Rolling Reissues 2014

Here we go, yo

From Drag City
http://www.dragcity.com/uploads/stories/806/large_131111yonk.jpg

GOING BONKERS FOR MICHAEL YONKERS

After 40 some years, the legend of Michael Yonkers has finally ascended to it's much deserved highly estimable levels. The saga dates back to the mid-late 1960s, beginning with a near miss of wide-spread, major-label success followed by years of intense creativity with not a whole lot of acknowledgement from outside ears. At least, until Yonkers' Microminiature Love, originally intended for release on Sire in 1968, got issued in 2003 - suddenly, a new psychedelic window opened in the sky, and like any good drug, the desire for more of it naturally grew. Drag City aided in the movement by reissuing Lovely Gold alongside Galactic Zoo Disks in 2010, and now have the lovely pleasure of announcing a double-dose of Michael Yonkers come January 21st, 2014 - the country-fried Michael Lee Yonkers, and the intimate living-room recordings from 1973, Borders Of My Mind.

These records come from the other side of his musical personality, less plugged-in electronically and more acoustically reverberant - and filled with quizzical, beauteous moments and melodies. Michael was influenced by his working-class surroundings and the country-music radio playing soft in the warehouse that he worked, and the result was a Michael Lee Yonkers, a "country" excursion with quotation marks intact. It was recorded at home, just like Borders of My Mind, which found Michael reunited with his old pre-Microminiature Love bandmate, Jim Woehle. Here, the shared space between these two collaborators turned the rootsy sound a bit wild, captured on Woehrle's full-track, mono, one quarter-inch reel-to-reel tape recorder with just one, bi-directional ribbon microphone. The placement of the mic renders Woehrle's piano, Yonkers' plaintive guitar playing, and the two's arcing vocal harmonies transcendent in a very real atmosphere, flourishing with post-psychedelic echoes. Both albums are unjustly-unheard classics for lovers of homespun astral folk!

The first good news of the future new year, here in the present day. Noise primitives, private-press gurus, and you, the general fan, rejoice: two new albums from Michael Yonkers begin your campaign for a weird new world in 2014!

http://d31hzlhk6di2h5.cloudfront.net/20131202/ae/ff/bb/2e/04a2dc29a42403f82babf92a_480x228.jpg

CAMPER VAN BEETHOVEN’S
OUR BELOVED REVOLUTIONARY SWEETHEART AND
KEY LIME PIE TO BE RE-ISSUED ON 25th ANNIVERSARY
OF ORIGINAL RELEASE

Both titles set for CD and 180-gram vinyl formats,
with 19 bonus tracks between them,
on Omnivore Recordings February 4, 2014

LOS ANGELES, Calif. — When indie superstars Camper Van Beethoven signed with Virgin Records in the late ’80s, it seemed inconceivable. How could that irreverent act, a band with great wit and wide-ranging instrumentation, move to a major label without “selling out” and sacrificing all that made them great? As it turned out, the first three tracks on Our Beloved Revolutionary Sweetheart were a pop song, an instrumental and an adaptation of a dirge about death. Heck, the release even had a love song for Patty Hearst. No, Camper Van Beethoven hadn’t sold out. They just had better distribution now.

On February 4, 2014, Omnivore Recordings will proudly revisit a time when Camper Van Beethoven helped pioneer American alt-rock, with reissues of the band’s first two Virgin albums: Our Beloved Revolutionary Sweetheart and Key Lime Pie.

Produced by Dennis Herring (Elvis Costello, Counting Crows, Modest Mouse), Our Beloved Revolutionary Sweetheart finds itself reissued on CD with 10 bonus tracks, and on vinyl for the first time since its original issue.

Featuring new photos and liners in both the CD and LP, the album is being released in tandem with its acclaimed follow-up Key Lime Pie, with full cooperation from the band itself.

Key Lime Pie, also produced by Herring, was a logical next chapter in the saga of CVB while offering higher production value. From a track about Jack Ruby to a cover of Status Quo’s “Pictures of Matchstick Men,” Key Lime Pie was a slice above the rest and a fitting dessert for the 1980s.

This reissue contains nine bonus tracks on the CD. The nearly hour-long album was originally pressed on one LP, but Omnivore has expended it to two LPs (for better sound) and added a bonus track to Side 4 that plays at 45 rpm.

It’s been a few years since the end of the ’80s but Camper Van Beethoven has proved timeless. Our Beloved Revolutionary Sweetheart attests to that. It’s even spelled out in the title: beloved, revolutionary and a real sweetheart.

The band, which broke up after the two Virgin recordings, has reunited and continues to record and tour today.

Our Beloved Revolutionary Sweetheart CD Track List:
1. Eye Of Fatima (Pt. 1)
2. Eye Of Fatima (Pt. 2)
3. O Death
4. She Divines Water
5. Devil Song
6. One Of These Days
7. Turquoise Jewelry
8. Waka
9. Change Your Mind
10. My Path Belated
11. Never Go Back
12. The Fool
13. Tania
14. Life Is Grand
Bonus Tracks:
15. Love Is a Weed
16. Harmony In My Head
17. Wade In the Water
18. Eye Of Fatima Pts. 1 & 2 (Edit)
19. The Day That Lassie Went To The Moon (Live)
20. One Of These Days (Live)
21. Smash It Up (Live)
22. Seven Languages (Live)
23. Kodachrome (Live) “Kodachrome”® is a registered trademark for color film
24. Hanging Around (live)
25. Pope Festival

Our Beloved Revolutionary Sweetheart LP Track List:
Side One
1. Eye Of Fatima (Pt. 1)
2. Eye Of Fatima (Pt. 2)
3. O Death
4. She Divines Water
5. Devil Song
6. One Of These Days
7. Turquoise Jewelry
Side Two
1. Waka
2. Change Your Mind
3. My Path Belated
4. Never Go Back
5. The Fool
6. Tania
7. Life Is Grand

Key Lime Pie CD Track List:
1. Opening Theme
2. Jack Ruby
3. Sweethearts
4. When I Win The Lottery
5. (I Was Born In A) Laundromat
6. Borderline
7. The Light From A Cake
8. June
9. All Her Favorite Fruit
10. Interlude
11. Flowers
12. The Humid Press Of Days
13. Pictures Of Matchstick Men
14. Come On Darkness
Bonus Tracks:
15. Closing Theme (Aka Guitar Hero)
16. (I Was Born In A) Laundromat (Edit)
17. Country 2 (Demo)
18. Good Guys & Bad Guys (Live)
19. Wasted (Live)
20. Take The Skinheads Bowling (Live)
21. Before I Met You (Live)
22. L’aguardiente (Soho Natural Sesson)
23. (I Don’t Want To Go To The) Lincoln Shrine (Soho Natural Session)

Key Lime Pie LP Track List:
Side One
1. Opening Theme
2. Jack Ruby
3. Sweethearts
4. When I Win The Lottery
Side Two
1. (I Was Born In A) Laundromat
2. Borderline
3. The Light From A Cake
4. June
5. All Her Favorite Fruit
Side Three
1. Interlude
2. Flowers
3. The Humid Press Of Days
4. Pictures Of Matchstick Men
5. Come On Darkness
Side Four (Plays at 45 prm from the center out)
1. Closing Theme (aka Guitar)

NUMERO GROUP TO RELEASE SECOND UNWOUND BOX SET IN MARCH
http://ih.constantcontact.com/fs173/1102486613542/img/1118.jpg

COMPREHENSIVE REISSUE CAMPAIGN CONTINUES WITH 'RAT CONSPIRACY', COLLECTING PACIFIC NORTHWEST POST-PUNK TRIO'S FAKE TRAIN & NEW PLASTIC IDEAS LPS, PLUS OUTTAKES

In March 2014, the Numero Group unravels Rat Conspiracy, installment #2 in the label's exhaustive 4-part Unwound reissue undertaking. This chapter intros the Olympia, Washington, noise-punk trio anew, kicking off with hi-hat thwaks on "Dragnalus" from drummer Sara Lund, whose lockstep partnership with Justin Trosper and Vern Rumsey marked the forging of a 1990s indie-rock legend. The band's advancing threat is captured in 32 tracks, a trove of house-show b&w period photographs, and a vivid 10,000-word narrative by latter-day Unwound diarist David Wilcox.

Rat Conspiracy, its name a one-time working title for Unwound's 1993 debut-the earliest Kill Rock Stars LP-brings the roiling, watershed Fake Train into natural integration with its sibling record, 1994's New Plastic Ideas, on which the band "branched out into propulsive odd meters...and traumatic contrasts between loud and soft, pulling the arty riffage into much tighter focus." [Trouser Press]. Both get exacting remasters and replica sleeve treatment, while the set's third LP tracks Unwound's restless work toward synthesis with the Mkultra and Negated 7" material, previously unissued radio sessions, indie comp rarities, and the spidery Minutemen cover "Plight."

http://mvdb2b.com/i/300dpi/MVD6080D.jpg?utm_source=FREESTYLE%3A+The+Art+of+Rhyme+-+an+expose+on+improvisational+rap&utm_campaign=Freestyle&utm_medium=email

10th Anniversary Special Limited Edition

on DVD January 14th

The world of improvisational rap is explosively explored
in this look at the best MC's to ever bless the mic...
https://www.youtube.com/watch?v=MA5JJNGwh7g

Explosively documenting the story of a group of underground hip-hop MCs & DJs from the early 1980's to the present day, FREESTYLE: The Art of Rhyme is a film that explores the world of improvisational rap - the rarely recorded art form of rhyming spontaneously; off the top of the head. Made over the course of more than seven years, by a co-operative of filmmakers, b-boys, DJs, and MCs know as The Center for Hip-Hop Education, FREESTYLE takes the viewer on a journey through the previously unexamined dimensions of hip-hop as a spiritual and community based art form.

FREESTYLE: The Art of Rhyme features appearances by: Supernatural, Mos Def, Black Thought & ?uestlove of the Roots, Freestyle Fellowship, Lord Finesse, Cut Chemist, Craig G, Juice, Boots of the Coup, Medusa, Planet Asia, Sway, Crazy Legs, Jurassic-5, Wordsworth, Bobitto Garcia, and The Last Poets. The film offers a context in which to view living art as a social critique in story and rhyme that is designed to bring about a cathartic transformation of frustration into beauty. Following some of the best MCs ever to bless the mic, the film features legendary battles including those of the film's hero; Supernatural pitted against his arch nemesis Craig G providing the through line for the story. As these artists improvise poetry out of a mix of language, politics and culture that make up their lives, we discover revolutionary worlds where the English language is subverted and re-appropriated as a tool of economic and social empowerment.

FREESTYLE is critically acclaimed and the first of its kind in many respects. It is the first film to explore the social and cultural background that led to the current development of the street poet, or MC. It provides an inside look into the framework of hip-hop culture, its rules, taboos and social impact. It gives a voice to popular Black/urban culture, which is known to be a profound influence on youth culture globally. FREESTYLE is also the first independent film to counter false notions of hip-hop's erroneous negative and overly aggressive image, therefore providing a unique look at a growing influence in modern American and world culture.

FREESTYLE: The Art of Rhyme is directed by Kevin Fitzgerald, founder of Hip Hop for Health and a young and talented filmmaker on the rise. Holding great educational value for hip-hop enthusiasts as well as for those misinformed about hip-hop culture due to its intimate and honest portrayal of hard working independent artists, the film focuses on a group of intelligent, ambitious, and talented young men in pursuit of a dream, deconstructing the 'thug life' image that is often associated with the music.

http://freestylethefilm.com/index.html"> http://freestylethefilm.com/index.html

Whoops! Meant to do this first off:
http://mvdb2b.com/i/300dpi/MVD6080D.jpg?utm_source=FREESTYLE%3A+The+Art+of+Rhyme+-+an+expose+on+improvisational+rap&utm_campaign=Freestyle&utm_medium=email

http://www.chrisandcosey.com/resources/promo-images/2011-A-CarterTutti-JonBaker.jpg

American news from Chris & Cosey!

Announcing their first U.S. shows since 1991!

In addition to PS1/MoMA's invitation to take part in the museum's celebrations for the first ever Mike Kelley retrospective exhibition momaps1.org, where they will exclusively perform a live enhanced remix of selected X-TG Desertshore / The Final Report album tracks @ the VW Dome venue @ PS1 on Sunday 5th January 2014…

(The event is dedicated to the memory of both Peter "Sleazy" Christopherson & Mike Kelley.)

They will now also appear at:

Mon. 6th Jan. - New York, NY

Live Phone-in Interview @ WFMU 9pm Dan Bodah's Airborne Event show.

http://www.wfmu.org

Thurs. 9th Jan. - Chicago, IL - Metro Club

Carter Tutti play Chris & Cosey + Outer Space (ex-Emeralds) + Hieroglyphic Being

Their highly praised heavy beat driven live performance revisiting their 1980's "techno-noir" material (October Love Song etc).

Ticket Link:

http://www.etix.com/ticket/online/homePageSearch.do?method=showPerformanceDetail&performance_id=1759634&search_source=etix

Sat. 11th Jan. - New York - Santos Party House

Carter Tutti plays Chris & Cosey + Excepter.

Note: This is the only C&C Eastern seaboard show.

Ticket link:

http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=3932174

Tickets are on sale now, and are $20 each.

These shows will be the ONLY C&C shows in the USA.

There will be an exclusive limited tour CD available at the shows:-

Carter Tutti Remix Chris & Cosey

Five new 21st century remixes by Carter Tutti from the original 1980's master tapes:-

Cowboys in Cuba, Deep Velvet, Dancing Ghosts, Lost Bliss & October Love Song.

Damn, did it again! Sorry!

http://www.chrisandcosey.com/resources/promo-images/2011-A-CarterTutti-JonBaker.jpg

man I wish I could go to one of those

CVB and Unwound reissues look killer too

Oh yeah. Also wondering about this:

http://d31hzlhk6di2h5.cloudfront.net/20131204/44/9d/f3/c9/b92e62b8dd5f6e3f6ff5dcfc_280x280.jpg

THE DREAM SYNDICATE’S
THE DAY BEFORE WINE AND ROSES,
RECORDED LIVE AT KPFK IN 1982,
AVAILABLE ON CD FOR THE FIRST TIME IN U.S. IN 15 YEARS

The band threw a party at L.A.’s KPFK Radio.
With many peers (and some cans of Mickey’s Big Mouth) in the house,
the band set the stage for the landmark album.
LOS ANGELES, Calif. — A few weeks before The Dream Syndicate entered the studio to record their seminal album The Days of Wine and Roses, they set up in Studio ZZZZ in left-leaning non-com station KPFK-FM in Los Angeles, on September 5, 1982, for a live on-air set. In attendance were members of R.E.M., The Bangles and Green on Red, as well as many friends of the band.

On February 4, 2014, when the recording receives proper U.S. release on Omnivore Recordings, you can be there, too.The Day Before Wine and Roses — available on CD for the first time in 15 years — documents the genesis of one of the most important pieces of the Paisley Underground puzzle. The band (Steve Wynn; guitar and vocals; Karl Precoda, guitar; Kendra Smith, bass; and Dennis Duck, drums) began its set at 2 a.m., according to Wynn’s liner notes. And that could not have been a more perfect hour for the ethereal sounds of this highly influential band.
http://d31hzlhk6di2h5.cloudfront.net/20131204/7c/bb/b2/d5/190554a5dddc93d173ff0496_280x217.jpg

Comprising originals that appeared on their first EP and others that would later appear on their 1983 debut, as well as covers of classics by Neil Young, Bob Dylan and Donovan, The Day Before Wine and Roses not only presents an important time in alternative music, but also defines it. Packaged with a full-color booklet, the set also features the original 1994 liner notes and a postscript from original and current reissue producer Pat Thomas.

In addition, Steve Wynn offers additional notes with recollections of the evening including a malt liquor run, the forced removal of an ex-girlfriend, and presence of R.E.M.’s Peter Buck — later his band mate in the Baseball Project — of which he was not aware until years later. He even reveals that the live wee-hours version of “Days of Wine and Roses,” included in this collection, might have been might have been superior to the studio version. You decide.

The Dream Syndicate's influence on the bands that followed in their wake cannot be under estimated. Their pioneering “loud-soft-loud” dynamic from “verse to chorus to verse” was cited by both Black Francis and Kurt Cobain as inspiration for the Pixies and Nirvana.

The Dream Syndicate will reunite to play some live shows this month, including the Friday, December 6 Los Angeles benefit concert with The Bangles, Rain Parade and The Three O’Clock (whose The Hidden World Revealed was released to acclaim by Omnivore in June).

There are times when it’s difficult to remember what happened the day before. With The Day Before Wine and Roses, that will no longer be a problem.

Track Listing:
1 Some Kinda Itch
2 Mr. Soul
3 Sure Thing
4 That’s What You Always Say
5 Outlaw Blues
6 Open Hour
7 When You Smile
8 Season of the Witch
9 The Days of Wine and Roses
# # #

hmm I think some of those songs were the B-side of the UK "Tell Me When It's Over" 12"

Yeah, the live tracks on the b-side of the "Tell Me When It's Over" Rough Trade 12" are all on this CD, which looks like a straight reissue of the Atavistic CD. Sort of bullshit that they're implying it's never been properly released in the US before. I have a copy that proves otherwise.

yeah, that CD has been (pretty widely?) available in the past iirc. it is great though, if you like this lineup of the band.

LOL like any sane person would prefer them w/o Kendra and/or Karl - or do people really rate the later records?

cuz for me I was out the first time I heard Medicine Show

That Day before Wine & Roses is a great lp. I love their live material from the early days with that line-up. There are quite a few live sets up at archive.org
https://archive.org/browse.php?collection=DreamSyndicate&field=year

LOL like any sane person would prefer them w/o Kendra and/or Karl - or do people really rate the later records?
i don't think the later records are terrible necessarily, but they're not a patch on days of wine and roses of course... i kinda think of them as different bands altogether.

that's probably a good approach - I saw Steve Wynn live a few years ago and he was great.

Looks like Kendra Smith left mid-April 1983 and the band continued almost immediately afterwards with a new bassist.
Her solo lp was pretty interesting too, Five Ways Of Disappearing that is Not sure if I've heard Guild of Temporal adventurers.
Opal were also very interesting, but then I guess you know that.

sorry, should have expanded on that which was intended to follow my own post.

Stevo we are like the biggest Kendra fans you will ever meet

Sweet Jesus, when will Kendra Smith make another album?

haha yeah...

this dream syndicate show from the archive is unbelievably good: https://archive.org/details/ds1983-02-12.flac16

Thanks! What's good for playing Flac now that WinAmp's going away? (Archive's Help still lists that as the one to use---preferred the SoundForge app they used to link, but mine stopped working, and I haven't found it anywhere else online anymore).

I use VLC on my Mac

I've already got VLC, didn't think of trying that (on Windows). Thanks sleeve!

Bob Mould - Workbook 25

Kind of a lame track listing. That Metro show has circulated for 20 years. And no real demos/bonus tracks :(

More from Omnivore, who brought us Townes Van Zandt, Bert Jansch etc. in '13. Mostly know this guy as co-founder/executive producer of Public Radio's Beale Street Caravan---also the Chilton/Jim Dickinson connections,like this says---but he had his own distinctive vocal delivery.
http://d31hzlhk6di2h5.cloudfront.net/20140103/9e/89/67/3d/0ea59319a9fdb135af913522_360x281.jpg
THE COLD OF THE MORNING,
THE GREAT LOST CLASSIC BY
MEMPHIS MUSIC CATALYST SID SELVIDGE,
COMING ON CD/LP/DIGITAL FROM OMNIVORE RECORDINGS

Produced by Jim Dickinson,
featuring Mudboy & the Neutrons (on two tracks), and
with photos by William Eggleston, the album portended greatness.
Perhaps now it will find its audience.

MEMPHIS, Tenn. — Sid Selvidge’s The Cold Of The Morning is a mid-’70s Memphis classic that almost never saw the light of day. Selvidge and producer Jim Dickinson (Big Star, Ry Cooder, The Replacements) created this 12-track song cycle live in the studio in 1975, with Selvidge on vocals and guitar, plus Dickinson on piano with Memphis’ iconic Mudboy and the Neutrons on two tracks. The cover photo was by William Eggleston. The record seemed destined for greatness. But when Peabody Records’ benefactor decided not to put it out at the last minute, he gave the rights to the recently pressed LP to Selvidge, who drove down to the plant, loaded up his car and distributed the discs himself. The album eventually found its way into regional stores and the national press, even reaching the Cashbox charts; this was enough to take Selvidge to New York. But life intervened, and bigger record deals were not in the cards.

On March 11, 2014, Omnivore Recordings will issue this indelible piece of the Memphis music canon on CD (unavailable for more than two decades and with newly discovered bonus tracks) and on LP for the first time since its original release. The LP, the initial run of which will be pressed on blue vinyl, will contain a download card for the entire album plus bonus tracks.

