foot on a fallen man, and another photo of riot police restraining a man. Released the same month as the 1968 Democratic National Convention, where police brutalized protestors, the art was immediately withdrawn, thereby making it one of the most valuable picture sleeve singles in existence by any artist. ABKCO has restored the controversial art for posterity. The band’s R&B roots are underscored in their version of the Coasters’ “Poison Ivy” and Benny Spellman’s “Fortune Teller” that comprise the UK market 7” that is part of the bundle.

Pre-orders are being taken via uDiscover (with or without 7" bundles) and all other retailers on CD & vinyl (without 7" bundles) in advance of the Sept. 30 release date.

The Rolling Stones In Mono includes the entirety of the band’s studio output in the 1960s, many tracks of which are available in mono digitally for the first time ever. During that era, great care was put into mono mixes, which outsold stereo versions of the same records for the first half of the decade. Mixing in stereo was more of an afterthought, and as a result, mono is thought by many to be sonically superior.

Packaged as 14 separate albums, including Stray Cats, a newly conceived collection of non-LP singles and E.P. tracks, The Rolling Stones In Mono contains key releases from the band’s U.S. and U.K. discographies, organized to include every track from the era while minimizing catalog redundancies. Stray Cats, a single disc in the CD box set and a double album with the vinyl box set, ties up all loose ends, incorporating every 1960s Rolling Stones track that isn’t found on the other 14 albums, for a total of 24 tracks. It includes two versions of the aforementioned “Poison Ivy,” Barrett Strong’s 1959 hit “Money,” as well as “Fortune Teller.” Other rarities include “Con Le Mie Lacrime,” a version of “As Tears Go By” sung in Italian, “Stoned” (the instrumental b-side of “I Wanna Be Your Man”), and the 1965 outtake of Otis Redding’s “I’ve Been Loving You Too Long,” now freed of the fake applause to disguise its studio origin when the track appeared on the 1966 LP Got Live If You Want It.

Stereo overtook mono as the dominant format by 1967. As a result, many mono versions of Stones releases from the latter part of the decade are extremely sought after and rare, and were not released in every territory. When the transition from analog to digital began in the 1980s with the advent of the compact disc, the stereo versions of songs were often the only ones that were reissued on the new format. Of the 186 tracks on The Rolling Stones In Mono, 58 will appear in a digital context (CD/download/streaming) for the first time ever.

The Rolling Stones In Mono [16 LP vinyl box set; 15 CD box set] (all tracks also available digitally)

1) The Rolling Stones (UK, 1964)
2) 12 X 5 (1964)
3) The Rolling Stones No. 2 (UK, 1965)
4) The Rolling Stones Now! (1965)
5) Out of Our Heads (US, 1965)
6) Out of Our Heads (UK, 1965)
7) December’s Children (And Everybody’s) (1965)
8) Aftermath (UK, 1966)
9) Aftermath (US, 1966)
10) Between the Buttons (UK, 1967)
11) Flowers (1967)
12) Their Satanic Majesties Request (1967)
13) Beggar’s Banquet (1968)
14) Let it Bleed (1969)
15) Stray Cats (a new collection of single A & B sides plus E.P. tracks)*

*Stray Cats tracklist

1) Come On
2) I Want To Be Loved
3) I Wanna Be Your Man
4) Stoned
5) Fortune Teller
6) Poison Ivy (Version 1)
7) Bye Bye Johnny
8) Money
9) Poison Ivy (Verison 2)
10) Not Fade Away
11) I've Been Loving You Too Long
12) The Under Assistant West Coast Promotion Man (single version)
13) 19th Nervous Breakdown
14) Sad Day
15) Con Le Mie Lacrime (As Tears Go By)
16) Long, Long While
17) Who's Driving Your Plane?
18) We Love You (single version)
19) Dandelion (single version)
20) Child Of The Moon
21) Jumpin' Jack Flash
22) Street Fighting Man (single version)
23) Honky Tonk Women
24) You Can't Always Get What You Want (single version)