Co-produced by Sid’s son, Steve (The Hold Steady), The Cold Of The Morning has been expanded to include six previously unissued tracks from the original sessions. (The CD/digital contains the full 18-track playlist; the LP has the original 12 tracks with a download card for the full 18 songs.) Consisting of originals, blues standards, and Broadway classics, the record is not only a snapshot of a time and place, but of Selvidge himself. The package includes rare photographs and an in-depth essay by Bob Mehr of Memphis’ Commercial Appeal.

Selvidge would eventually turn Peabody into a boutique label, issuing records by Cybil Shepherd, and even Alex Chilton’s solo debut, Like Flies on Sherbert. He continued to record, releasing a 1993 album on Elektra and a triumphant swan song, I Should Be Blue, in 2010. The Greenville, Miss. native and former DJ also co-founded the syndicated Beale Street Caravan radio program, beaming the influential music of Memphis to the world.

But it all began on The Cold Of The Morning. “He said, ‘Look, I’ve made my classic record,” recalls his son, Steve. “It was almost like he was apart from it. It really was the perfect capturing of the perfect moment, and it made for his most perfect statement.”

his first album produced/arranged by don nix from the late sixties is pretty nice, no reissue as far as i know.

Excited abt the Selvidge rec, was lucky enough to see him, Jim Dickinson and Jimmy Crosthwait perform together at the Barbican in 2005 - Sid still had it!

Cool, didn't know he was still performing then; must check YouTube. Maybe some of that will get released.
Also from Omnivore---gets more intriguing as it goes along:

http://d31hzlhk6di2h5.cloudfront.net/20140109/27/ad/e8/36/1189da0d7582f3863fa792a6_360x360.jpg

WORLDS AROUND THE SUN,
CLASSIC BLACK POWER JAZZ ALBUM BY TODD COCHRAN
(THEN KNOWN AS BAYETÉ)
REISSUED BY OMNIVORE RECORDINGS MARCH 11

Making its CD debut, the release features original version of “Free Angela,”
plus two bonus tracks, liner notes and rare photos

LOS ANGELES, Calif. — The music world of the early 1970s was a time of experimentation and activism. When listeners heard Santana play “Free Angela” on their classic 1973 release Lotus, few, if any, knew the song was originally released by its writer, Todd Cochran, a year before.

Worlds Around the Sun was recorded and issued on Prestige Records in 1972 by Todd Cochran (as Bayeté). Not only did the young keyboardist write all of the material for the album, he also produced and played on it, along with other jazz greats — including a young Bobby Hutcherson on vibes. The combination of jazz and groove, anchored by Cochran’s pumping Rhodes and clavinet, have made Worlds Around the Sun a legend. More than 40 years later, the album has become a holy grail for collectors, with copies fetching unbelievable prices. When copies can be found, that is . . .

On March 11, 2014, Omnivore Recordings will issue the classic album on CD for the first time. To make this release even better, two previously unissued tracks from the sessions have been added as bonus tracks. Adding in rare photos from Cochran’s personal library, as well as an in-depth conversation with Pat Thomas, the author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, about the material and the time in which it was recorded, Worlds Around the Sun is ready to be (re)introduced to the world.

Worlds Around the Sun was very much a product of the era and location in which it was conceived and recorded. The San Francisco Bay Area was a cultural landscape with a vibrant music scene (Sly & the Family Stone, Santana, Jefferson Airplane, Moby Grape) and intense political activism (Black Panther Party, Berkeley Free Speech Movement) interwoven with a progressive literary history (City Lights Bookstore and the Beats) as well as the birthplace of the counter culture (the hippies and Haight-Ashbury).

During the early 1970s, many musicians recorded tributes to political prisoner Angela Davis, including Santana, who performed a funky instrumental workout entitled “Free Angela” on the triple live album Lotus. Cochran had written and recorded it a year earlier as “Free Angela (Thoughts and all I’ve got to say).”

At the time, Worlds Around The Sun caught the ear of Rolling Stone (in that golden era when the publication reviewed many jazz albums) and it even beat out Miles Davis’ iconic On the Corner for jazz album sales that summer of ’72. Miles’ LP held down the #2 spot, while Bayeté topped at #1 on the Downbeat chart.

While Cochran would later form the rock band Automatic Man (with Santana drummer Michael Shrieve), play keyboards on Peter Gabriel’s second solo album, and guest on recordings by the likes of Aretha Franklin, Freddie Hubbard, Burt Bacharach, and Jeff Beck, the journey begins with 1972's Worlds Around the Sun.

According to Cochran, “The passage I was to take began with this album. International influences, acknowledging, embracing, and celebrating the variations of diaspora, seeking the connections of humanity through musical expression — all was activated with this collection of music.”

CELEBRATED 60'S RAGA/PSYCHEDELIC/FOLK ACOUSTIC GUITARIST, PETER WALKER, ANNOUNCES FIRST TOUR IN SIX YEARS, PERFORMING SHOWS IN SELECT MARKETS IN FEBRUARY TO SUPPORT THE RELEASE OF LONG LOST 1970 STUDIO SESSION AND FIRST SOLO GUITAR/VOCALS RECORD,
"HAS ANYBODY SEEN OUR FREEDOMS?"

Peter Walker is an American original, as eclectic and enigmatic as the songs he writes.
The legendary seventy-five year old raga/psychedelic/folk acoustic guitarist, and Woodstock resident, who was schooled by masters such as Ravi Shankar, and Ali Akbar Khan, has been described by Larry Coryell as, "One of the most original practitioners of contemporary music" and proclaimed by the Beatles' press agent Derek Taylor as "Perhaps the greatest guitarist in the world."His music, celebrated by the late Jack Rose, James Blackshaw, Steffen Basho-Junghans, Thurston Moore, and Greg Davis, all contributed original compositions to the 2006 tribute album, "A Raga For Peter Walker".In the mid-'60s, while musical director to Timothy Leary's LSD explorations, Walker released the classic "Rainy Day Raga" LP in 1966, and 1968's influential "Second Poem to Karmela or Gypsies Are Important", both on Vanguard Records. Following that, he disappeared from recording for almost forty years, but never stopped practicing, learning, reaching. Now, to celebrate the recent release of Walker's lost studio session from 1970, and his first solo guitar record with vocals, "Has Anybody Seen Our Freedoms?", on Delmore Recording Society, he is proud to announce that he will be embarking on his first tour dates in six years in select markets in February.

You can catch Peter here:

FEBRUARY 4 - MONTREAL, QC - CASA DEL POPOLO

FEBRUARY 6 - BROOKLYN, NY - BABY'S ALL RIGHT

FEBRUARY 7 - HARRISBURG, PA - TBC

FEBRUARY 8 - BALTIMORE, MD - THE WINDUP SPACE

FEBRUARY 9 - CHAPEL HILL, NC - NIGHTLIGHT

FEBRUARY 10 - ASHEVILLE, NC - MOTHLIGHT

FEBRUARY 11 - KNOXVILLE, TN - THE PILOT LIGHT

FEBRUARY 13 - LEXINGTON, KY - NATASHA'S

FEBRUARY 14 - LOUISVILLE, KY - KENTUCKY MUSEUM OF ART AND CRAFT

FEBRUARY 15 - COLUMBUS, OH - WILD GOOSE CREATIVE

Recorded at Mercury Studios in NYC, "Has Anybody Seen Our Freedoms?", which was described by the "New York Times" as "...rough, passionate and often raga-like..." and "All Music Guide" raved that the record "...adds immeasurably to his musical and cultural legacy, and is a must for any fan of American guitar music", and was included on their list of "Favorite Folk Albums of 2013", is Walker's manifesto. It could have been Peter's classic third album had it been released at the time (Peter had been storing the reels in a converted bread truck for decades). While his previous two records are incredible collaborative efforts - the playing of Bruce Langhorne, Jeremy Steig, and John Blair as important to the final product as Peter's - this album solely Walker. A requiem to the 1960s, chronicling lovers on the run, anti-war movement adventures, and living off the grid in Mexico, California, Detroit, and NYC.

The record begins gently, with love and war songs, (and a version of the traditional "Pretty Bird," that is unlike any other), before going on the rough and urgent ride of "Fifty Miles," (on two flat tires, a story detailed in the liner notes), and culminating with "Wonder," a song where Peter summons all the elements into one long journey, bringing us back down at the end as if we were at one of Timothy Leary's "celebrations." Peter's wondrous guitar playing and intimate, otherworldly vocals create the effect of a record encoded with some deeper wisdom being channeled directly to your ears.

You can stream the new album track, "Early In The Morning" from "Has Anybody Seen Our Freedoms?" here:

Streaming link:

http://delmorerecordings.bandcamp.com/track/early-in-the-morning

At the time of the session, Peter was living in the infamous Garwood Mansion near Detroit, working as incumbent opening act for their weekly, all night concerts / parties (as he had been at the Café Au Go Go throughout the '60s, and the Joyous Lake in the 70s). William Kunstler stopped by to speak about the John Sinclair trial, and the two had an immediate rapport. Kunstler was a major influence on Peter's anti-war movement involvement and leadership, and on his later decision to get a para-legal degree and represent immigrant taxi drivers in NYC in the 1970s. The two of them are pictured together on the album cover.

The beautifully crafted packaging for the CD and the limited edition vinyl version of "Has Anybody Seen Our Freedoms?" features a twenty-page booklet with exclusive images as well as a 4300 word essay by Peter, which was condensed from forty pages he sent to Delmore founder, and Executive Producer of the record, Mark Linn. While it's not exactly clear how every wild adventure discussed in the essay relates to each song on the record, knowing that these adventures occurred helps us imagine their evolution. The notes reveal a man of mystery. A man who rubbed elbows with Karen Dalton, Sandy Bull, Jimi Hendrix, Janis Joplin and John Barrymore. A man who possesses endless energy, drive and passion for the instrument he holds and the fearlessness to explore and reach for new sounds with a childlike curiosity.
The previously mentioned limited edition vinyl version also includes a full album DL code, plus bonus track, tip-on jacket, and an exclusive 8 1/2" x 11" Matrix handbill reproduction. The CD / DL bonus track is Peter doing his best Lord Buckley, from the same studio session.

Walker's colorful past reveals a man equally at home in legal discourse with Kuntsler, as he is sitting at the feet of Ravi Shankar, soaking up the Sitar. He disappears for months to Peru and comes back sunbathed and dappled by the waves, his head full of new sounds and ideas. He makes regular pilgrimages to the caves of Grenada and Spain, the only gringo allowed into the dangerous and exciting world of the gypsy masters of Spanish guitar, where he is now considered a peer.

As previously mentioned, Peter was reinstated to public consciousness with the critically-acclaimed 2006 tribute album, "A Raga For Peter Walker". The ensuing years have included two beautiful new albums of mostly Spanish guitar music, and a previously unissued collaboration with Maruga Booker, Badal Roy, and Perry Robinson, which was recorded at Levon Helm's barn in 1970.

An artist in the truest sense of the word, Walker uses the world as his canvas, distilling his experiences into the neck and body of his guitar, where they are transformed into a cacophony of sounds...dark, brooding, complex, atypical in rhythm and form, an experimental expression captivating the listener's ear, piece after piece.

Prob standard roc doc format, but hopefully some good clips. I missed seeing him with Delaney & Bonnie, Derek & The Dominos, and the mid-70s line-ups, but did finally catch up in the late 70s (though only because Muddy Waters opened: this was after Hard Again, and his first note, on slide guitar, vaulted me out of my complacent haze and onto my feet, for the remainder of his set)(had Tony Glover on harmonica too). Claptone had Albert Lee as foil, and they got way into some really good, complex grooves that seemed to lose big chunks of the audience, past the radio hits---kept yelling "Co-CAINE!" way after he'd played it)(A consultant suggested they were calling for a vendor, and he goes to DC ball games, so he knows about such things)

Eric Clapton - The 1970s Review
on DVD March 11

Film follows Clapton's bold musical journey through the 1970s,

with exclusive interviews, rare footage and more.
https://www.youtube.com/watch?v=fM614NQB3c8

In 1968, Eric Clapton was at a crossroads. A virtuoso lead guitarist and the crown prince of heavy rock, with Cream he had quickly risen to the very pinnacle of popular music's hierarchy. Yet his exposure to the work of American mavericks The Band led him to lose faith in his own group, and to embark on a bold musical journey across the following decade.

This film, from the makers of Eric Clapton - The 1960s Review, follows Clapton's journey through the seventies, from his immersion in musical collectives such as Delaney & Bonnie & Friends and Derek and the Dominos, through his re-emergence in 1974 as a phenomenally successful solo artist and onwards across a series of critically acclaimed albums and tours in the latter half of the decade which cemented EC's reputation as not just an extraordinary musician but as a composer of majestic material and a performer of quite startling intensity.

Featuring new and archive interviews, rare performance footage, contributions from the likes of Bonnie Bramlett, Bobby Whitlock, The Albert Brothers , George Terry, Willie Perkins, Bill Halverson, Clapton biographer Marc Roberty and more, plus a host of other features.

http://d31hzlhk6di2h5.cloudfront.net/20140115/63/01/61/9b/0932c7850f7d9ed10e1f3306_240x240.jpg

LOS LOBOS’ 1976 DEBUT RECORDING,
SÍ SE PUEDE!, A TRIBUTE TO CESAR CHAVEZ,
REISSUED DIGITALLY FOR THE FIRST TIME

Fantasy Records to make album available
March 11, 2014 — just prior to national Cesar Chavez Day
and forthcoming Chavez biopic by Diego Luna.

LOS ANGELES, Calif. — In 1976, after Cesar Chavez helped get Coca-Cola to sponsor his groundbreaking Latin entertainment television show, The Mean Salsa Machine, television and music producer Art Brambila wanted to do something in return for Chavez and the United Farm Workers. The idea of Sí Se Puede! (Yes We Can!) came to him.

“I was grateful but undecided on how I was to make good on my own promise to him,” recalls Brambila. “After thinking long and hard I decided to record an album that would honor his union and represent it with dignity. I could utilize the talents of many local artists I’d worked with in my earlier years as a record producer and the union could sell it at rallies, marches, and huelgas.”

After reviewing over 120 songs and speeches from UFW marches, Brambila began to create the list of songs for the album. Inspired by his work, he wrote “Mañana Is Now,” the only all-English song, for the LP. As the song choices were coming together, he knew who he wanted to record and arrange the music — from East L.A., Los Lobos, then consisting of David Hidalgo, Louie Pérez, Cesar Rojas and Conrad Lozano. This would be the band’s first released recordings, a full two years ahead of their groundbreaking EP Just Another Band From East L.A.

Sí Se Puede will be released digitally-only on March 11, 2014 by Fantasy Records.

His passion and tenaciousness in full swing, Brambila continued to get key people to sign on to his project — Herb Alpert, President of A&M Records, donated studio time. In addition to Los Lobos, singers like Carmen Moreno from Fresno, Geree Gonzales of East L.A., the Salas brothers of Lincoln Heights and Tigre Rodriguez from Phoenix all agreed to participate.

In January 1977 Brambila assembled his cast at A&M’s studio on La Brea Avenue in Los Angeles — as Carole King and The Carpenters were in the studios next door and down the hall — to record the album. By early February he had recorded all the music and vocals with the professional singers and needed only to add the vocals on “Mujeres Valientes” and “De Colores.”

After a long search he found a kids’ choir in a small Catholic school in East L.A., made up of eight-year-olds, to bring the right sound to “De Colores.” The search for the right singer for “Mujeres Valientes” was not long or far, but Brambila’s power of persuasion was on high again as he finally convinced his brother, Raul, to do the honors.

In March, 1977, the United Farm Workers Union was presented with 5,000 albums of Sí Se Puede! The statement on the back of the album reads: “This album mirrors the spirit and vitality that have sustained the farm workers through good times and bad for more than a decade. It celebrates the love and solidarity we share as a people united in a common struggle. It is a tribute to the artists who donated their talents to support the cause. It will be cherished within the movement, and it will help bring our message to friends and supporters everywhere.” —Cesar Chavez

Almost 40 years later, on the verge of Cesar Chavez Day (March 31), Sí Se Puede! once again rises to honor Cesar Chavez and the United Farm Workers.

Chavez is an upcoming film directed by Diego Luna about the life of American labor leader Cesar Chavez, who cofounded the United Farm Workers. The film stars Michael Peña as Chavez. John Malkovich co-stars as the owner of a large industrial grape farm who leads the opposition to Chávez's organizing efforts.

Track listing:
All arrangements and instrumentation by Los Lobos
1. De Colores —Los Lobos with Santa Isabel School Children's Choir
2. Huelga en General — Los Lobos with Carmen Moreno
3. Yo Estoy con Chavez* — Los Lobos with Ramon “Tiguere” Rodriguez
4. Mujeres Valientes* — Los Lobos with Raul Bambila
5. Mañana Is Now* — Los Lobos with Geree Gonzalez and Tierra
6. Telingo Lingo - Los Lobos
7. Corrido de Delores Huerta #39— Los Lobos
8. Chicanita de Aztlan* —Los Lobos with Diana Cruz
9. Sangre Antigua – Los Lobos with Carmen Moreno
10. No Nos moveran* —Los Lobos with Geree Gonzalez, Carmen Moreno, Tierra and Conrad Lozano

From Drag City weekly newsletter:

http://d31hzlhk6di2h5.cloudfront.net/20140117/58/5b/31/ff/7ecea168fd24af1a10821eaa_476x271.jpg

HOMETOWN HEROES
Around the biz, it's well known that most celebrities have quirky little fetishes: Kristen Stewart and her armpit licking, Richard Gere and his gerbils, Heather Mills and her stump. Then there's Fred Armisen, who gets his kicks with ear play - by listening to obscure records, of course! Fred's got an immaculately curated collection of them, one we felt should naturally be shared with others. So with great pleasure, we introduce a new 7" single series dedicated to regional music stars of decades past, artists who share the common experience of hitting the big time, at a purely local level: Hometown Heroes.
The first in this series is a split featuring two distinctly different artists. The Blue Jean Committee were the proud products of the late 70's Northampton, Massachusetts music scene. Comprised of some of the most sought after local session musicians, the group was most defined by Richie Cornish's busy talk-singing lyrical style. The gently soulful "Massachusetts Afternoon" celebrates the time in ones life when independence, friendships, and the autumn sunset seem to go on forever.
On the flip, from Bath, England, come The Fingerlings, a prolific synth/post-disco band who released twelve EPs between 1981 and 1983. Typically, a group such as this would have been formed at an art college, and The Fingerlings were no different. Their aesthetically meticulous nature earned them a reputation for creating some of the most elaborate and expensive 12" EP covers ever to be produced in the UK. "Embrace Me" is the jam, a huge local hit, its lyrics evoking imagery of neon framed cities like Paris and Berlin.
This exclusive listening experience, a tiny glimpse into the sounds that help define the lifestyle of one of America's most prolific and experienced satirists and avid music fans, is coming your way February 18th!
_________________________________________________________________________________________

Eeeew

http://ecx.images-amazon.com/images/I/51TK3oeu0IL._SY500_.jpg

Bob Dylan - The 30th Anniversary Concert Celebration - Deluxe Edition will be released for the first time on DVD and Blu-ray on Tuesday, March 4, 2014, struck from a new High Definition video master with remastered audio, and also will be released as a two-CD audio set.

The 2-DVD and Blu-ray versions of The 30th Anniversary Concert Celebration - Deluxe Edition include 40 minutes of previously unreleased material including behind-the-scenes rehearsal footage, interviews and more.

The four hour show, brought together an unprecedented roster of artists and icons including Johnny Cash and June Carter Cash, Lou Reed, The Clancy Brothers, Richie Havens, Johnny Winter, Roger McGuinn, Tom Petty & the Heartbreakers, Stevie Wonder, Willie Nelson, Kris Kristofferson, Neil Young, Eric Clapton, Ron Wood, Chrissie Hynde, The O'Jays, Eddie Vedder, Sinead O'Connor, Tracy Chapman, George Harrison and more.

Also available is the 2-CD audio edition which premieres two previously unreleased recordings from the concert's sound check: Sinéad O'Connor singing "I Believe In You" and Eric Clapton's interpretation of "Don't Think Twice, It's Alright."

Mike Bloomfield box out Feb. 4

http://www.mikebloomfieldamericanmusic.com/boxset.jpg

trailer for it, created by director of Bloomfield doc, which is incl in box
https://www.youtube.com/watch?v=nuEacyBE29E

According to Rolling Stone, it starts with his early '64 audition for John Hammond Sr., incl. outtake of "Tombstone Blues", and I think some live w Dylan, "East-West", "Texas" from his album w Electric Flag, a disc of Super Session tracks, and contemperaneous live, and much more.

Beatles US albums reissued, as a box and sep; each has all tracks in mono, and in stereo. Gotta get my old ('77-'79)party-blasting fave rave, Beatles XI, also prob Yesterday and Today, Second Album...here's a li'l trailer for 'em: https://www.youtube.com/watch?v=Q7GqSElYZgk

Numerophiles-

Just a quick one to get your blood boiling in the midst of winter. We just launched two website-only records that we know you're going to want in on. Both are limited, and both will send your mother screaming from your bedroom covering her ears. Let's get to it.

http://www.numerogroup.com/images/product_images/web/cities-of-darkscorch-board-game-1.jpg

In the brave tradition of George and Charles Parker, Milton Bradley, and Gary Gygax comes Cities of Darkscorch—the Numero Group's embattled first attempt at board game creation. Cities is the playable companion to Warfaring Strangers: Darkscorch Canticles, our 48th mainline release and a harrowing dive into the Stygian caverns of the American hard rock underground. A dice-rolling, card-driven, heavy rock band van ride through a fantasy landscape, Cities of Darkscorch could not begin to exist without Robert Soden, who, in 1975, set about creating a tapestry of maps, floorplans, and dungeon schema—the D&D-based lands of Eldara. Expanding upon Soden’s meticulous vision, Cities of Darkscorch required newly commissioned card art and band logos to summon up a gravely themed mythical land of desolate outposts, warring bands, and the familiar ills that befall them.

Roleplaying as any of Darkscorch Canticles’ sixteen determined bands, one to six players traverse the broken roads of Darkscorch—battling such forbidding quartets as Grimsword, Narcissus, Ass-Centaur and 97 more—to collect city banners from such pits of hard rock competition as Afterdath, Wizard’s Wellspring, and Throk,. Along the way, players may augment their bands through the use of fate cards with new artwork from the demented minds of John McGavock McConnell and Eliza Childress. The ultimate goal is Numenor, victory, and a record contract penned in brimstone, VD, and pot smoke.

Packaged in a custom game box with new artwork by Robert Soden, in a limited edition of 1500, Cities of Darkscorch includes the following elements:

• 25x25 full color Cities of Darkscorch Gameboard
• 16 Wooden Player Tokens/45 Adapters
• 6 Banner Boards
• 100 Fate Cards
• 100 Foe Cards
• 1 20-Sided Combat Die
• 1 6-Sided Movement Die
• 1 4-Sided Performer Die
• Warfaring Strangers: Darkscorch Canticles 2LP and CD with alternate cover art by Robert Soden.

What's a Darkscorch Canticle anyways?

With Warfaring Strangers: Darkscorch Canticles, the impacts of Led Zeppelin and Black Sabbath on US shores and heartlands is revealed as a bludgeoning previously undescribed. In this collection, medieval Bonham thunk and febrile Iommi guitar leads crowd out the bluesy Americana that foregrounded those bands, replacing hippie pastoralism with mythology, armored conflict, sorcery, and doom. From legions of occult-obsessive 1970s bonehead teens, we summoned a horde of 16 bands, cloaked in eons of tortured obscurity, whose sole release amounts to a blistering chapter ripped free of rock’s lumbering mythos.

This music hails from an occluded realm, somewhere just beyond the dope-addled minds of its creators. Lyrically, the Darkscorch Canticles trifle with themes most grave: crippling fear, pagan hostility, paranoia, power addiction—even necromancy. Satan’s name is openly invoked, alongside Sauron’s. These worried, warlike Canticles occupy a miniscule niche in the American underground of self-released rock, but their appeal is more broad today than in any previous era.

But wait, there's more! The limited to 500 "Supa" edition includes all of the elements of Cities of Darkscorch game, plus a bonus 7” featuring “Animal Woman” b/w “Red Brained Woman” by LA heavy rock honchos Supa Chief. Also included is a custom-printed guitar pick, which serves double duty as an additional Cities of Darkscorch Player Token. Full color pic sleeve features a game board map extension, complete with its own exclusive Darkscorch city.

If you like hard rock, guitar solos, Magic the Gathering, Munchkin, Tolkien, and hanging out in the basement until 3am, we've got you covered.

Thee other website-only:

http://www.numerogroup.com/images/product_images/web/unwound-rat-conspiracy-1.jpg

Rat Conspiracy, its name a one-time working title for Unwound’s 1993 debut—the earliest Kill Rock Stars LP—brings the roiling, watershed Fake Train into natural integration with its sibling record, 1994’s New Plastic Ideas, on which the band “branch[ed] out into propulsive odd meters...and traumatic contrasts between loud and soft, pulling the arty riffage into much tighter focus.” [Trouser Press]. Both get exacting remasters and replica sleeve treatment, while the set’s third LP tracks Unwound’s restless work toward synthesis with the "Mkultra" and "Negated" 7” material, previously unissued radio sessions, indie comp rarities, and the spidery Minutemen cover “Plight.”

This chapter intros the Olympia, Washington, noise-punk trio anew, kicking off with hi-hat thwaks on “Dragnalus” from drummer Sara Lund, whose lockstep partnership with Justin Trosper and Vern Rumsey marked the forging of a 1990s indie-rock legend. The band’s advancing threat is captured in 32 tracks, a trove of house-show b&w period photographs, and a vivid 10,000-word narrative by latter-day Unwound diarist David Wilcox.

Faked Train is a limited-to-1000 website-only bonus LP that contains a demo version of Fake Train recorded by Nation of Ulysses’ Tim Green. You can only get the limited LP when you pre-order from Numero.

Pro-tip: Sign up for a Numero Gold subscription and you'll get 15% off both of these and never miss another release. Free downloads of all your purchases as well. Just sayin'.

--

From Strut:

http://downloads.openimp.com/tid/1996970155e0d6510164b75e0cc30e20945ec04a/enercvo/cuwamkbtas/15212395650054.jpeg

Haiti Direct, Compiled By Hugo Mendez of Sofrito. Limited 180g vinyl exclusive to Strut store
"If this music doesn't get your feet tapping, pulse racing and put a smile on your face, see a doctor." —The Independent
"Arguably the first in-depth tropical dig for Haiti's rare, classic & obscure popular music… Fantastic stuff." —MOJO
Haiti Direct
Buy Haiti Direct on CD, Vinyl or MP3

Compared to reggae and calypso, the music of Haiti remains relatively obscure outside of the Caribbean. And that's a real shame, especially given the delightful and innovative sounds showcased on our Haiti Direct collection. Stemming from traditional merengue and compas styles, and incorporating a cornucopia of influences, from African and Latin rhythms to American soul and psychedelic rock, there is quite a lot for adventurous ears to discover.

Compiled by Hugo Mendez of Sofrito, Haiti Direct is out this week on double CD, double vinyl (with CD version included), and digital download. Vinyl orders via the Strut store will receive exclusive limited edition 180 gram vinyl, until we run out!

STRUT ON THE WEB (with some Haiti Direct tracks) https://soundcloud.com/strut

http://thewire.co.uk/img/scale/460/301/2014/01/13/CONRAD-Tony.jpg
Tony Conrad in the 1960s. Photo: Frederick Eberstadt

on issues(incl reluctant), reissues, YouTube etc

http://thewire.co.uk/in-writing/collateral-damage-28138/collateral-damage_david-grubbs-on-1960s-recordings

Haiti Direct comp is really really good.

Thanks for the heads up on the Haiti comp, dow. Great stuff.

You're welcome! More on Peter Walker's return (tour dates upthread)---from Howlin' Wuelf Media:

Recorded at Mercury Studios in NYC, "Has Anybody Seen Our Freedoms?", which was described by the "New York Times" as "...rough, passionate and often raga-like..." and "All Music Guide" raved that the record "...adds immeasurably to his musical and cultural legacy, and is a must for any fan of American guitar music", and was included on their list of "Favorite Folk Albums of 2013", is Walker's manifesto. It could have been Peter's classic third album had it been released at the time (Peter had been storing the reels in a converted bread truck for decades). While his previous two records are incredible collaborative efforts - the playing of Bruce Langhorne, Jeremy Steig, and John Blair as important to the final product as Peter's - this album solely Walker. A requiem to the 1960s, chronicling lovers on the run, anti-war movement adventures, and living off the grid in Mexico, California, Detroit, and NYC.

The record begins gently, with love and war songs, (and a version of the traditional "Pretty Bird," that is unlike any other), before going on the rough and urgent ride of "Fifty Miles," (on two flat tires, a story detailed in the liner notes), and culminating with "Wonder," a song where Peter summons all the elements into one long journey, bringing us back down at the end as if we were at one of Timothy Leary's "celebrations." Peter's wondrous guitar playing and intimate, otherworldly vocals create the effect of a record encoded with some deeper wisdom being channeled directly to your ears.

You can stream the track "Early In The Morning" from "Has Anybody Seen Our Freedoms?" here:

http://delmorerecordings.bandcamp.com/track/early-in-the-morning

At the time of the session, Peter was living in the infamous Garwood Mansion near Detroit, working as incumbent opening act for their weekly, all night concerts / parties (as he had been at the Café Au Go Go throughout the '60s, and the Joyous Lake in the 70s). William Kunstler stopped by to speak about the John Sinclair trial, and the two had an immediate rapport. Kunstler was a major influence on Peter's anti-war movement involvement and leadership, and on his later decision to get a para-legal degree and represent immigrant taxi drivers in NYC in the 1970s. The two of them are pictured together on the album cover.

The beautifully crafted packaging for the CD and the limited edition vinyl version of "Has Anybody Seen Our Freedoms?" features a twenty-page booklet with exclusive images as well as a 4300 word essay by Peter, which was condensed from forty pages he sent to Delmore founder, and Executive Producer of the record, Mark Linn. While it's not exactly clear how every wild adventure discussed in the essay relates to each song on the record, knowing that these adventures occurred helps us imagine their evolution. The notes reveal a man of mystery. A man who rubbed elbows with Karen Dalton, Sandy Bull, Jimi Hendrix, Janis Joplin and John Barrymore. A man who possesses endless energy, drive and passion for the instrument he holds and the fearlessness to explore and reach for new sounds with a childlike curiosity.

The previously mentioned limited edition vinyl version also includes a full album DL code, plus bonus track, tip-on jacket, and an exclusive 8 1/2" x 11" Matrix handbill reproduction. The CD / DL bonus track is Peter doing his best Lord Buckley, from the same studio session.
Walker's colorful past reveals a man equally at home in legal discourse with Kuntsler, as he is sitting at the feet of Ravi Shankar, soaking up the Sitar. He disappears for months to Peru and comes back sunbathed and dappled by the waves, his head full of new sounds and ideas. He makes regular pilgrimages to the caves of Grenada and Spain, the only gringo allowed into the dangerous and exciting world of the gypsy masters of Spanish guitar, where he is now considered a peer.

As previously mentioned, Peter was reinstated to public consciousness with the critically-acclaimed 2006 tribute album, "A Raga For Peter Walker". The ensuing years have included two beautiful new albums of mostly Spanish guitar music, and a previously unissued collaboration with Maruga Booker, Badal Roy, and Perry Robinson, which was recorded at Levon Helm's barn in 1970.

An artist in the truest sense of the word, Walker uses the world as his canvas, distilling his experiences into the neck and body of his guitar, where they are transformed into a cacophony of sounds...dark, brooding, complex, atypical in rhythm and form, an experimental expression captivating the listener's ear, piece after piece.

From Drag City, out 02/18---a final scrape? I'll check it out at some point.

http://www.dragcity.com/uploads/products/2202/images/974/large_DC582.jpg

"North St." 3:44/"We're Gonna Make It" 4:03 7" single $6.00

Death comes a-knockin' again! Two later phases set the stage for a third rip through the archives: 1980's "North St." finds the band still uncoiling dense knots of rage. 1992's "We're Gonna Make It" was a final reunion of the brothers and a sweet release of any bitterness, affirming hope for their afterlife.

Oh wait: "set the stage for a third rip"---so maybe this Death scrape is not the end.

A documentary about the Akron punk saga; see link below to watch it (55 minutes).

http://westernreservepublicmedia.org/images/itsevery.jpg

Western Reserve PBS documentary tells the story of "the Akron Sound” of the 1970s

In the early 1970s, rubber was still king in Akron, Ohio. But just a few short years later, Akron’s most important product was, ever so briefly, music. In the mid-1970s, a group of local bands took over an old rubber workers’ hang-out in downtown Akron called The Crypt and created a mix of punk and art rock that came to be known as “the Akron Sound.” And for a while, it was almost “the next big thing.” Almost.

It’s Everything, and Then It’s Gone, a Western Reserve PBS production written and directed by Phil Hoffman., takes viewers back to a time when the music really did mean everything. And for the men and women in these local bands, it was a way out of the factory.

“This is the story of those people, many of them children of rubber workers, who rode to the crest of the new wave and what happened to them after the attention turned away from Akron and away from them,” explains Hoffman in the opening of the documentary. Over the course of the hour-long program, Hoffman tells the story of bands like Devo, The Numbers Band, The Bizarros, The Rubber City Rebels, Tin Huey and The Waitresses and their flirtation with rock stardom.

The story of “the Akron Sound” and It’s Everything, and Then It’s Gone really begins in the college bars along Kent’s Water Street in the late 1960s and early 1970s. The rise of Kent-based Joe Walsh to national rock'n'roll fame created the feeling that local bands could “make it big” and inspired a movement of original music in groups like The Numbers Band, Devo, Tin Huey and others.

Many of these bands shifted to the Akron scene when The Rubber City Rebels acquired a bar called The Crypt from its previous owner in the midst of a rubber workers’ strike.

“Out of the misery of one of the longest rubber workers’ strikes in the city’s history, an unexpected gift would lead to the development of ‘the Akron Sound,’” says Hoffman.

The Crypt became a haven for the original music of bands such as Devo, Tin Huey, The Bizarros, The Rubber City Rebels and others, explains David Giffels, Beacon Journal columnist and co-author of Are We Not Men?, based on the Akron music movement. The Crypt was modeled after the New York nightclub CBGB’s, home to the then-new sound of bands such as Talking Heads, Television and The Ramones.

Buzz about Akron’s music scene began to grow. The local music movement came to the attention of a British music journalist; soon, the spotlight zoomed in on Akron and record label scouts descended on the city. “None of [the band members] could guess ... that an off-hand comment about Akron by one of their friends would set off a record industry feeding frenzy that would sweep them all up into the world of rock stardom,” says Hoffman. For a short time, it looked like “the Akron Sound” was going to be “the next big thing.” Between 1978 and 1980 nearly every one of the Akron bands would record and release their first major label record, including Devo, The Rubber City Rebels, Tin Huey and The Bizarros.

With the exception of Devo, success was short-lived. While some band members muse that a lack of record label support and promotion might have hindered their success, Meredith Rutledge of Cleveland’s Rock and Roll Hall of Fame speculates otherwise. “You can promote and publicize and tour a band ragged and if people aren't going to buy it, they're not going to buy it,” she explains. “The bands that didn’t sell well just didn’t fit into the taste of the record-buying public at that time.”

“Every one of these bands got plucked from Akron with great aspirations and almost every one of them tanked, except Devo” says Giffels. Devo, instead, became a national phenomenon with hits like “Whip It” and “Jocko Homo.”

The band members today, many of whom still live in northeast Ohio, have bittersweet memories of their flirtation with success. “Failure doesn't happen overnight," said Buzz Clic of The Rubber City Rebels. “I didn't realize we weren't going to sell records ... nobody heard of us ... It’s pretty disappointing to watch your whole band fall apart right in front of you. It’s everything, and then it’s gone.”

But the recollections aren’t all bad. “It was the most interesting time of my life,” Clic reflects later. “It gave me a lot of great memories and a lot of great stories to tell.” That story is told in It's Everything, and Then It's Gone.

It's Everything, and Then It's Gone is a Western Reserve PBS production. Executive Producer: Don Freeman. Writer/Director: Phil Hoffman.

A Western Reserve PBS production, 2003.

[watch online]http://westernreservepublicmedia.org/vodshows/everythv.htm

And don't forget about that big-ass Waitresses comp, from Rolling Reissues 2013

http://ecx.images-amazon.com/images/I/91RQX19SQtL._SL1500_.jpg

Oh yeah, I found the doc link here, which is chock full of info goodness (although some of the links may not work anymore; wtfu w All Music/rovi?)
http://www.tinhuey.com/links.htm

not at all complete fyi (xp)

Come again?

missing at least three or four tracks, I went into detail on the Waitresses thread

Yeah, just like The Bizarros' "Complete Collection"

What's wrong with Ohio?

Guess that's what they meant by "Four Dead In O-Hi-O."

Bobby Charles self titled is finally being reissued on LITA!!!
Bobby Charles pioneered the musical genre known as ‘swamp rock’ – he wrote the early rock n roll classic “See You Later, Alligator” (best known via the version by Bill Haley & the Comets). Another early gem penned by Bobby Charles was “Walking to New Orleans” as recorded by Fats Domino. He also appeared at the legendary “Last Waltz” concert in 1976 – in which he performed “Down South in New Orleans” accompanied by The Band and Dr. John.

But the main reason that musicians like Andy Cabic of Vetiver sing his praises (and cover his songs) is for Bobby’s 1972 self-titled album released on Bearsville. Despite numerous CD reissues through the years, this is the first time in decades that the seminal album has appeared in its original vinyl LP format.

A virtual who’s who of classic ‘roots’ rock – the album features 10 Bobby Charles classics supported by the likes of Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel of The Band, long time Neil Young sidekick Ben Keith, Bob Dylan’s former running mate Bob Neuwirth, session maverick Amos Garrett, the esteemed Dr. John, Geoff Muldaur and several others.

But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Album also includes the slow burner “Street People” as featured on Country Funk 1969-1975, Volume 1.

Perhaps Dr. John said it best “I think all of Bobby’s songs have something to offer at all times, for all people.”

Light In The Attic now offers Bobby Charles re-mastered from the original tapes, packaged in a beautiful gatefold sleeve and waiting for heads to turn on and tune in ‘round the globe.

http://lightintheattic.net/releases/1009-bobby-charles

But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Very true, and crucial. The other guys are really listening to Charles. He got to perform at The Last Waltz extravaganza? Is he on the expanded edition of the soundtrack and/or movie??

He was on the original album! He did "Down South In New Orleans" which one of exclusives to that set.

Wow, good to know, thanks. From Drag City News, as I xp suspected, re that single:

DEATH COMES IN THREES

The rumors of our Death are greatly un-exagerrated! With all the portent of a polite throat-clearing, NPR on Monday premiered one freshly disenterred vintage Death jam, "North St." - but this is just the jagged tip of the iceberg that will be fully cutting into the hull of your life-ship this Spring! Yes, a whole LP of previously unheard recordings spanning the early and late lives of Death is set for release in April: Death III! Word! Death III is the spiritual end of the triangular Death portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.

Five years after Death was resurrected with the release of their revelatory 1976 album, For the Whole World to See, Death III slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching - in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, Death III contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. Death III serves as a companion piece of sorts to the A Band Called Death documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-unbowed brothers, in pure musical terms.

The 7" single for "North St." b/w "We're Gonna Make It" hits streets of every direction next Tuesday, February 18th! But we get it - no one wants to wait that long for Death! So dig this, you can trip on some digital Death right now, as "North St." is available for purchase from both iTunes and Amazon! For those who like their Death to come naturally, (as well as spirtually, mentally and most of all, physically), get your 7" next Tuesday and make plans for Death III, coming April 22nd.

While you're at it, catch some live Death:

Sat 3/8/14 Monterrey, Mexico @ NRMALfestival

Fri 3/21/14Toronto @ Phoenix Concert Theatre

Sat 3/22/14 Fullerton, CA @ Burgerama III

Sun 3/23/14 San Francisco, CA @ The Chapel

Fri 7/4/14 George, WA @ Sasquatch!

http://downloads.openimp.com/tid/2a2b53a9be0695a3d28ad020ef4707e2dbd09fac/enhhyeq/cuwaolovri/15212420100054.jpeg

From Strut Store News:

Essential Chicago House and Ghetto anthems from Dance Mania. Hardcore Traxx out this week.
"The first-ever compilation to honor Chicago house music's coarse, brilliant, and suddenly trendy prodigal son."
—Pitchfork (8.5 / Best New Reissue)
"Absolutely essential stuff here from one of my favorite house labels of all time"
—Motor City Drum Ensemble
"This is a rare treat that many DJs have been waiting for for years - wall-to-wall Dance Mania classics in a digital format, and what a selection it is. There are some totally essential tracks in here!"
—Bok Bok (Night Slugs)

Buy Hardcore Traxx on 2xCD, 2xLP (w. CD insert), or MP3

Founded in Chicago in the early '80s, Dance Mania Records had been inactive for close to a decade when proprietor Ray Barney and producer Parris Mitchell began to notice tracks from his catalog popping up in edgy DJ sets and original 12"s changing hands for serious sums online. That was enough to indicate the time had come to bring the Dance Mania label back, though to fans of raw house and driving ghetto tracks, the influence of the legendary label had never left in the first place.

Hardcore Traxx collects essential and rare music from one of the most beloved Chicago house labels of all. Evergreen dancefloor anthems from artists like DJ Funk, DJ Deeon, Wax Master and more are collected along with overlooked and rare slices of four on the floor funk on the double CD / double vinyl set. As always, LP copies from the Strut Store will be shipped on limit 180 gram vinyl while supplies last.
Watch our Dance Mania mini-documentary featuring Ray Barney, Parris Mitchell, Duane Buford & Wax Master, below.
https://www.youtube.com/watch?v=jjdAF_4OWUs&feature=youtu.be

Oh yeah, here's an earlier promo thingie, with more backstory and track listings:

Coming 2014, we have a very special release on the way for lovers of quality original Chicago house music as we team up with the legendary Dance Mania Records for their first ever full label compilation, dropping on January 27th, 2014(now February 18th, apparently). Dance Mania has wielded its influence heavily across dance music since its first breakthrough club smash in ’86, Duane & Co’s ‘J.B. Traxx’, offering a raw, DJ-led alternative to the Chicago powerhouses of Trax and DJ International. Founder Ray Barney astutely released classic after classic during the early years – ’7 Ways’ by Hercules (Marshall Jefferson), ‘House Nation’ by Housemaster Boyz (Farley Jackmaster Funk) and Li’l Louis’ debut recordings all helping to cement Dance Mania’s credentials.
Throughout its long history, the label never pandered to commercial pressures and the lure of the “hit”, focusing purely on the dance floor and the DJ. As styles changed and Chicago clubs like The Factory held sway during the ’90s, Dance Mania became a key player, unleashing uncompromising anthems like Robert Armani’s ‘Ambulance’ and ushering in ghetto house with Traxmen and Eric Martin’s ‘Hit It From The Back,’ as BPMs became faster and lyrics became ever more X-rated. A new wave of producers including DJ Deeon, DJ Funk, Slugo and Paul Johnson all appeared on Dance Mania, recording prolifically and honing the new ghetto style, stripped back and raw.
The label’s influence continues today. Daft Punk famously name-check a series of Dance Mania producers on their ‘Teachers’ track, featured on the albumHomework and you can hear the label’s DNA through contemporary sounds as varied as Diplo, L.I.E.S., Brazil’s baile funk movement and Chicago’s modern day footwork producers like Nate and Rashad.
Tracklisting
CD Double Album (STRUT114CD)

Hercules - 7 Ways (Vocal)
Victor Romeo presents Leetrece Brown - Love Will Find a Way (Club)
The House Master Boyz and The Rude Boy of House - House Nation
Duane & Co - J.B. Traxx
Vincent Floyd - I Dream You
Da Posse feat. Martell - Searchin' Hard (Mike Dunn's AC mix)
Club Style - Crazy Wild
Strong Souls - Twinkles
3 2 6 - Falling (Armando's House mix)
Victor Romeo feat. Cool Dave-O - Ride On the Ride Rhythm (Track Edits)
Da Posse feat. Martell - Don't Try to Fight It
Rhythm II Rhythm - A Touch of Jazz (Lifestyles of the Rich mix)
DJ Funk - House the Groove
Paul Johnson - Feel My M.F. Bass
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
DJ Deeon - Da Bomb
Jammin' the House Gerald - Black Women (Club)
Vincent Floyd - I'm so Deep
Tim Harper - Toxic Waste (Club Mix)
Robert Armani - Ambulance
DJ Deeon - Hypnosis
Traxmen & Eric Martin - Hit It from the Back
Top Cat - Work Out

12" Vinyl Album (STRUT114LP)

Hercules - 7 Ways (Vocal)
Victor Romeo Presents Leetrece Brown - Love Will Find a Way (Club)
Club Style - Crazy Wild
Tim Harper - Toxic Waste (Club Mix)
Vincent Floyd - I'm so Deep
3 2 6 - Falling (Armando's House mix)
DJ Deeon - Da Bomb
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
Traxmen & Eric Martin - Hit It from the Back
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Paul Johnson - Feel My M.F. Bass
Top Cat - Work Out

Download Double Album (STRUT114D)

Hercules - 7 Ways (Vocal)
Victor Romeo Presents Leetrece Brown - Love Will Find a Way (Club)
The House Master Boyz and The Rude Boy of House - House Nation
Duane & Co - J.B. Traxx
Vincent Floyd - I Dream You
Da Posse feat. Martell - Searchin' Hard (Mike Dunn's AC mix)
Club Style - Crazy Wild
Strong Souls - Twinkles
3 2 6 - Falling (Armando's House mix)
Victor Romeo feat. Cool Dave-O - Ride On the Ride Rhythm (Track Edits)
Da Posse feat. Martell - Don't Try to Fight It
Rhythm II Rhythm - A Touch of Jazz (Lifestyles of the Rich mix)
DJ Funk - House the Groove
Paul Johnson - Feel My M.F. Bass
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
DJ Deeon - Da Bomb
Jammin' the House Gerald - Black Women (Club)
Vincent Floyd - I'm so Deep
Tim Harper - Toxic Waste (Club Mix)
Robert Armani - Ambulance
DJ Deeon - Hypnosis
Traxmen & Eric Martin - Hit It from the Back
Top Cat - Work Out

Superior Viaduct continuing to kill it in the 2014:

http://www.superiorviaduct.com/collections/upcoming

Residents, Alice Coltrane, daaamn

Don't sleep on the Leslie Winer. They call it proto-trip hop but don't let that scare you. Partially produced by ex-Renegade Soundwave member (and Holger Hiller partner) Karl Bonnie, it's seriously amazing.

thank you Dan, I had no idea what to make of that one but the Lifetones comparison was intriguing

I see that. There's certainly a thread of UK take on dub in both, which of course fed into trip-hop. I don't know what else to compare it to. Annette Peacock, Anne Clark? I don't know how much Karl Bonnie contributed, but there's a quality to the sound, even on the stuff that doesn't sound as slavishly "dub" that just sounds minimal and futuristic and stripped down. Really great.

I don't see any mention of this on the Omnivore site, but...

http://www.superdeluxeedition.com/news/jellyfish-bellybutton-and-spilt-milk-deluxe-editions-on-the-way/

Omnivore Recordings in the US are preparing deluxe editions of the two Jellyfish albums for release in May.

Contrary to the information in the early Amazon pre-order listings, Bellybutton (1990) and Spilt Milk (1993) will both be two-CD sets and will offer an abundance of bonus material, largely made up of demos and live tracks. Expect around 80-90 minutes of extra audio for each reissue.

Omnivore will release these in North America and Canada, while Universal will issue the same sets in UK and Europe. These are slated for 6 May but this is likely to be approximate at this stage.

Deep Purple's Made in Japan is being blown out to a 4CD/1DVD box that will include their complete sets from three 1972 shows, as follows:

Disc 1: Osaka 15th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 2: Osaka 16th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 3: Tokyo 17th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 4: Encores from all three nights
Black Night — Osaka, August 15
Speed King — Osaka, August 15
Black Night — Osaka, August 16
Lucille — Osaka, August 16
Black Night — Tokyo, August 17
Speed King — Tokyo, August 17

Disc 5: DVD
Made in Japan – The Rise of Deep Purple MK II documentary
Smoke On the Water (Official clip)
The Revolution Germany 1972 (Small documentary piece from Boblingen Sporthalle Stuttgart 10th February 1972)
Smoke On the Water (Live clip from Hoftsra University 29th May 1973)

There's a 9 LP version of the Deep Purple box, too.

Re that Jan. 30 post linking David Grubbs' Collateral Damage article (in The Wire) on underground 60s, here's an excerpt of his new book, describing Henry Flynt's very belatedly released I Don't Wanna, from 1966, rec to fans of Holy Modal Rounders and VU (Reed gave him advice on learning or anyway playing electric guitar) This also has a link to Grubbs' earlier piece
http://www.thewire.co.uk/in-writing/book-extracts/read_extract-from-david-grubbs_records-ruin-the-landscape
And his label lets us hear some mp3s:
http://www.boweavilrecordings.com/weavil_02.html

The label link has mp3s from I Don't Wanna and an earlier Flynt album, Back Porch Hillbilly Blues (his porch has a ton of echo, apparently)

http://d31hzlhk6di2h5.cloudfront.net/20140305/c1/da/0e/50/74959d8b193e23d0761b154c_280x280.jpg


FOR IMMEDIATE RELEASE
March 6, 2014
JACO PASTORIUS’
MODERN AMERICAN MUSIC … PERIOD! THE CRITERIA SESSIONS
CONTAINS 11 TRACKS FROM INFLUENTIAL BASS PLAYER’S
1974 DEMO SESSIONS
Making their debut on Record Store Day (April 19),
CD and LP feature liner notes from
set co-producer Robert Trujillo (Metallica)
and Jaco biographer Bill Milkowski
Release coincides with the upcoming documentary, Jaco,
the official Record Store Day film for 2014
LOS ANGELES, Calif. — When Jaco Pastorius’ solo debut appeared in 1976, a new standard in both jazz and the electric bass guitar was born. Many of the tracks on that eponymous album had their genesis two years earlier when a 22-year-old Pastorius and friends used after-hours time at Criteria Studios to work out songs and jam. Eventually, six of those session tracks were pulled to an acetate. Many of the songs would later find their way onto Jaco’s self-titled debut, but some remained unreleased until now. All tracks appear here in their full, unedited form for the first time.
Omnivore Recordings will release Modern American Music . . . Period! The Criteria Sessions on April 19, 2014 — Record Store Day. Produced in conjunction with the Pastorius estate and Metallica’s Robert Trujillo, this release contains 11 revolutionary tracks from one of the world’s greatest musicians. The CD and LP feature 11 tracks from the Criteria sessions, essays from Trujillo and Pastorius biographer Bill Milkowski (writer for DownBeat and Jazziz), and unseen photos from the family’s archives.
According to Milkowski, from his notes, “Raw and uninhibited, these Criteria demo sessions showcase a working band reveling in the energy that they brought to the bandstand on any given night in 1974 while revealing a young, fully-formed Jaco Pastorius standing on the verge of taking over the world.”
The original six-song acetate is being reproduced for Record Store Day in a special multi-colored vinyl version that will include a sought-after bonus track, "Havona/Continuum." The special Record Store Day LP will also contain a download card for the entire CD program (being released the same day), as well as an insert with both essays and rare photos.
This material was unearthed and restored in conjunction with the upcoming documentary, Jaco, the official Record Store Day film for 2014. Director was Stephen Kijack; producers, Rob Trujillo and John Battsek.
While these tracks, recorded at the beginning of Pastorius’ incredible career, may be from the past, they, like all of Jaco’s music, transcend time and space.
According to Metallica’s Trujillo: “Omnivore’s release of Jaco Pastorius’ ‘Criteria Sessions’ is a raw unique statement — a statement that lets you know you are experiencing a powerful historical musical moment. Jaco’s sound, and facility alone, take you on a trip that is totally new and fresh! This is punk at its best, and the attitude and edge is pure.”

Record Store Day director Michael Kurtz said: “I fell in love with Jaco Pastorius in 1976 when I heard Weather Report’s Black Market being played in my local record store. In 1977 I caught the band on its Heavy Weather tour and heard Jaco perform live. It was like I had been exposed to a force bigger than life. Performing on the Fender bass he’d personally stripped of frets, Jaco propelled the band with ferocity and finesse. He was shirtless, with an axe bold as love. Thirty-seven years later it is a dream come true to be a part of helping Omnivore unearth and release the recording of a very young Jaco performing with his own band in Miami’s Criteria Studios.”

Mary Pastorius, Jaco’s daughter, added: “Once I allowed the memories associated with records to come in, it was like opening the proverbial floodgates — especially so when I started looking through my own records, having a visceral sensory overload experience with every one. Them records is powerful stuff!”
CD TRACK LIST
1. Donna Lee 2:55
2. Balloon Song (12-Tone)* 8:07
3. Pans #1* 4:49
4. Havona/Continuum 10:22
5. Kuru* 5:39
6. Continuum* 4:03
7. Opus Pocus (Pans #2)* 6:09
8. Time Lapse* 4:13
9. Balloon Song (12-Tone) (Alternate) 12:52
10. Time Lapse (Alternate) 5:17
11. Forgotten Love 1:52
LP TRACK LIST
SIDE 1:
1. Balloon Song (12-Tone)* 8:07
2. Pans #1* 4:49
3. Havona/Continuum 10:22
SIDE 2:
1. Kuru* 5:39
2. Continuum* 4:03
3. Opus Pocus (Pans #2)* 6:09
4. Time Lapse* 4:13
* From original Criteria acetate.
LP includes download of entire CD program
# # #

No word yet re who else plays on these.

Jack Ruby Out

Jack Ruby: S/T
SAINT CECILIA KNOWS (UK) / CEC 002CD
release date: 4/29/2014

DESCRIPTION

The collected recordings of legendary lost 1970s New York City band, Jack Ruby. Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. Yet their legacy and influence can clearly be heard in bands that followed in their wake like Sonic Youth and Teenage Jesus And The Jerks. They have been variously described as "The Velvet Underground in a car crash" and the "art-punk Steely Dan." Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance And The Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit and Run" -- sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard's Crash -- and a bizarre number entitled "Mayonnaise," based around Boris' amplified viola and primitive electronic "beats" sequenced on Cohen's Serge synthesizer. These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Three more maniacal songs of arch art-punk with killer pop hooks -- "Bored Stiff," "Bad Teeth," and "Sleep Cure" -- were all recorded in one five to six hour session at Columbia Studios in May 1974. With Cohen patching musique concrète sounds through the Serge, set against Gray's banshee guitar-playing and Hall's snotty vocals, the Jack Ruby sound was formed. But a record deal evaded them. Cohen left and started a new career as a writer for Late Night With David Letterman and, later, as The Ethicist, a columnist for The New York Times solving readers' ethical problems. In 1976, Hall and Gray reactivated Jack Ruby as a live-performing unit with George Scott on bass. They played harder, faster and louder than any other band in New York at that time. Their rehearsals at Matrix studios, and dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray and Scott, became a cult draw for other NYC punk and no wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, by now the only original member, taking over vocal duties for a couple of shows alongside Teenage Jesus And The Jerks and the Fleshtones, before disbanding for good after one last riotous show with new vocalist Stephen Barth at Max's Kansas City, formerly stalking ground of the band's idols, The Velvet Underground. Hit and Run is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the New York City music scene of the early 1970s.

TRACKLISTING
CD1: HIT

01. Hit and Run 2:29
02. Mayonnaise 2:05
03. Bored Stiff 3:41
04. Bad Teeth 3:27
05. Sleep Cure 3:08
06. Beggars Parade 2:37
07. Neon Rimbaud 5:19
08. Out of Touch 3:11
09. Hit and Run 3:57
10. Bad Teeth (Don Fleming "Instant Mayhem" Mix) 3:40

CD2: RUN
01. Destroy/Lost 16:22
02. Beryllium Blues 1:29
03. Parietal Cha Cha 1:24
04. Lithium Serenade 1:16
05. Hydrogen Lullaby 0:42
06. Palaatine March 1:49
07. Sphenoid Waltz 0:42
08. Sodium Nocturne 1:54
09. Temporal Tango 1:08
10. Mandible Mambo 0:56
11. Ghost Note 16:51
HIGHLIGHTS

- Remastered from recently-discovered master tapes.
- Liner notes by Thurston Moore and Jon Savage, plus an extensive band history.
- Exclusive remix by producer Don Fleming (Sonic Youth/Hole/Dinosaur Jr.).
- Original cover art by Japanese artist Ken Hamaguchi.
- 2CD digipak fold-out package containing a 48-page booklet and fold-out poster

also, the US vinyl version of the above (This is content of the first CD. Vol. 2 of the vinyl edition coming soon):
JACK RUBY: Jack Ruby LP
FEEDING TUBE RECORDS (United States) / FTR 105LP
release date: 4/29/2014
DESCRIPTION
"Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact we'd name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band's story continued to roll out. They'd actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They'd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. 'Hit and Run' and 'Mayonnaise' are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That's 'Bored Stiff,' 'Bad Teeth,' and 'Sleep Cure.' The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they'd evolved. The last one was in November '77 at Max's with Vivienne Dick's then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Edition of 600. Includes download code with purchase. Volume Two coming soon.

sweet, nice looking out there

That Dance Mania comp is missing 90% of the great DM release, kinda disappointing @ first listen at least

Not a release, although all of this stuff is around somewhere, but some fairly intriguing descriptions, once I got used to the writing (some painfully awkward stiffness at first; then he gets engrossed, as well he might)(old hat to truest Beach Boys under-the-crate-diggers, no doubt)
http://www.pastemagazine.com/articles/2014/03/busy-doin-somethin-uncovering-brian-wilsons-lost-b.html?utm_source=PMNL&utm_medium=email&utm_campaign=140307

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140307/29/0d/2b/40/d132af9cf6b7db0a5f446339_476x271.jpg

VINYLY, THE RED KRAYOLA SINGLES ON 2xLP! COCONUT HOTEL & HAZEL RETURN!

Three classics from the annals of The Red Krayola return to free-market shelves of the universe on LP for the first time in years! Coconut Hotel was recorded for International Artists to release back in 1967, following the international success of The Parable of Arable Land! Much too freaky-form for the IA folks at the time, it wasn't issued til 1995 by yours truly, featuring the original Red Crayola at the apex of their experimental bent.
A mere year later (but almost thirty from the original Krayola hayday), Hazel bloomed, featuring Mayo Thompson surrounded by a host of prime post-rocker poster-kids like David Grubbs, Jim O'Rourke and John McEntire, plus Tom Watson, Stephen Prina, and George Hurley, to name but a few more! The album showed The Red Krayola once again battling at full-force, entering their 3rd decade in full command of the furthest reaches of sonic expressive creativity.
Beyond the haze that followed, the Singles retrospective emerged in 2004, providing young, curious minds of all ages with the ability to see The Red Krayola in control of the short form single song. A compilation for the ages, in the pre-dawn of the vinyl resurgence, Singles was only ever physically represented on the CD format, wah. UNTIL NOW - yay! Oh, to be alive in this new power vinyl age - Singles will be presented to you as a gatefold, double LP, along with Coconut Hotel and Hazel, April 22nd!

Out today

http://timedotcom.files.wordpress.com/2014/03/jimi-hendrix-stamp1.jpg?w=814
credit: United States Postal Service

http://time.com/23463/jimi-hendrix-honored-on-u-s-postage-stamp/

http://www.thewire.co.uk/img/scale/920/616/2014/03/10/CollDam2.jpg

Intriguing---need to find Toop's original talk---Herrington's description and running with it gets some pushback in the comments section:

http://www.thewire.co.uk/in-writing/essays/collateral-damage_tony-herrington-on-the-soul-of-electronic-dance-music-29686

This site dumpster dives into tons of ancient print re music (and maybe other things; I've only followed the music so far). Here we have the results of Jazz & Pop Magazine's 1967 writers poll; scroll down for jpegs of the lists and accompanying article. In the right rail you'll see links to other mags, rags etc.:http://www.afka.net/mags/Jazz_and_Pop.htm

Intriguing, uniquely terse note from Forced Exposure. What does this album sound like?
DESCRIPTION
Record Store Day 2014 release. New and unreleased versions of the legendary album On the Way to the Peak of Normal (1981) by Can member Holger Czukay, recorded with Conny Plank, Jaki Liebezeit and the German post-punk band S.Y.P.H. Pressed on pink vinyl including poster. RSD exclusive. Limited edition of 500 units worldwide.

TRACKLISTING

A1. Peak on the Way to Normal (Remix) (14:44)
A2. Hiss'n Listen (Remix) (3:44)
B1. Ode to Perfume (Remix) (18:42)
B2. Fragrance (4:02)

Tres cool beanz: Nile Rodgers, from Beat Gen Village kiddie til Now City: http://www.vulture.com/2014/03/nile-rodgers-on-studio-54-le-freak.html?mid=twitter_vulture"> http://www.vulture.com/2014/03/nile-rodgers-on-studio-54-le-freak.html?mid=twitter_vulture
Gotta get his book too.

Dunno why it duplicated that link, but the second is the one to use.

https://redirect.haulix.com//58415/PromoImage.jpg

Northern Spy Records is releasing a two disc set entitled Encyclopedia of Arto which highlights Arto Lindsay’s 'best of' solo work (with collaborators such as Melvin Gibbs, Ryuichi Sakamoto, Brian Eno, and more) as well as a disc of previously unreleased, live solo recordings from 2012. The record will be available in the United States on May 20th, 2014.

We get to work with Arto Lindsay, a fact which provides us with untold pleasure. Arto’s intelligence and talent, and the ease with which he bridges more experimental genres with pop, fundamentally influenced the Northern Spy catalog.

With the record announcement out of the way, we want to announce that Arto Lindsay has joined twitter https://twitter.com/artolindsay and facebook https://www.facebook.com/artolindsayofficial Shows and other news will be announced through those channels. Help spread the word!

Arto Lindsay is performing an early set at Baby’s All Right in Brooklyn, NY on Tuesday, April 15th, sharing the bill with the incredible Lonnie Holley. Buy tickets. There will be more shows in US dates in May, July, and beyond … tba

Check out more info on the record and Arto below (also a live video):

THE RECORD

Encyclopedia of Arto Lindsay, coming out in the US on May 20th, 2014 for Northern Spy Records, is a photograph of the musical world created by Arto Lindsay. A double CD that presents the different musical souls that have always been the basis of the musical creativity of this American musician and composer.

Since his infancy, spent mostly in Brazil, Arto has been absorbing the music that surrounded him and elaborating a synthesis between experimental music and pop music. His first group, DNA, along with Ikue Mori, Robin Crutchfield and Tim Wright, without ever publishing an actual album, has deeply influenced the New York and worldwide experimental music scene, helping bring about the No Wave movement, brought to light by a compilation produced by Brian Eno in 1978 and titled No New York. As was clear from the innovative rhythmic elements already present in DNA, his Brazilian musical development already stood out in those years with Tropicalismo, Samba and Bossanova and with the Ambitious Lovers, the project which he gave life to in 1984 with the keyboard player Peter Scherer. No Wave and Post Punk were being enriched with Brazilian sonority such as Pagode and Bossanova which reached their heights in the cover of “Dora” by Dorival Cayimmi, an example of a popular Brazilian tradition showing up for the first time in a musical contest, that being that of the alternative American music which, up until then, had been absolutely distant. In this unique journey and in the many other collaborations with artists of varying extraction (from John Lurie and Marc Ribot to Ryuichi Sakamoto) and in important musical productions, (the most important of all being Estrangeiro in 1989, a turning point album in Caetano Veloso’s artistic career) and reaching deserved recognition in 2002 with the victory of the Latin Grammy Award (for the production of Marisa Monte‘s record, Memorias, Cronicas e Declaracoes de Amor), these apparently contrasting elements permeated each other more and more, giving shape to the unmistakable style and creativity of Arto Lindsay.

The first CD which makes up Encyclopedia of Arto includes the tracks that Lindsay has chosen from his solo albums of the period between 1996 and 2004, “O Corpo Sutil”, “Mundo Civilizado”, “Noon Chill”, “Prize”, “Invoke” and “Salt”, tracks that he wrote with exceptional travel companions like Amedeo Pace (Blonde Redhead), Marisa Monte, Caetano Veloso, Kassin, Vinicius Cantuaria, as well as the faithful Andrés Levin and Melvin Gibbs.

In the second CD we find a solo performance of Arto, voice and guitar, a naked, cutting sound where the vocal melodies and the atonal guitar playing manage to epitomize all his “musical poetics”; it’s the essential Arto. Besides an unreleased track titled “Pony”, we find tracks from the aforementioned solo albums, including covers of Prince and Al Green, which revolutionize the studio versions recorded on “Mundo Civilizado” . We also find unreleased covers by Chico Buarque and also of the tradition of carioca Samba “Maneiras” (lead to success in Brazil by Zeca Pagodinho) and of the Samba Reggae “O Mais Belos Dos Belos” of Bahia.

Arto Lindsay

A rare kind of person, Arto Lindsay loves life just the way it is, a feature of his character which makes him Brazilian not only by place of birth. He walks the streets of Rio de Janeiro (where he lives), New York, Tokyo and Naples with the same funny step, with that mischievous good-hearted-rascal look under his little round glasses that has always allowed him to coexist with the greatest of ease amongst white noise and the most intimate of lullabies. It won’t be difficult to unearth the strongly sexed nature of the rhythmic / melodic structures of everything he has done in his 35 year-long career which, in this double album, is hinted at, glimpsed or, at times, elegantly omitted.

On one hand there are gems that one might call “pop” from recent years and on the other, the live sauciness, the electric art brut style that actually redesigned the idea of the hated pomp rock soloing of those same 1970’s, throwing it towards the disintegration of whole pieces of abandoned space station seen/heard in ‘Gravity’ (the film). A good awakening for the ears, a brush up. Then, three seconds later, a ballad that’s as sweet as a fruit from Bahia. It’s the opposite of an analytical process: in the sonorous opera of Lindsay the subconscious doesn’t hide but is, instead, the tail of a naughty crabby cat to be pulled at out of spite. Rigorously post-colonial much earlier than the term was academically pronounced, rigorously modernist in embracing ‘the shock of the future’ without ever confusing it with the cancellation of previous stories, Arto has never worn the imperial arrogance of the nonetheless coeval no-New Yorkers and nor has he ever belonged to time of clock or calendar. This is why the necklace you are about to put on is made of differently cut and differently coloured dateless pearls and precious pendants and pieces of iron picked up off the road. Wonderful, unique.

Arto: real, compassionate, dangling, always in an indefinite area between seduction and isolationism. Already a computer fanatic before the digital era which he belongs to de facto, having lived it before its time. Pure and fresh New Wave that, in him – as maybe in no other –, merges France with Cinema Novo and Gilles Deleuze with Carneval floats. Poetry. Beauty.
And a live video: http://vimeo.com/65717541

Laying it on a bit thick, but he deserves most of it (is A Taste of DNA not a real album? An EP maybe; think I've still got some comps too, but prob not released during the span of the band).

yeah it's a rather short EP

In the second CD we find a solo performance of Arto, voice and guitar, a naked, cutting sound where the vocal melodies and the atonal guitar playing manage to epitomize all his “musical poetics”; it’s the essential Arto. Besides an unreleased track titled “Pony”, we find tracks from the aforementioned solo albums, including covers of Prince and Al Green, which revolutionize the studio versions recorded on “Mundo Civilizado” . We also find unreleased covers by Chico Buarque and also of the tradition of carioca Samba “Maneiras” (lead to success in Brazil by Zeca Pagodinho) and of the Samba Reggae “O Mais Belos Dos Belos” of Bahia. So true. So far, I mostly prefer the live, though the studio side also provides my fave of the whole set, "Child Prodigy," and the fortifying "Reentry" (oh those amicable breakups), plus a pair of rousing Portuguese excursions.

Out this month from hearpen.com (can preview some of the tracks there)
Variations On A Theme

http://www.hearpen.com/pageart/voat.jpg

A Day at the Botanical Gardens 2:36
Bird Town 2:40
Pedestrian Walk 4:28
The Egg & I 2:50
Who is It? 3:34
Song of Hoe 5:54
Hurry Back 4:10
The Rain 5:09
Semaphore 5:02
The Egg & I (live) 3:23

Download file size: 100MB

Description: This is the second album recorded with Richard Thompson. Released in 1983 on Rough Trade, it also marks the beginning of the partnership with Lindsay Cooper and Chris Cutler that would yield the following album, 'More Places Forever.' These tracks are the remix that David Thomas undertook in 1989 and 1990 that also featured the addition of Jim Jones to a number of the tracks.

Band:
Musicians:
David Thomas - vocals, tapes
Richard Thompson - guitar, backing vocals
Jim Jones - guitar, synthesizer, backing vocals, loops
Lindsay Cooper - bassoon, sopranino
Paul Hamann - bass
Jack Monck - bass
Anton Fier - drums, marimba, piano, percussion
Chris Cutler - drums, percussion

Writer credits are noted in the included pdf of liner notes.

https://ci5.googleusercontent.com/proxy/bbIK3IOxOLoq1-7QgS5ox7WWOjzn2SahgyF7Rq_Nn5shMP6gkJK4ztBobbibb8Xv2SBaYWE4IjgW8aWyKI5ACZV4K99riX6UcbnfgocrmLMB3ppweFC1maZfL7C2lsnP3_qaNB9JLUV_=s0-d-e1-ft#https://i8.createsend1.com/ei/j/1A/628/319/074136/csimport/cmo019cover300dpi_11.jpg

"Very few bands make even one great album. Silkworm made several, and this is the first." - Steve Albini

Comedy Minus One announces a long-overdue deluxe reissue of Silkworm's out-of-print 1994 album Libertine (cmo019), the third and final full-length record by the band as a quartet.

This is a double 12" pressing with a supplementary CD including "The Marco Collins Sessions" as well as two additional recordings from the band's time at Pachyderm Studio.

Includes all-new artwork throughout (the revised cover is pictured at the top of this email) plus a full color insert with liner notes by Silkworm's Tim Midyett.

Mastered from the original 1/2" tapes by Bob Weston at Chicago Mastering Service.

Photographs by Mike Hoffman, Jr.

Layout and design by David Babbitt.

Pressed on 150 gram 45 rpm vinyl at QRP.

In stores May 6, 2014.

-------------

Silkworm really piss me off. For nigh 20 years now, I've tried to explain what it is they do (not "did"-this band lives), and I have failed. I have used dumb phrases like "post-punk in a world where punk never happened." Also: "music redolent of the new weird America." I have said these things to friends and strangers, and sometimes even typed them for others to read. All I've ever wanted is to figure out is how it is that this music sounds like nothing else, while somehow sounding like everything else-a rock band that has soaked up the past without resorting to pastiche, the bane of so many of their compatriots.

Now, it's possible I just did it again there, but bear with me-because in order to fully process Libertine you have to understand how strange it sounded in context. Not just odd-but out-of-place, as befits a band that crawled out of Missoula, Montana and drove the wrong direction on I-90, staking a claim in the Pacific Northwest, instead of the Lake Michigan-ic Midwest, where their music would eventually find a more hospitable environment. I mean, can you imagine what it must have been like to be these guys in '90s Seattle? You know those Charles Peterson live band photos that captured the unbridled intensity and connection between musician and audience, awash in a sea of hair and sweat? I wonder if he's got one in a drawer somewhere, Silkworm in the natty suits they sometimes wore back then, Andy Cohen placidly crowd-surfing...

But I digress.

Triple-threat songwriting, two cagey guitars circling the drain but never going under, a bassist whose axe looks like an oar and sounds like the metal cable of a suspension bridge, anchored by a drummer clad in little more than gardening gloves whose kick drum (I am told) is the oversize kind favored by marching bands-all in all, a combination as heady as it was brainy. You can hear the rooted rootlessness of the big sky country they left, the austere grandeur of the city where they eventually ended up-and, while they were stuck where they were stuck, a sublimely cerebral version of the stop-start loud-soft dynamics that inexplicably (alright, explicably) put their interregnum city on the global musical map while they were consigned to the margins.

From the dread-beat-and-blood of "There Is a Party In Warsaw Tonight" to the undertow of "Bloody Eyes," these songs dart in and out of focus, each doing what it sets out to do before yielding the floor. Cohen's "Grotto of Miracles" crawls like a king snake, with lyrics about smirking at worms and fearing credit reports. Tim Midyett's "Couldn't You Wait?" spins riff and wordplay in a way that is somehow heartbreaking. And how exactly Joel Phelps can balance such Iris-Dement-ed vocals over the bounce of "The Cigarette Lighters" is a riddle that will never be solved.

That goes for this whole album. You can't solve Libertine. That's its genius. And these guys knew it even if most of the world didn't. In the maelstrom of the last song, Tim tips this band's hand: "the dream is a lie." Too late-we're dreaming.

Why didn't he tell us earlier? Why did he have to wait?

Greg Milner is a writer, journalist and the author of Perfecting Sound Forever

2XLP / CD TRACKS

01 There Is A Party In Warsaw Tonight
02 Grotto Of Miracles
03 Cotton Girl
04 Yen + Janet Forever
05 Oh How We Laughed
06 The Cigarette Lighters
07 Couldn't You Wait?
08 A Tunnel
09 Written On The Wind
10 Wild In My Day
11 Bloody Eyes

CD ONLY

12 Insider
13 Grotto Of Miracles (alternate)
14. Couldn't You Wait?*
15. Scruffy Tumor*
16. Cotton Girl*
17. Raised By Tigers*

* = Marco Collins Sessions

Tim Midyett, Joel RL Phelps and Andy Cohen are available for interviews regarding this release.
Force Field PR / PO BOX 421

Xpost man I wish they would release the lp mix of More Places Forever. I hate what d Thomas did to it for his box set release. But since they are announcing the fucked with version of Variations on a Theme I guess that ain't gonna happen.

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/Thee_Majesty_Pezner_Press_Photo.jpg

DAIS RECORDS PRESENTS:
THEE MAJESTY
(GENESIS P-ORRIDGE / BRYIN DALL)
LIVE AT THE PEZNER 1999 LP
OUT 4/15/14

For the past 20 years, the elusive collaboration between Genesis Breyer P-Orridge (Throbbing Gristle / Psychic TV / COUM Transmissions) and Bryin Dall (Hirsute Pursuit / A Murder of Angels) has taken on various members and formations over the years, always keeping a steady focus on it's balancing act of ambient sound and cryptic verse. Considered by most to be P-Orridge's "sound poetry" accompanied by Bryin Dall's unusual instrumentation backdrops, recordings of this project has been selectively sparse with only a handful of rare performances to create evidence for its existence. This unique live document captures Thee Majesty at its most flexible, changing up tone and structure at a moments notice and harmonizing the abstract poetry of P-Orridge's obtuse wordplay and apocalyptic banter and Dall's meditative and complex drones. Recorded live in 1999 at the famed Pezner Theater in Villeurbanne, France. Featuring a guest appearance by legendary instrumentalist Mark Cunningham of No-Wave pioneers Mars and John Gavanti.

Limited to 300 vinyl copies with reminiscent liners by Bryin Dall.
https://soundcloud.com/daisrecords/thee-majesty-the-traveler

"THE RETURN OF SOUL MINING

THE THE are pleased to announce details of the release of the Soul Mining 30th Anniversary Deluxe Edition Boxset, a re-mastered, re-packed and expanded version of their major label debut album, Soul Mining, on Monday June 30th 2014 through Sony Music.

Re-mastered at Abbey Road Studios by Matt Johnson and packaged in a lavish 12” box, this vinyl only release includes an authentic reproduction of the 1983 release on 180g vinyl, plus an extra 12” gatefold vinyl of alternative versions and remixes.

The re-mastered audio has also been dubbed from original vinyl pressings recorded from Matt’s original 1982 Thorens TD-147 gramophone player using patent ‘Dubbed-From-Disc’ technology, obtainable via a download code contained within the boxset.

The boxset also includes a unique ‘news-poster’ containing extensive notes written by Johnson detailing the making of the album.

Featuring a host of talented musicians, including JG Thirwell (aka Foetus, Manorexia and Steroid Maximus), Zeke Manyika (Orange Juice), electronic DIY pioneer Thomas Leer and Jools Holland, Johnson set out with a clear vision in mind – to produce an album that felt cinematic; a record of width, depth and texture and one which avoided the mundane line-up of the day of two guitars, bass and drums.

The track listings of the two albums are as follows:

LP 1 - SOUL MINING

1. I’ve Been Waitin’ For Tomorrow (All Of My Life)
2. This Is The Day
3. The Sinking Feeling
4. Uncertain Smile
5. The Twilight Hour
6. Soul Mining
7. Giant

LP 2 – SOUL MINING RECOLLECTED

1. Uncertain Smile (New York 12” version)
2. Perfect (New York 12” version)
3. This Is The Day (12” version)
4. Fruit Of The Heart
5. Perfect (London 12” version)
6. I’ve Been Waitin’ For Tomorrow (All My Life) (12” mix)

"

umm ..

"The re-mastered audio has also been dubbed from original vinyl pressings recorded from Matt’s original 1982 Thorens TD-147 gramophone player using patent ‘Dubbed-From-Disc’ technology, obtainable via a download code contained within the boxset"

think i'll stick with my cd reissues from a few years back as they sound perfectly good to me.

key word "also", it's a bonus

but I did a double take too

this is kinda fucked cuz there are so so many good b-sides from this era, all absent here, missing some killer remixes as well like the long 'Giant"

http://d31hzlhk6di2h5.cloudfront.net/20140408/e1/dd/cc/3a/b36d23084f940cdd88d5c220_280x280.jpeg

DAVE VAN RONK’S PREVIOUSLY UNRELEASED
LIVE IN MONTEREY
COMING ON OMNIVORE RECORDINGS ON MAY 13
Culled from a live performance in 1998, the 16-song album
eatures liner notes by Happy Traum and producer Rick Chelew.
LOS ANGELES, Calif. — Now that the media hubbub surrounding the Coen Brothers’ Inside Llewyn Davis — based loosely on the life of Dave Van Ronk — has settled down, the time is perfect to take a closer look at the real Dave Van Ronk. Regarded as a pioneer of the folk-blues movement that took over Greenwich Village in the late 1950s, Van Ronk could not be tied to just one genre. He moved from ballads to jazz to rock. His finger-picking style of guitar playing is still studied and emulated. And, in 1998, after 50 years of performing music, the Mayor of MacDougal Street was still mesmerizing crowds.
Dave Van Ronk’s previously unreleased Live in Monterey, due out on Omnivore Recordings on May 13, 2014, looks back on his entire career. Recorded at Monterey, Calif.’s Carleton Hall, the album works both as a retrospective and an introduction. The 16 tracks include traditional numbers, blues classics and originals, touching on every aspect of what makes Van Ronk revered by musicians of every generation. The album features just Dave, his voice and his guitar. That’s all that’s needed.
“Dave’s voice is a wonder,” writes set co-producer Rick Chelew (who recorded the set) in his liner notes, “going from a delicate, almost feminine whisper to a powerful frightening growl that would make a punk-rocker shut up and listen — sometimes within the same song.”
Fellow Greenwich Village folk denizen Happy Traum, who also contributed liner notes to Live in Monterey, observes: “Those of us who had a chance to know Dave Van Ronk were treated to a larger than life, contradictory, ultimately lovable personality. He was generous, opinionated, sharply intelligent, hypercritical, hospitable, cranky, an unapologetic Trotskyite communist, a sci-fi aficionado, a musical polymath with wide-ranging tastes, a darn good cook, and a friend, mentor, and teacher to many a young, aspiring guitarist.”
“At one point in his career,” Traum continues, “Dave would surely have liked to become famous, but he lived his life and made his music on his own terms an settled reluctantly for being a ‘legend.’ The irony is that none of his peers, no matter how commercially successful they became, were dubbed ‘The Mayor of MacDougal Street,’ had a Greenwich Village street named after them, or are remembered with such affection.”
Yes, there have been other live Van Ronk releases, but all live performances are not equal, and it was a stroke of good luck that tape was rolling in this old Monterey church when the artist, in fine form, played an extraordinary set. “As soon as Dave started to play it was clear that this was one of those rare occasions …," says Chelew. Van Ronk’s widow Andrea Vuocolo, who attended countless Van Ronk shows, concurs, recalling it as “a particularly strong performance.”
It is time again for an audience with The Mayor.
Track Listing:
1. You’ve Been A Good Old Wagon But You Done Broke Down |
2. Blood Red Moon
3. Jesus Met The Woman At The Well
4. Going Down Slow
5. Losers
6. Cocaine Blues
7. Winin’ Boy Blues
8. Did You Hear John Hurt?
9. Jelly Jelly
10. Spike Driver Blues
11. Sportin’ Life Blues
12. Come Back Baby
13. Candy Man
14. He Was A Friend Of Mine
15. St. James Infirmary
16. Four Strong Winds

Wheedle's Groove Volume II 1972-87
Light In The Attic, June 3, 2014

Listen to Don Brown- "Don't Lose Your Love" HERE.https://www.youtube.com/watch?v=EEqCjKBTMKs

In 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars... Wheedle’s Groove Vol. II documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.

As the years unfurl in the tracks of Wheedle’s Groove Volume II, so does the recent history of American music, the songs tracing technological changes and social change, and music’s move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting ‘Here I Go Again’ on a disco-friendly 12” single.

Separated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, “A lot of the groups around town would have to incorporate that disco sound or you’d sound totally dated.”

Seattle’s size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of Volume I will recognize some familiar names here: Robbie Hill’s Family Affair turn in the soul-jazz gem ‘Don’t Give Up’ and Cold, Bold & Together present the undeniable vocal beauty of ’Let’s Backtrack.’

Compiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the long-forgotten blue-eyed soul boy Don Brown (‘Don’t Lose Your Love’) and frustrated talents Push, overlooked for record deals on account of singer “Big Joe” Erickson’s larger-than-life heft (‘You Turn Me On’). There’s Frederick Robinson IIIand his gospel-funk protest tune ‘Love One Another’, Tony Benton of Telecene being Seattle’s answer to Prince (‘Steal Your Love’) and Seattle Mariners baseball star Lenny Randle recording a tribute to their infamous stadium.

looks awesome!!

The Voice Of The Eagle - Robbie Basho

The Voice Of The Eagle

Availablity:
World
Genre:
Folk
Label:
Vanguard
Format:
CD
Catalogue Id:
VCD 79321

We have previously released two compilations featuring Robbie Basho’s recordings for Takoma – “Guitar Soli” and “Bashovia”. This month we turn our attention to the first of the two albums he made for Vanguard Records. “The Voice Of The Eagle” marked the peak of his immersion in Native American culture and history, starting with the seven-minute title track’s “piece of Hopi pageantry, a Hopi raga”, as he called it in his cover notes.

“I don’t call a lot of my stuff far out,” Basho explained. “I just call it a different level of feeling. It’s far in, as far as I’m concerned...I spent years on the road singing folk songs that had no meaning. It dawned on me music is supposed to say something. Music is supposed to do something.”

This is a Basho vocal album – his singing, which John Fahey described as “strangely compelling”, came straight from the heart and soul with no regard for restraint, phrasing or timing. Thankfully, he was blessed with a mercurial tone and bottomless well of power, able to let loose with often ecstatic abandon.

Robbie Basho never had mass recognition when he was alive and was almost forgotten for years as Fahey, Leo Kottke and his contemporaries carved their legends. Now this previously overlooked gem stands as a snapshot of this unfettered talent at his most expansive peak. Or as he put it, “I decided to see how high and beautiful I could go, but then you leave the masses behind.”

By Kris Needs

http://acerecords.co.uk/the-voice-of-the-eagle

http://acerecords.co.uk/images/robbie-basho-eagle.jpg

CD only?

Apparently so.

Are these any good? What's outstanding about them? (Would have listed in 2013, but just got a Last Call for these promos; don't remember hearing about them before)

BL'AST!
Blood!
Southern Lord
3 September 2013
Earlier this year the members of infamous Santa Cruz hardcore act BL’AST! unearthed vintage master tapes, and upon digging into the vat, discovered an entire album’s worth of material that was never released. Additionally, the recordings were from a rare lineup in the band’s lineage, being the only recordings ever made while short-lived second guitarist William Duvall -- Neon Christ, and currently the vocalist for Alice In Chains -- was a part of the BL’AST! family. To help resurrect the deteriorated recordings, Southern Lord recruited fellow BL’AST! maniac Dave Grohl, who completely remastered/mixed the tapes at his famed 606 Studios, on the legendary Neve console as featured in the recent Grohl-produced documentary Sound City. Now fully harnessed and ready to hit the streets as Blood! -- the first BL’AST! album to see release since their 1989 Take The Manic RideLP -- this long-lost collection of prime, influential skate/surf hardcore punk anthems will become available in North America on September 3rd on Southern Lord.

Formed in 1982, BL’AST! released their debut album, The Power of Expression in 1985, scorching audiences everywhere with their unique and innovative, technical and boundary-free style of raging hardcore punk. This caught the attention of SST Records who released the band's second album, It’s In My Blood, in 1987, as well as their third LP, Take The Manic Ride in 1989. BL'AST!'s wide-eyed, ambitious approach and intense perseverance became an influence for many bands to come. Shortly after the release of Take The Manic Ride, the band broke up and their story was buried by time and dust....UNTIL NOW!

https://www.facebook.com/pages/Blast/44354206391
http://southernlord.bandcamp.com
http://www.southernlord.com
https://www.facebook.com/SLadmin
http://twitter.com/twatterlord

Poison Idea
Kings Of Punk
Southern Lord
26 November 2013
Following last year’s resurrection of Darby Crash Rides Again andThe Fatal Erection Years, Southern Lord is preparing to deliver the latest release in a series of reissues from POISON IDEA’s potent catalog, with an expanded edition of the band’s 1986 LP, Kings of Punk.

An unmistakable rager of an album by the Portland hardcore berzerkers, on their second full-length POISON IDEA had begun tightening their blazing nailbomb eruptions of noise of their earliest material reflected, and where they really began developing what would become their signature sound. Kicking off with the riff Discharge wish they had written, Kings of Punk is a big, bold slab of premium American hardcore, with undertones of the hard rockin’ bombast which would define their later works. From the crazed splutter of “God Not God,” tripping over itself in a wonderful mess of distress, to the sneering blast of “Made To Be Broken,” this is POISON IDEA at their unparalleled, grittiest, snottiest best.

Kings of Punk perfectly encapsulates one of the most important bands of the era who took the template of the early ‘80s and perverted it to fit their own twisted desires. The three live sets, taken from the years ’84-’86, offer an even more revealing snapshot of POISON IDEA in their destructive prime, drawling insults at the audience, the world and themselves and filling two full CDs, brought kicking and thrashing back to life by Jack Control (World Burns to Death). As well as the unhinged audio content, this reissueis packed with liner notes, archive flyers and photos of the band from the era.

Fans of hardcore punk – this is a must. Southern Lord will re-unleash the 2xCD “Bloated Edition” of this beast in North America on November 26th.

http://www.myspace.com/blankblackoutvacant
https://www.facebook.com/pages/Poison-Idea/60605554861?ref=pb
http://www.southernlord.com
http://blog.southernlord.com
http://twitter.com/twatterlord

Not reissues actually, but re-presented via another medium: Kill Rock Stars have been posting whole albums, like ones by Bratmobile and Deerhoof, on their YouTube channel:
https://www.youtube.com/watch?v=HnOExI1kpXA&list=PL6KwzgIePF4BvOQFcFmRgyXt8I0BzCB4E
(also some on their Bandcamp page)

^^It's been a good resource for posting Dig Me Out tracks to the S-K poll.

That xpost Silkworm deluxe reissue's streaming now:
http://www.wonderingsound.com/news/stream-silkworms-classic-libertine-reissue-full/ Just got the word, and haven't had time to listen yet; sorry if it sucks.

also on YouTube, at least for the moment: Kraftwerk's 1970 album:
https://www.youtube.com/watch?v=kjSXWgXPeEM

Note the other 1969-70 albums on this page...

and this 1970 Kraftwerk show:

https://www.youtube.com/watch?v=YF1B4smQL7s

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140502/e7/de/b5/37/3230d35043b6aeca4d097bda_476x271.jpg

RECURRING DREAMS BROUGHT ON BY MATTHEW YOUNG
Matthew Young's genre-bending, acclaimed Traveler's Advisory was reish'd just a coupla years back by yours truly in conjunction with Yoga Records truly; at the time, critical ears took note and immediately grabbed all the fresh LP copies we could offer. Now Drag City/Yoga Records invite you to go deeper - back to Matthew Young's first solo album, Recurring Dreams! Dating back to 1981 and the apex of the Eno / Berlin schools' influence over a myriad of American followers, Young created eight EMS / Rhodes pieces solo, subtly weaving in variable speed Revox manipulation of traditional rock instrumentation with the lightest of touches. What all too often amounted to predictable schtick in the field of early 80s home electronica, Young made personal, delicate, discreet, and discrete. Wordlessly illustrating its titles -- Version Inversion, The Forest Of Lilacs, and Mistral (a strong, cold, northwesterly wind), Young conjures vivid, progressive tones of the unknown. Requiring the pleasure of repeat listenings to fully reveal its Bonsai-like qualities, Matthew Young's Recurring Dreams is an essential piece of the puzzle in the summer of 2014. Make your bed and get your headphones ready, Recurring Dreams fill your nights on July 22nd!

Cool! Recurring Dreams is an awesome record.

- Important Records reissues on vinyl the ultimate version of The Grateful Dead's "Dark Star," compiled from over 100 different performances of the song between 1968-1993.
- Producer John Oswald built, layered, and "folded" all of the versions to produce one large, recomposed version spanning almost 2 hours.

- Reissue with exclusive liner-notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter, plus two "time maps" which chart the source concerts of "Dark Star."
John Oswald’s Grayfolded - OUT 05/27

- "Grayfolded is literally a hundred or so great nights rolled into one extraordinary extended high. Gorgeous sonic origami." --Rolling Stone
- "An extended time-warped psychedelic jam that is meticulously hallucinatory." --New York Times
- "Rightly acclaimed as the ultimate 'Dark Star,' the one you had always hoped the Dead would one day get around to playing." --London Daily Telegraph

Grayfolded teaser trailer:

https://www.youtube.com/watch?v=oMGUQTK8tXw#t=30

It's a triple LP.

https://gallery.mailchimp.com/78dc98191efe28151fba166f0/images/BATS_volume1_FAKEOUT_bundle77120c08b3ea.jpg

Flying Nun Announces The Bats Re-Issues
Compiletely Bats, Daddy's Highway & The Law of Things
Available May 27th

Flying Nun / Captured Tracks announces the reissues of New Zealand’s own indie pop pioneers, The Bats. On May 27th the labels will release Compiletely Bats, a collection of early EP's/singles [2xLP] (1982-90), and their first two full lengths Daddy's Highway [1xLP] (1987) and The Law Of Things [2xLP] (1990). Along with individual vinyl releases, these albums will be released as a 3-CD (the first time on this format) compilation disc titled The Bats : Volume 1.

Formed on New Years eve 1982 in Christchurch, New Zealand by Bob Scott (The Clean), Paul Keane (Toy Love), Kaye Woodward and Malcolm Grant, the Bats' prolific career includes eight albums and multiple tours of Europe and North America, where they shared stages with the likes of Radiohead, The Buzzcocks and Yo La Tengo along the way. Over the years, The Bats have proven that slow and steady wins the race, steadily and consistently building steam. They've never subsided to the pressure of reinventing themselves, instead they have remained true to themselves, and they're all the better for it.

Curated by The Bats in conjunction with Flying Nun this re-mastered collection celebrates the career of this seminal foursome. With its unheard studio outtakes, demo tapes and their liner notesand accompanying ephemera, it provides old fans with never before heard material to admire and new fans a thorough synopsis of The Bats' impressive catalogue.

Listen to "Block of Wood" from Daddy's Highway
https://soundcloud.com/flyingnunrecords/the-bats-block-of-wood-four-track-demo

Listen to "Check Check" - The Law of Things outtake
https://soundcloud.com/flyingnunrecords/the-bats-check-check-the-law-of-things-outtake
LP Tracklistings
The Bats: Vol. 1 Tracklisting
Compiletely Bats 2xLP
Made Up In Blue
Neighbours
Chicken Bird Run
Jewellers Heart
I Go Wild
Blindfold
Mad On You
By Night
Earwig
Claudine
United Airways
Man In The Moon
Trouble In This Town
Joes Again
Offside

Bonus 12’’
My Way
Calm Before The Storm
Candidate
Block of Wood (Demo 1)
Block of Wood (Demo 2)
Daddy’s Highway (Drum Machine Version)

Daddy’s Highway 1xLP
Block Of Wood
Miss These Things
Mid City Team
Some Peace Tonight
Had To Be You
Daddy’s Highway
Treason
Sir Queen
Round And Down
Take It
North By North
Tragedy

The Law Of Things 2x LP
Other Side Of You
Law Of Things
Never Said Goodbye
Time To Get Ready
Ten To One
Mastery
I Fall Away
Cliff Edge
Nine Days
Bedlam
Smoking Her Wings

Bonus 12’’
North by north (re-mix)
Straight Through My Heart
Get Fat
Best Friends Brain
Downfall (Law Of Things Outtake)
Passed by (Law Of Things Outtake)
Check Check (Law Of Things Outtake)
Is That All I Get For My Heart (Law Of Things Outtake)
Compiletely Bats
Made Up In Blue
Neighbours
Chicken Bird Run
Jewellers Heart
I Go Wild
Blindfold
Mad On You
By Night
Earwig
Claudine
United Airways
Man In The Moon
Trouble In This Town
Joes Again
Offside
My Way
Calm Before The Storm
Candidate
Block of Wood (Demo 1)
Block of Wood (Demo 2)
Daddy’s Highway (Drum Machine Version)

Daddy’s Highway
Block Of Wood
Miss These Things
Mid City Team
Some Peace Tonight
Had To Be You
Daddy’s Highway
Treason
Sir Queen
Round And Down
Take It
North By North
Tragedy

The Law Of Things
Other Side Of You
Law Of Things
Never Said Goodbye
Time To Get Ready
Ten To One
Mastery
I Fall Away
Cliff Edge
Nine Days
Bedlam
Smoking Her Wings
North by north (re-mix)
Straight Through My Heart
Get Fat
Best Friends Brain
Downfall (Law Of Things Outtake)
Passed by (Law Of Things Outtake)
Check Check (Law Of Things Outtake)
Is That All I Get For My Heart (Law Of Things Outtake)

ROG & PIP
Our Revolution
Rise Above Relics
24 June 2014
Guitarist Roger Lomas and Singer/Guitarist Pip Whitcher (AKA ROG & PIP) were members of Coventry freakbeat legends The Sorrows. Along with the other remaining members of the band they relocated to Italy in the late 60's due to huge popularity over there. Homesick, the pair returned back to the UK before the swinging decade was even over.

The pair continued writing material together, eventually becoming a partnership lasting well into the 70's. During this time they recorded a vast amount of material, mainly at the state of the art AIR studios. Fortunately, budding producer (and Grammy award winner) Lomas made sure he kept tapes of everything they recorded, the fruits of which can be heard here for the very first time!

Starting with Sabbath/ Zeppelin-esque proto-metal blast of debut single From a Window/War Lord, they released a string of singles under various guises such as ROG & PIP, Renegade and the Zips. The sounds they created progressed with the times, yet they always maintained a raw and gritty aggressive tone, whether performing bulldozing metal or hard-edged early glam rock. Our Revolution will give you a glimpse into the world of ROG & PIP and make you wonder why they never really cracked it as a duo. Their songs will do the talking.

This collection is of largely previously unreleased recordings from this cult duo of the psychedelic/progressive and glam rock eras. It includes detailed sleeve notes, unseen photos and deluxe packaging. The limited vinyl pressing includes a bonus 7” with initial copies.

TRACKLIST
1. Why Won’t You Do What I Want
2. My Revolution
3. Rock With Me
4. Evil Hearted Woman
5. Gold
6. Doin’ Alright Tonight
7. A Little Rock ‘N’ Roll
8. Hot Rodder
9. It’s A Lonely World
10. Why Do You Treat Me Like That
11. From A Window
12. War Lord

from Wire archive:
Hosted by Chris Bohn, this week’s broadcast is devoted to The Compiler feature in The Wire 363 about collections and collecting. Featuring tracks from the anthologies, a-chronologies, mixtapes and mail-order lists covered in the piece, taking in music from Europe, Africa, North America, Australasia and the Far East.
http://www.thewire.co.uk/audio/on-air/adventures-in-sound-and-music-17-april-2014

From Kill Rock Stars

http://dev1.mtimg.com/product_photos/imgs/000/009/384/full/Bangs_TigerBeat.jpg

Whoa! We recently uncovered a box of 26 sealed LP copies of Bangs' 1998 album Tiger Beat! This is even better than the time I found $20 in a pants' pocket at Goodwill! Tiger Beat is a total rocker of an album and includes hits like "Chocolate Cobwebs," "Death By Guitar," and the mix tape classic, "Burnout!" Tiger Beat has been unavailable from our mail-order store for a few years now, so you'll want to order your copy today, or you might regret it tomorrow. Sorry crazed MP3 fans, because these are sealed records from over 15 years ago, they do not include a download code.

Jimmy Page quotes, re new super duper deluxe Zep reissue series:
http://www.rollingstone.com/music/news/led-zeppelin-raid-secret-vault-for-super-deluxe-album-series-20140507?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter
Reporter laments loss of legendary 1969 Boston Tea Party show, but somebody found this by press time: http://www.rollingstone.com/music/news/led-zeppelin-raid-secret-vault-for-super-deluxe-album-series-20140507?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter

Oops sorry: https://www.youtube.com/watch?v=V3cQpwCRC10

http://lightintheattic.net/system/release_images/0001/4332/BigBoysLullabies_Outside_thumb_325.jpg?1398894088

BIG BOYS
Lullabies Help The Brain Grow (1983)
Modern Classics, May 20th, 2014
Listen to "Sound On Sound" HERE.
https://www.youtube.com/watch?v=Rhuy7pVW574&feature=youtu.be

They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, the Big Boys for five years in the early 1980s was no exception. Where peers Scratch Acid, The Dicks and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band.

Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus.

http://lightintheattic.net/system/release_images/0001/4323/BigBoys_Cafeteria_Outside_thumb_325.jpg?1398893460

No Matter How Long The Line At The Cafeteria, There's Always A Seat (1985)
Modern Classics, May 20th, 2014
Listen to "Work" HERE.
https://www.youtube.com/watch?v=8ZYHgBTJhcE&feature=youtu.be

They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them.

Released at the time of their split in 1985, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on "Common Beat", a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come.

Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s.
Watch a short documentary on Big Boys here:
https://www.youtube.com/watch?v=jHSYDCyBv5Q
--

do we have a thread where we post things that really ought to be reissued but haven't?

I think it's:

Albums that shouldn't be out of print...

From Smithsonian: the UNESCO Series---"more than 125 albums from around the world"---and more Classic African-American Songsters---info and some streams here: http://www.folkways.si.edu/about_us/news_press.aspx#5_1_14-CAAS

ANNOUNCING THE DEAD C THE TWELFTH SPECTACLE 4xLP LIVE RELEASE

SWAN SONG RELEASE FOR GRAPEFRUIT RECORDS SUBSCRIPTION CLUB

A follow-up to last year’s immense Armed Courage is not easy, but The Twelfth Spectacle comes as close as anyone would hope The Dead C to achieve. This four LP set collects live recordings from the past decade by a band whose infrequent performances have become part of their legend. Captured herein is the band at their most dynamic, oblique, challenging and consuming. Each LP has its own title and origin. To wit:

Arena: Recorded at La Dynamo Pantin, Paris and Les Ateliers Claus, Brussels, April 2013

Permanent LSD: Recorded at Luminaire, London, December 2006

This Century Sucks: Recorded at The Smell, Los Angeles, March 2002

Year of the Rat: Recorded at The Swap Meet, New York, October 2008

The albums are being released on August 19th mailorder only via http://grapefruitrecordclub.com/. You can pre-order now. Limited to 500 numbered copies.

An extremely limited retail version will also be available from your better record stores on the same date.

STREAM MIKE COOPER'S SEMINAL EARLY 70s RECORDS ON PITCHFORK ADVANCE

TROUT STEEL AND PLACES I KNOW/THE MACHINE GUN CO. BOTH OUT JUNE 17TH

It's with great pride that Paradise of Bachelors is able to share with you the first artist-sanctioned reissues - and first-ever vinyl reissues - of iconoclastic English-born, Rome-based folk and experimental music legend Mike Cooper's classic trio of early 1970s avant-folk-rock records: Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. with Mike Cooper (1972), all out June 17th. The latter two titles are presented for the very first time as the definitive double album as Cooper originally intended them to be released. In addition to the previously shared "I've Got Mine" and "The Singing Tree," head over to Dangerous Minds to check out Places I Know/The Machine Gun...'s "Country Water," and visit Pitchfork Advance to stream both releases in their entirety. We hope a new generation of music fans takes this opportunity to discover this mammoth figure of the UK folk rock scene. Cooper's name should ring loudly next to those such as Bert Jansch and Richard Thompson, and this is the first step to bringing his music back to new and eager ears.

STREAM TROUT STEEL HERE - http://pitchfork.com/advance/463-trout-steel/

STREAM PLACES I KNOW/THE MACHINE GUN CO. HERE -

http://pitchfork.com/advance/464-mike-cooper/

LISTEN TO "COUNTRY WATER" HERE - https://soundcloud.com/paradise-of-bachelors/country-water/

LISTEN TO "I'VE GOT MINE" HERE - https://soundcloud.com/paradise-of-bachelors/ive-got-mineÂ

LISTEN TO "THE SINGING TREE" HERE - https://soundcloud.com/paradise-of-bachelors/the-singing-tree

new from hearpen http://hearpen.com/hr179.html

http://hearpen.com/pageart/hr179.jpg

Artwork by Mary Thomas.

Recordings and artwork ©2014 Ubu Projex. All rights reserved.

Description: This is the second revision of the original 1985 release. The original mix for vinyl release in 1985 suffered from lack of time and distractions. It was remixed at Suma in 1996 with the radical approach that David Thomas had originally planned for. A less than good post-production process, hurried again, caused Thomas to re-visit the various mixes in April 2014. All mixes were examined and, in some cases, edits were made or alternate mixes chosen. The audio was re-EQed by Paul Hamann and attention given to the post-production processing. This is the way it was supposed to sound. Lyrics are also available from the ubuprojex.com website. More details can be found on the ubuprojex.com release page.

Musicians:
David Thomas vocals
Lindsay Cooper alto sax, bassoon, sopranino, oboe, piano, tuba, organ
Tony Maimone bass, piano
Chris Cutler drums

Through the Magnifying Glass 2:58
Enthusiastic 4:31
Whale Head King 5:48
Song of the Bailing Man 4:44
Big Breezy Day 3:22
The Farmer's Wife 4:42
New Broom 4:19
About True Friends 3:44

Download file size: 86MB

These are ACC (iTunes Plus) format audio files. Lyrics are included in each file's metadata.
A PDF of liner notes is included in the download.

Ok lol wtf if you go up thread you can see me being depressed that dt will probably never undo his shitty remix of THAT EXACT ALBUM. I gotta get this.

That record belongs to Lindsay cooper btw, rip.

From Light In The Attic, June 20 (some more LITA videos on this page)

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

Donnie and Joe Emerson
Still Dreamin' Wild: The Lost Recordings 1979-81

Some people have to wait for fame; some people wait even longer than most. Donnie and Joe Emerson are in a league of their own.

As teenagers in Fruitland, Washington in the late ‘70s, the farming brothers dreamed of being heard. The synthesizers were sometimes crude and the 8-track recorder had its limitations, but the brothers aimed at nothing short of perfection in their home studio on the farm. They titled their 1979 debut Dreamin’ Wild, and, as multi-instrumentalist Donnie later admitted, “Joe and I basically lived the dream of the title of the album.” The same goes for their parents who heavily believed in their sons’ musical dreams, taking out a second mortgage on the farm and investing $100,000 in a dream that refused to die. But their privately funded, private press record sank without trace, the family lost most of their 1,600 acre farm, and as Joe focused on the family farming business, Donnie focused on his solo career.

As for Dreamin’ Wild, things began to change three decades later, when record collector Jack Fleischer bought a copy of the album for $5 at a Spokane thrift shop. Something about the brothers’ smiles, bouffant hair, and matching white jumpsuits gave him a good feeling. Fleischer’s blogging about the album brought it to the attention of cult musician Ariel Pink, who recorded his own version of standout track “Baby.” Eventually re-released on Light In The Attic and widely available for the first time, the album chimed louder a lifetime after its conception: Pitchfork described it as a “a godlike symphony to teen hood.” The New York Times flew out to the family farm, while Jimmy Fallon took to Twitter to proclaim his love for the duo.

But Dreamin’ Wild does not tell the full story. In a relatively short span of time – just two and half years – the boys put close to 70 songs down on tape, all recorded at that magical home studio on the farm. A dozen of them are included here on Still Dreamin’ Wild: The Lost Recordings 1979-81 and ready to be enjoyed for the first time ever. With a familiar blend of FM rock, power pop, and new wave, these 12 tracks cover the entirety of that fruitful period, stretching from the second song Donnie ever recorded (“Everybody Knows It”) – to tracks documenting his temporary move to L.A. in 1981.

Donnie’s life story is in these songs. Where Dreamin’ Wild captures the teenage experience, Still Dreamin’ Wild tells a broader story, one in which teenage dreams turn to painful yearning. So where the Beach Boys indebted “Ooh Baby Yeah” is inspired by a teenage girlfriend, “Big Money” shows the emergence of a naive political awareness. Later, 1981’s “One True Love” captures the sound of what Donnie described as “the city as imagined from the farm,” and the epic closing track, “Don’t Disguise The Way You Feel” found Donnie after high school, feeling stifled and frustrated in the isolation of the countryside and mourning the loss of his friend and occasional backing vocalist Dwayne. It is, quite simply, heartbreaking.

The long-belated success of Dreamin’ Wild has given the Emerson brothers – still close, and still the heart of a loving family – a new lease of life. They’ve finally taken their music on the road, performing at Seattle’s Showbox followed by New York’s Mercury Lounge. Still Dreamin’ Wild proves that the album wasn’t a fluke, and that Donnie’s songwriting is as consistent as it is rare. All this time later, we finally have the pleasure of hearing the brothers’ music. And the good news? They’ve still got the jumpsuits.

-First ever release
-All tracks newly re-mastered from original tapes
-Liner notes by Jack D. Fleischer, interviewing Donnie & Joe
-Color vinyl editions (comes with a “Jingle Demo Reel” 7" featuring 4 unreleased jingles Donnie wrote for local Washington businesses)

from KRS Newsletter: more of their xpost bandcamp deep catalogue/reissues:

We've added more gems from the KRS back catalog to our Bandcamp page!
http://killrockstars.bandcamp.com/

Deerhoof - Apple O' (Deerhoof's fourth album. Includes four bonus tracks not available on the CD version! Originally released in 2003.)
The Decemberists - Picaresqueties EP (Originally released as as bonus tracks to the LP version of Picaresque. Includes a fan-favorite cover of Joanna Newsom's "Bridges and Balloons"! Originally released in 2005.)
Stereo Total - Anti-Love Song (Released as a 7" in 2009! Includes INSANE crocheted cover art.)
Panther - Entropy (Portland dancefloor weirdos' final album. Originally released in 2009.)
Boats - Cannonballs, Cannonballs (Boats' first album for KRS. Originally released in 2011.)

They've been adding stuff weekly or so.

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140624/11/dc/57/06/a06362c02791df070f7e2359_440x440.jpg

THE FOUNTAIN OF YOUNG
Also on the schedule for July, courtesy of those forward-looking crate diggers at Yoga Records, is Matthew Young’s Recurring Dreams. In 2010, Yoga and Drag City partnered to reissue Matthew’s 1986 album Traveller’s Advisory, which combined electronics with folk music in an intriguingly out-of-step fashion (out-of-fashion step?) that seemed to be just what the world needed then (meaning 2010). Recurring Dreams is actually the album before that, which suggests an interesting way to do a reissue series – start with the most recent, then go backwards! It worked with that movie Irreversible, so why not with Matthew Young? Recurring Dreams is much more of a classic ambient/electronic album with no quirky vocals, hammered dulcimers etc – and in that, it’s a personal masterwork of electric keyboard and suitcase synth, making music of wide reach, deep relaxation and personal resonance with a minimal amount of instrumentation and a maximum of subtlety. Now, maybe even more than it was then, Recurring Dreams is a triumph.

http://d31hzlhk6di2h5.cloudfront.net/20140624/db/0e/40/ab/d33cc3e983f1233803e3b4fe_440x438.jpg

PROPER M
Back in 1997, David Pajo was a little over a half decade removed from the future sensation known as Slint. Their second album had been released in 1991 when the band themselves were already defunct. During the next five years, David worked with Palace Brothers, King Kong, Tortoise, The For Carnation and Stereolab. All during that period, the idea of his own music was slowly simmering, building flavor like a good rage. He and former Slint-ite Britt Walford had discussed a band called M – the significance lying in the letter’s position in the middle of the alphabet. A single under that name was released on Palace Records in 1996, and upon hearing it, there was no doubt that this fucker was one of the Slint boys. We were big fans of Tweez; we jumped right on that shit and offered Dave a deal he couldn’t refuse – if he made a record, we’d put it out! The rest is…not only history, but somewhat out of print. David changed the name to Aerial M and made an LP and two singles, then changed the name to Papa M and made a couple of double-albums, an EP and a five or six singles. At the time of those singles, he joined another band and then another and another and….poof, no more Papa M. There were two Pajo records in 2005 and 2006 and since then, nothing else along these lines. And so, Aerial M and Papa M things have slowly gone out of print. But now that everyone is really into that post-Tweez Slint record (time is funny), it seems like a perfect time to re-inject Aerial M into the world’s music-veins. David put the record together in a fashion that feels very much after Slint, but instead of just playing his part, he played all the other parts too, kind of in the way he might played them if he HAD played them. So, virtual Slint reality, ’97-style – before any of these reunion tours provided another kind of second life. Of course, that’s super-reductive and unfair – what the Aerial M record ACTUALLY presented was an initial step in a hot ten-year evolution of sounds and song-making – but in 2014, whotta sales hook! BOOM. Aerial M walks among us – again.

But this is what I'm waiting for:

YAKUZA: Chicago Experi-Metallers To Reissue First Four Full-Lengths Along With One Never-Before-Heard Release Through War Crime Recordings

Throughout the entire month of July, Chicago experi-metallers, YAKUZA, will reissue their first four albums along with one never-before-heard release through War Crime Recordings. Amount To Nothing, Way Of The Dead, Samsara and Transmutations have been out of print for several years now and in most cases, these reissues will contain unreleased bonus tracks and remixes.

July 1st, 2014 will see the band's 2000 self-released debut album, Amount To Nothing and Way Of The Dead, originally released by Century Media Records in 2002. Way Of The Dead will include a cover of John Coltrane's "Seraphic Light" as a bonus track.

On July 15th, 2014, the band will reissue their Prosthetic Records albums: 2006's Samsara, featuring two bonus tunes -- a James Plotkin (OLD, Scorn, Khanate, Khlyst) remix of "Back To The Mountain" as well as "The Ballad Of Mr. K" -- along with 2007's Transmutations, which boasts a Justin K. Broadrick (Godflesh) remix of "The Blinding."

On July 29th, 2014, the never-before-released, "improvisational" recording entitled Kabuki Mono will be unveiled. "Kabuki Mono" has been YAKUZA's moniker whenever they perform their mostly instrumental improvisational sets throughout Chicago. This album was originally recorded in the studio in 2001.

Frontman/saxophonist/War Crimes co-owner Bruce Lamont comments: "It's great that these recordings are available again as so to document the lineage of YAKUZA but we are a band who does not dwell in the past. Into the future. Onward!"

Newer developments for YAKUZA include a recent recording session at Soma Studios in Chicago with engineer and co-War Crime Recordings owner, Sanford Parker. The band has recorded over 100 minutes of improvised material (much like that of the Kabuki Mono recording) and plan to pick the best takes for release sometime early next year.

War Crime Recordings was founded by Chicago residents and musicians Sanford Parker and Bruce Lamont. Parker is probably best known for his production work for Pelican, Yob and countless other bands. He's also founded cult doomster, Buried At Sea and at one time has been listed in the ranks of such innovative groups as Minsk, Twilight and Nachtmystium. Lamont leads the avant-garde unclassifiable troupe, YAKUZA, fronts the psychedelic post doom band, Bloodiest and has been involved in the Chicago music scene in one way or another since he was teenager. He's also been a guest player on dozens of recordings. Both Lamont and Parker are in Corrections House along with Mike IX Williams (Eyehategod) and Scott Kelly (Neurosis) and have released that band's catalog on vinyl through the label.

Omnivore's been pretty good the past couple years, so maybe....

BILLY THERMAL BROUGHT SONGWRITING CHOPS
TO THE WEST COAST NEW WAVE MOVEMENT IN EARLY ’80s.
THEIR ALBUM WAS NEVER RELEASED — UNTIL NOW.
Led by songwriter Billy Steinberg, the band’s only album
receives a proper release on Omnivore Recordings on August 12.
THERMAL, Calif. — Before Madonna, Cyndi Lauper, Whitney Houston, The Bangles, Pretenders, and Heart had mega-hits with his songs, Billy Steinberg was the leader of California’s Billy Thermal.
Billy Steinberg’s songwriting ability brought him to the attention of producer Richard Perry (Harry Nilsson, Ringo Starr, Barbra Streisand), who signed Steinberg’s band, Billy Thermal, to his Planet Records (also home of the Pointer Sisters). An album was recorded, but never released. Until now.
Omnivore Recordings will release Billy Thermal, including the full album plus three bonus demo tracks, on August 12, 2014.
Billy Thermal contains the original versions of songs later made famous by superstars like Linda Ronstadt, who took “How Do I Make You” to the Top 10 in 1980; Pat Benatar, who named her third album after Steinberg’s “Precious Time”; and Rick Nelson, who cut “Don’t Look At Me” on his last album of new material, Playing To Win.
While Billy Thermal would fit best in the “new wave” genre, the album shows the genesis of #1 hits Steinberg would later co-write like The Bangles’ “Eternal Flame,” Cyndi Lauper’s “True Colors,” Whitney Houston’s “So Emotional,” Heart’s “Alone,” Madonna’s iconic “Like a Virgin,” and classics including Pretenders’ “I’ll Stand By You” and Divinyls’ “I Touch Myself.”
Five tracks made their way into the marketplace on an early ’80s EP, but the entire album has sat unreleased for decades. Omnivore Recordings
 is proud to rectify that with this release, and it is even enhanced with three demos written during the same time frame. The CD contains an informative set of liners from Steinberg and photos from the original album shoot.
In late 1978, Steinberg wrote some songs that he wanted to demo. Knowing he needed a band, he called a friend, singer/songwriter Mark Safan, in Los Angeles, who recommended guitarist Craig Hull. Through an acquaintance in Palm Springs (Steinberg grew up near Palm Springs and in the desert date-growing town of Thermal), he met bass player Bob Carlisle and drummer Efren Espinosa. Safan came to the first session with singer/songwriter Wendy Waldman. Mark and Wendy added background vocals. They recorded in a friend’s Palm Springs garage studio.
Carlisle would eventually score a massive hit of
his own in the 1990s with “Butterfly Kisses.”
According to Steinberg, “Billy Thermal was part of a movement referred to in the music business as New Wave. Early New Wave acts included Elvis Costello, Talking Heads, Television, Blondie, Graham Parker, The Cars, The Knack, The Police, and Tom Petty & the Heartbreakers. Some of these artists had significant commercial success. But by the time the second wave of New Wave acts had records ready for release, the bloom was off the rose. Billy Thermal fell victim to bad timing. Richard (Perry) lost faith in our record, and we were miffed. When Planet offered to cut us loose and give us our record, we were happy. This occurred in late 1980. Shortly thereafter, Billy Thermal broke up.”
Billy Thermal is a record that still sounds fresh and energetic — unfortunately, no one really got to hear it the first time around.
While Steinberg continues to make hits for current artists like Nicole Scherzinger, Demi Lovato and Katherine McPhee — the heat emanated from Billy Thermal.
# #

Another maay-beee from Omnivore (did moderately enjoy the Auer-Stringfellow songs on Big Star's In Space, so...?)

http://d31hzlhk6di2h5.cloudfront.net/20140626/48/9a/a3/bc/35bd1b445cceb2831861864d_280x280.jpg

THE POSIES’ GROUNDBREAKING DEBUT ALBUM, FAILURE,
TO BE REISSUED, EXPANDED ON CD AND VINYL
ON OMNIVORE RECORDINGS AUGUST 19

Ken Stringfellow and Jon Auer, active as members of Big Star
and as solo artists, were involved in album’s restoration
along with PopLlama A&R rep Scott McCaughey
(R.E.M., The Minus 5).
Live dates to be announced.
SEATTLE, Wash. — The Posies’ 1988 debut is about to work its magic all over again. Little did Jon Auer and Ken Stringfellow know that when they dropped off their cassette to Scott McCaughey (R.E.M., The Minus 5, Baseball Project), the clerk at their favorite record store (who happened to do A&R for the indie label PopLlama), that a power-pop dynasty would begin.
Originally released by the band on homemade, hand-dubbed cassettes, then issued on LP (with one track removed for the then-current time constraints), and later on CD, Failure made the indie-rock scene take notice. On August 19, 2014, Omnivore Recordings will reissue this landmark album, complete with eight bonus tracks, including one available for the first time.
The Posies will shortly announce live dates surrounding the reissue.
Housed in a digipak, the Failure expanded reissue contains the original 12 songs, plus bonus material from the highly sought-after out-of-print 2000 box set At Least At Last, as well tracks from the Spanish only 15th anniversary edition — plus, one track recently located in The Posies’ extensive archives. The booklet contains press clippings and essays from 1988, as well as updated messages from McCaughey and the band.
This 2014 edition sees the original 12-track playlist restored and available on vinyl for the first time since its original issue (and cut by Kevin Gray). The LP (initial pressing on colored vinyl) also includes a download card for the entire CD program.
While Auer and Stringfellow have continued on — as members of the reunited Big Star, as The Posies and as solo artists — the journey began at Failure. Step back in time and hear the future.
According to McCaughey in the liner notes, “Failure still amazes me today — its freshness undiminished by anything recorded before or since. At the time, we thought, “These two kids made this on their own in a parental basement?” But it’s more than that. Sure, there are the songs, the musicianship, the making-the-most-of-an-8-track-and-a couple-of-microphones — all those aspects figure in, and the sheer talent on display is undeniable. But it’s more the feeling I get of two people creating a complete, coherent work, for the first time, with such exuberance and wonder, and really just doing it for themselves. Most bands only get to make one record like that; then come managers, contracts, lawyers, accountants, tour budgets, mountains of cocaine, brown cheeses and Bordeaux, pressure, expectations. That The Posies handled subsequent success with a minimum of fisticuffs and still harmonize like famous brothers all these years later is a beautiful thing. This is where it started, and it’s still where it’s at!”
Adds Stringfellow, “Twenty-seven years after we started the initial sessions for Failure, I’m still astonished at what this humble recording accomplished and set in motion. For all its quirks, much care went into its creation. And what I think sparks people’s affection for this album is maybe one thing above the others: you can hear two very young people unselfconsciously discover their sound, making a real record for the first time in their lives. What we didn’t know then didn’t matter — in fact, you could say that everything we have done since has been somewhat contaminated by ever-wider knowledge, worldliness, and comparative analysis of the accomplishments of others.”
Track List:
Blind Eyes Open
The Longest Line
Under Easy
Like Me Too
I May Hate You Sometimes
Ironing Tuesday
Paint Me
Believe in Something Other (Than Yourself)
Compliment?
At Least for Now
Uncombined
What Little Remains
Bonus Tracks:
Believe in Something Other (Than Yourself) (Live)
I May Hate You Sometimes (Demo)
Paint Me (Demo)
Like Me Too (Demo
Alison Hubbard (Instrumental)
After Many a Summer Dies the Swan (Instrumental)
Blind Eyes Open (Instrumental Demo)
At Least for Now (Instrumental Demo)
# # #
Watch the Posies trailer.
http://youtu.be/2tLR8ilh4Dw

Reviews of many things posted here, times *several* significant others (gotta get Miles Davis Bootleg Series Vol, 3, Haiti Direct, the wide-ranging proto-punk doc) (that Slint slab is dire, though)
http://www.rollingstone.com/music/news/the-best-reissues-of-2014-20140702?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter

wtf @ 10 disc nils lofgren box set

indeed. This looks more promising:

HERMIT HUT, A NEW RECORD LABEL OWNED BY

BEN CHASNY (SIX ORGANS OF ADMITTANCE)

RELEASING GUITARIST TASHI DORJI’S FIRST LP AUGUST 19TH

Ben Chasny is renowned in the underground for the work he’s done with Rangda, Comets on Fire, New Bums, 200 Years, and most significantly of all, Six Organs of Admittance. While his own output is varied and prolific, Chasny realized a great emptiness in the world upon hearing the work of Tashi Dorji and realizing not a lot of people were aware of the improvisational guitarist from Asheville-by-way-of-Bhutan. In an effort to right that wrong, he has formed Hermit Hut, a record label distributed by Revolver USA, which will highlight the best in experimental and adventurous music.

Dorji is the ideal first release. His journey from a secluded life on the eastern side of the Himalayas to becoming one of the most innovative guitarists around today is almost as fascinating as the music he creates. After numerous cassette releases, most of them long sold out, Dorji is releasing a vinyl album that compiles the best moments of these obscure releases.

Hermit Hut is just beginning. Future releases will include an album by Australia’s Chris Smith and a reissue of the Six Organs of Admittance album, Maria Kapel. Much more greatness to come.

View Hermit Hut’s website, and pre-order the Tashi Dorji album here: http://www.sixorgans.com/hermit-hut-records/

http://www.sixorgans.com/wp-content/uploads/2014/06/Tashi_Dorji-Cover.jpg

I put this in the GT thread too.

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

Thanks, hadn't seen that. Also, this just in:

Corpse Flower Records is honored to release the vinyl edition of Halo, the debut from experimental noise rock unit, CELAN.

Featuring a veritable who's who of prominent experimental musicians including Unsane frontman Chris Spencer, Einstürzende Neubauten/Redux's keyboard player Ari Benjamin Meyers, flu.ID's Franz Xaver and Phil Roeder along with Oxbow guitarist Niko Wenner, CELAN's Halo was initially released in 2009 via Exile On Mainstream Records. Now available for the first time on vinyl, the wax edition is limited to 300 hand-numbered and assembled copies and comes in three color variants: 100 translucent yellow, 100 clear and 100 translucent red.

Halo Track Listing:

Side 1

1. A Thousands Charms

2. All This And Everything

3. One Minute

4. Sinking

5. Weigh Tag

Side 2

1. Train Of Thought

2. It's Low

3. Wait And See

4. Lunchbox

Finding common musical ground obviously doesn't require musicians to have a similar background although that's normally the way these things come together. What happens when musicians from disparate musical worlds meet and merge? That's where true originality can often thrive. One such outfit is CELAN, the brainchild of Ari Benjamin Meyers (Einstürzende Neubauten, Redux Orchestra) and Chris Spencer (Unsane, Cutthroats 9). Meyers and Spencer met on an Unsane tour stop in Berlin when Meyers mentioning that AndereBaustelle, the famed Einstürzende Neubauten studio, might be available. "The thought of working on a project with him in that studio was very exciting to me," Spencer explained. "There has always been an attraction to Berlin for me, so I guess you could say I was compelled..." It was initially meant as a one-off collaboration between two very distinct musicians: A classically trained composer and the other a founding member of a seminal noise/rock band.

After the concept was born it became obvious that this was more than a side project. What CELAN was and is began to grow with the addition of Phil Roeder and Franz Xaver (both of ex-flu.ID fame) on bass and drums. Spencer and the two met when flu.ID toured with Unsane in late 2007; they stayed in touch and became friends. Niko Wenner (Oxbow) joined during the Summer of '08, and the band was complete. By August, they had entered the studio and tracked a full album to tape in just two weeks. The songs breathe deeply with this spontaneity and one can feel the chemistry between the members which accompanied the entire building process. Though there is a great deal of thought and creativity behind the album, Halo reveals its beauty through its compelling creational vibe. You can pigeon-hole at your own risk: noise, rock, avant-hardcore etc. Approach this album with minds open, ready to be blown away by its sheer class, emotion, and musical craftsmanship.

update to the xpost KRS YouTube oldies, which might be helping the more vintage of their top sellers:
NEW ADDITIONS TO THE KRS YOUTUBE PAGE
Good news for all you streaming audio fans out there, we've added more albums from the KRS back catalog to our official Youtube page! Tube on over to listen to Sleater-Kinney's albums Dig Me Out, The Hot Rock, All Hands On The Bad One and One Beat! We've also added The Advantage's Elf Titled album. Don't forget to subscribe to our Youtube page to be updated about all the latest videos!

MAIL-ORDER AND BANDCAMP TOP 5's
For those of you keeping score at home, here are the top 5 selling releases at our mail-order store and Bandcamp page during the period of July 03-15, 2014:

Mail-order Top 5
1. Hari Kondabolu - Waiting For 2042 CD + pin combo
2. Sleater-Kinney - Dig Me Out LP (1997)
3. Elliott Smith - From A Basement On The Hill 2LP (2004, re: 2010)
4. The Raincoats - The Raincoats LP (1979, re: 2009)
5. Heavens To Betsy - Calculated limited edition LP (1994, re: 2014)

Bandcamp Top 5
1. Hari Kondabolu - Waiting For 2042 (2014)
2. Kleenex/LiLiPUT - LiLiPUT (2001)
3. Marnie Stern - The Chornicles of Marnia (2014)
4. Elliott Smith - From A Basement On The Hill (2004, re: 2010)
5. Thao with the Get Down Stay Down - We Brave Bee Stings And All (2008)

Ah, Amy Linton!

The Aislers Set announce reissue of catalog & West Coast reunion shows

STREAM: The Aislers Set catalog sampler -
https://soundcloud.com/slumberland-records/sets/the-aislers-set-2014-reissue

Slumberland Records and Suicide Squeeze Records are proud to join together to re-release all three albums from seminal indie ­pop band The Aislers Set. The albums have been re­mastered, and in the case of How I Learned To Write Backwards, re­-sequenced. All three will feature new eco-­friendly CD packaging and will be available on vinyl LP for the first time in at least a decade. Furthermore, the band will play a select set of West Coast shows this Fall, and a new album of singles and rarities is being prepared for release in early 2015.

Terrible Things Happen (originally released in 1998) and The Last Match (orig. released in 2000) are the first releases in a projected year-long celebration of Slumberland's 25th anniversary, they will both be released on Sept. 23, 2014. How I Learned To Write Backwards (orig. released in 2002) will be issued on Suicide Squeeze on Oct. 14, 2014. Look for more reissues, special gigs and publications soon.

http://ih.constantcontact.com/fs197/1102000774575/img/2552.jpg

THE AISLERS SET

09/22 - Seattle, WA - Neumos
09/23 - Portland, OR - Holocene
09/26 - Los Angeles, CA - Echoplex
09/28 - San Francisco, CA - The Chapel

About The Aislers Set

The Aislers Set occupy an enviable place in the pop pantheon. Brimming with drunken romanticism, sharp pop sensibilities and timeless melodies, The Aislers reveled in the history of great POP, spiking their classicist 60s­-tinged tunes with pure post­-punk energy and originality of bands like the Fire Engines and The June Brides. Every song is a meticulously constructed sound world, where the arrangement and instrumentation sublimely, uncannily bring each tune to completeness.

The Aislers Set began in 1998 as a vehicle for the songs of Amy Linton, who had most recently co-­led San Francisco's legendary Henry's Dress and drummed in Go Sailor with her pal Rose Melberg. With Henry's Dress she had helped guide the band from it's noise/drone beginnings to the explosive mod/punk fusion that made them such a force to be reckoned with. With The Aislers Set the original goal was just to write, record and document.

The result was the first Aislers Set album, 1998's Terrible Things Happen. Not content to merely (!) write some of the most sublime pop tunes this side of Ray Davies, Linton got busy in her garage studio and recorded and produced almost the whole record by herself. It's a remarkable feat, and a love for such producers as Phil Spector and Brian Wilson shines from each and every groove. This is no shameless 60's pastiche, though, with the echoes of classic pop past filtered through a totally 90's aesthetic. It's a beautiful, multi-layered record and a genuinely great achievement of home recording.

During the course of recording Terrible Things Happen, Linton was joined by some
friends who became the full­-band Aislers Set line­up: Alicia Vanden Heuvel on bass,
Yoshi Nakamoto on drums, Wyatt Cusick on guitar and Jen Cohen on keyboards. It's this fantastic line­up that toured the US and Japan in 1999 and put together the second album, 2000's The Last Match. Where Terrible Things Happen's synthesis of 60s mod-pop, 70s punk and 80s/90s indie flavors provided an end-­of­-the­-century summation of where pop had been and where it was heading, The Last Match upped the ante even further.

More ambitious in conception, The Last Match expanded the band's sound into more orchestral areas. While the songs are still driving and catchy as a fish hook, the arrangements are far more sophisticated. The instrumentation has been augmented by Jen's vintage keyboards/organs and various horns, giving the tunes the timeless feel of classic groups like the early Bee Gees, The Zombies and The Millennium. Still preferring to record in the garage where they were allowed unlimited time for experimentation, the band had no problem crafting an amazing sounding album that could have sprung fully-formed from the hallowed studios of Gold Star. This is no murky lo­-fi production, but a fully­ rounded and rich ­sounding recording with a warm, analog sound.

The Last Match was a roaring success, garnering fantastic reviews and spurring the band to tour the US, Japan and UK multiple times, with bands (and fans) including Belle & Sebastian, Black Dice, The Gossip, Erase Errata, Comet Gain and Sleater­-Kinney. The band even achieved the ultimate badge of indie honor, recording a session for the legendary John Peel. Even more, The Last Match established The Aislers Set as one of the most beloved indie­ pop bands of their generation. It was a must­listen album, one that fueled fond memories, sparked love affairs, set off spontaneous dance parties, and reminded us all of the power of songs and song­craft and POP. It's chiming guitars and indelible melodies were heard everywhere from London to Tokyo, from Glasgow to Malmo: with The Last Match, The Aislers truly came into their own.

2003 saw the release of the band's final album, How I Learned To Write Backwards. At once more baroque and edgier than its predecessor, How I Learned To Write Backwards expertly wound together so many strands of pop history with such personality, atmosphere and style that there's never any doubt that you're listening to a band with vision. Far from being a "name the reference" game, The Aislers used the past as inspiration rather than a blueprint, so the echoes you might hear of, say, Phil Spector's Wall of Sound or Laura Nyro's soulful lyricism are so well­ integrated into the Aislers' sound that they're more akin to the spice in the stew rather than the stock of the soup.

While the band had stopped playing and recording together by 2004 thanks to life
commitments, their reputation has only grown and sporadic reunion shows, most recently in NYC for the Chickfactor 20 celebration, have met with rapturous response.

THE AISLERS SET LINKS:

OFFICIAL SITE
SLUMBERLAND
SUICIDE SQUEEZE

Actual links: http://www.aislersset.com/
http://www.slumberlandrecords.com/
http://suicidesqueezerecords.tumblr.com/

http://4ad.com/uploads/news/517_c_w_450_h_450.jpg

Today sees Cocteau Twins' Blue Bell Knoll and Heaven or Las Vegas return to vinyl racks in Europe.

The first time either have been pressed since release, both come on heavyweight black vinyl and are being cut from brand-new HD 96/24 masters.

You can buy Blue Bell Knoll from Rough Trade, Jumbo, Piccadilly, Resident, Bleep, Boomkat and 4AD (US).

You can buy Heaven or Las Vegas from Rough Trade, Jumbo, Piccadilly, Resident, Bleep, Boomkat and 4AD (US).

The albums are both available to stream on the platform of your choice:http://smarturl.it/rtyp9l Blue Bell Knoll / Heaven or Las Vegas.

Released in 1988, Blue Bell Knoll is the Cocteau Twins’ fifth studio album. Delivered after a slightly longer period between records than fans had been used to, this was the first they recorded in their own studio. Freed to now make music how they wanted and with no clock to beat, they rose to the challenge of producing it themselves with real aplomb, introducing a new pop sensibility to their sound, expressed through shorter, 'hookier' songs with occasionally intelligible lyrics. Sound On Sound magazine praised them for showing “an uncanny feel for contemporary sound possibilities without making even the slightest concessions towards the mainstream.”

Heaven or Las Vegas followed in 1990 and is recognised as their most commercially successful release, reaching number seven in the UK album charts. Numerous publications have since declared it one of the best albums of the 90s, Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4AD biography, Facing The Other Way, that this album wasn’t just his favourite Cocteaus album but also his favourite all-time 4AD album, and“by a long shot”, calling it “the perfect record.”

from Numero:

http://www.numerogroup.com/images/product_images/web/solaris-the-waves-of-the-evernow-1.jpg

THE WAVES OF THE EVERNOW LP

Influenced by Amon Düül, Richie Blackmoore, and The Art Ensemble of Chicago, Solaris's experimental mash of jazz, noise, and rock rendered a product darker and more ominous than that of their idols. Comprised of Jawxillion Loeb on guitar, Karellen XOR on Farfisa Organ, and Ed Kramer on drums, the Hyde Park trio's arsenal of amplifiers and effects had to be hauled to performances via U-Haul. Despite their tonnage, Solaris rarely rarely performed outside of Alice's Revisted, a North Side juice bar that booked an inordinate number of blues legends, rising rock icons, and doubled as headquarters for pot zine, The Seed.

In 1973, the band holed up in a 15’x20’ basement rehearsal space at the corner of 54th and Blackstone in residential Hyde Park to record. Two colored light bulbs hung from the ceiling, one representing the red universe, the other the blue universe. One side of the room was filled with instruments while the other, a reel-to-reel tape recorder. The vocals and organ were run through the same Twin Reverb amplifier, while three echoplex tape delay units ran at various speeds, giving their in-the-red recordings a wash of rich distortion. Despite interest from Styx producer John Ryan and Saul Smaizys of WXRT's Triad Radio, the band’s recordings were never formally released.

Available only through the Numero Group website in a limited edition of 500, all orders will include a digital download of the release plus a download of the band's 1970's live performance at The Metaphysical Festival, held at the Headquarters of the Theosophical Society of Wheaton, Illinois

(LP is $25, mp3 is $10)

From Drag City:

http://d31hzlhk6di2h5.cloudfront.net/20140718/ef/2a/40/26/91308da9d4f3bbd0f2645373_476x271.jpg

We already introduced you to his music, now Drag City invites you into the home and mind of Matthew Young! A reissue of Young's 1981 New Age masterpiece, Recurring Dreams, is set to hit the shelves on July 22nd, courtesy of yours truly and Yoga Records. Detailed minds will recall, Drag City and Yoga teamed up to bring you Matthew Young's Traveler's Advisory back in the 2010. Recurring Dreams happens to be that album's precursor (the fabric of time wrinkles, friend), and equally as potent! This intimate video (shot by Douglas Mcgowan of Yoga) provides a never before seen look into Matthew's influences and motivations for recording Recurring Dreams. His eccentric surroundings take center stage and offer a glimpse into his magical world. Breathe deeply and take it all in--Recurring Dreams will soon fill your nights.
https://www.youtube.com/watch?v=MH7nKiQuwcc&feature=youtu.be

Brace yourselves for more Drag City copy:

http://d31hzlhk6di2h5.cloudfront.net/20140725/fd/d8/20/75/0fadb350a4089164328a1a9c_476x271.jpg

...So we are very pleased to present you with special editions of three of Drag City’s earliest singles for a special Record Store Day of your own choosing. Three titles that changed the world! Our world, that is. DC1 - the one that almost ended it all before it really started! Any venture with Royal Trux was a straight-up GAMBLE in 1990, but not only did we manage to sell through a few thousand of these babies in a mere two-plus years, we also managed to make money on another couple dozen Royal Trux releases over the next decade. Plus, the record's great! "Hero Zero" b/w "Love Is..." are you kidding?
Or what about DC2 - the one that almost broke us on Billboard, how about that! (it would be another fifteen years before we got that close). Yes, Pavement are remembered for a few things - and "Demolition Plot J-7" might just be one of them! It's a great li'l 7"EP, with early hits like "Forklift," "Recorder Grot" and "Perfect Depth." A polar opposite in so many ways from Royal Trux, thus determining what we around the office (apartment, broom closet) would call "our aesthetic" - polar opposites!
For the third of this early trifecta of short-play classics, we have DC8, the "I Hear the Devil Calling Me" 7"EP from New Zealand's Xpressway label. Little remembered today (except by geeks - and us (geeks)), Xpressway was run by The Dead C's Bruce Russell, himself a part of the original third-wave of Down Under-Mania, and he had what it took to draw all the best NZ talent to his doorstep (a strong pair of lungs!). Thus, we have mini-hits from all the biggies of back then - Alastair Galbraith! Peter Jefferies! Gate! Cyclops! A Handful of Dust! Dadameh! Stephen Kilroy! Queen Meanie Puss! David Mitchell! OLLA! The Dead C, and The Renderers, whose rendition of the title track haunts our synapses to this day. How are they all squashed on to one 7"? Simple - super short songs! It only makes great records better - like this single, and all three, really!
They're each pressed on audiophile gold(like) vinyl, and the Trux and Pavement records are packaged in all-new, audiophile sleeves (tip-on, bitch!). The Xpressway single goes them one better, being sold in orignal/NOS sleeves! WHAT.
Any day you go to the record store is Record Store Day - so Happy Record Store Day from all of us at Drag Motherfuckin' City!

Is that for the Record Store Day coming up in November?!

a special Record Store Day of your own choosing.

Alright then.

I saw I Hear the Devil Calling me at a record store yesterday, so I guess yesterday was record store day, except I didn't buy it.

These have been around before, but---for those of us finally drinking the purple PVC (getting a damn record player):

https://gallery.mailchimp.com/480cdd9e0b390c18e4fc2e8a4/images/32795ea4-4d45-45db-978a-b542d347c56c.jpg

CAN
14 CATALOG ALBUMS RE-ISSUED ON INDIVIDUAL VINYL FOR THE FIRST TIME IN OVER A DECADE

LISTEN TO ‘SERPENTINE’ FROM OUT OF REACH
AVAILABLE DIGITALLY FOR THE FIRST TIME
https://soundcloud.com/muterecords/can-serpentine/s-ObTeb

MONSTER MOVIE, TAGO MAGO, SOUNDTRACKS, EGE BAMYASI
TO BE AVAILABLE SEPT 2nd, 2014
“…they were perfect...they were eternal, and we can share it” – Alan Warner

"Can are the most revolutionary band ever…” - New Order’s Stephen Morris
Seminal experimental rock group Can will re-issue fourteen catalog albums on vinyl, which have been unavailable on the format for over a decade. The first four to be released - Monster Movie, Tago Mago, Soundtracks, and Ege Bamyasi – are regarded as some of the most groundbreaking works in rock history and are due out September 2nd, 2014, on Mute.

Can will also release The Lost Tapes as five individual vinyl albums, previously released only as a box set.

Can, founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit, formed a group that utilized and transformed all boundaries of ethnic, electronic experimental and modern classical music. Regarded as one of the most influential avant-garde rock groups in history, Can were at the forefront of the German krautrock movement of the late 1960’s and early 70’s along with such bands as Neu! and Kraftwerk. Combing elements of psychedelia with classic pop and progressive compositional methods, Can’s music directly inspired major artists of the period such as David Bowie and Iggy Pop, before going on to shape everything from indie rock to electronica.

Can’s powerful influence has never diminished, and their mark is apparent in the bands who freely acknowledge their significance - from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead.

Earlier this year, Faber & Faber announced they will release a Can biography / symposium, curated by Irmin Schmidt. The biography will be written by Rob Young, and the symposium section will use Can as a starting point for a collection of stories, statements and interviews. For more information, click here.

The 33 1/3 series of books have just announced that Alan Warner, a long time fan of the band and the author of the sleeve notes for the acclaimed Can Vinyl Box release, will release a book about Tago Mago in November. For more information, click here.

Upcoming release schedule for the entire vinyl reissue series:

October 7th: Future Days, Soon Over Babaluma, Landed, Flow Motion, Saw Delight (inc CD)

October 21st: Can, Delay, Out Of Reach (inc first time on CD), Rite Time, Unlimited Edition

November 4th: The Lost Tapes, volumes 1-5

More details on the September 2nd re-issues below.
Monster Movie
The debut album from 1969 with Malcolm Mooney on vocals.
The use of improvisation, experimentation, editing and layering of sounds set a standard for Can’s subsequent albums in the early 1970s. Includes ‘Mary, Mary So Contrary’ which Radiohead’s Johnny Greenwood picked out for the soundtrack to the film ‘Norwegian Wood’.

TRACKLISTING:
Father Cannot Yell / Mary, Mary So Contrary /
Outside My Door / You Doo Right
Soundtracks
A compilation album, first released in 1970, consisting of tracks written for film. Significant in it’s marking of the departure of Malcolm Mooney and arrival of Damo Suzuki, both vocalist feature on the album and is the only time to do so until the release of The Lost Tapes in 2013.

TRACKLISTING:
Deadlock / Tango Whiskeyman / Deadlock /
Don’t Turn The Light On, Leave Me Alone /
Soul Desert / Mother Sky / She Bring The Rain
Tago Mago
Can’s third studio album from 1971, the first full album with Damo Suzuki and the album that is often sited as ‘the’ Can album to own, although, everyone has a different favorite Can album. The original double vinyl release is echo’d on the new remastered version.

TRACKLISTING:
Paperhouse / Mushroom / Oh Yeah / Halleluhwah / Aumgn / Peking O / Bring Me Coffee Or Tea

Ege Bamyasi
Can’s fourth studio album from 1972 features ‘Sing Swan Song’ which Kanye West sampled on his track, ‘Drunk and Hot Girls’. Beck also covered ”I’m So Green" on his album Graduation. In 2012 Pavement’s Stephen Malkmus performed the album in it’s entirety in Cologne in the presence of some of the founding Can members. Another Can album that is hard, nigh impossible to find fault with and includes the influential ‘Spoon’ which the band named their record label after.

TRACKLISTING:
Pinch / Swing Swan Song / One More Night
Vitamin C / Soup / I’m So Green / Spoon
CAN: WEBSITE | FACEBOOK

MUTE: WEBSITE | FACEBOOK | TWITTER | TUMBLR | SOUNDCLOUD

https://gallery.mailchimp.com/480cdd9e0b390c18e4fc2e8a4/images/769d485e-52a7-41a9-99d1-787236e4a4ab.jpg

https://gallery.mailchimp.com/480cdd9e0b390c18e4fc2e8a4/images/7f7a7236-160f-44c0-88e2-85c596108a87.jpg

https://gallery.mailchimp.com/480cdd9e0b390c18e4fc2e8a4/images/60223584-d3ff-40f4-ba45-f0290507c023.jpg

reminds me: from the music documentaries online thread:

Just watched this good Can documentary, from 1999, 1 hour, 27 min. Mostly music, mostly long performances.Would like to see full-length "I Want More," with the disco gold dust women, and this is the only one where audience, well some of the audience, move with the music, rather than staring, like the students in The Blow-Up. From 1971 on, we get various vocalists, the funk-and-then-some, tophatted bassist, when Holger transfers to his tapes, shortwave and Morse key; excerpts from previous Continental docs, stretching out on The Old Grey Whistle Test, in the home stretch with comments and remix excerpts from Carl Craig, Sonic Youth, James Lavelle and U.N.K.L.E, the Orb ("The first time I heard about Can was in this thing about the Sex Pistols"). The music never stops, or takes a backseat to talk.
https://www.youtube.com/watch?v=kNhuwkmmzak
― dow, Friday, June 27, 2014 12:17 AM (1 month ago) Bookmark Flag Post Permalink

Bedhead: 1992 - 1998.

The complete studio recordings of Dallas, Texas, slow-core pioneers are finally being reissued on vinyl, both as stand-alone albums, and as part of a gorgeous box set (direct to consumer only and limited to 2000; pictured above). This comes to you from who else but Numero Group, on November 11th. Every cymbal crash, guitar brush, and whisper can be heard across five LPs or four compact discs.

The deluxe box includes WhatFunLifeWas, Beheaded, Transaction De Novo, and an additional disc (2xLP in the vinyl box) overflowing with singles, EPs, and outtakes, alongside a perfect bound book dissecting the quintet's nervous slouch through the '90s.

WATCH A PREVIEW OF BEDHEAD: 1992 - 1998:

http://youtu.be/8xmCZiJt4XE

"I met them in full flower, in the depths of their mania, pursuing contemplative music with the kind of intensity normally found in psychopaths. No detail was too small to sweat, no crack in the veneer not worth gluing and clamping. We built a common language, equal parts philosophy, rock music, and disdain for the dullness around us." - Steve Albini, on recording Transaction De Novo

WhatFunLifeWas

Liferaft

Haywire

Bedside Table

The Unpredictable Landlord

Crushing

Unfinished

Powder

Foaming Love

To The Ground

Living Well

Wind Down

Beheaded

Beheaded

The Rest Of The Day

Left Behind

What's Missing

Smoke

Burned Out

Roman Candle

Withdraw

Felo De Se

Lares and Penates

Losing Memories

Transaction De Novo

Exhume

More Than Ever

Parade

Half-Thought

Extramundane

Forgetting

Lepidoptera

Psychosomatica

The Present

Singles/B-Sides/Etc.

Heizahobit

Dead Language

What I'm Here For

Disorder

The Dark Ages

Inhume

Any Life

Bedside Table (7" version)

Living Well (7" version)

The Rest Of The Day (7" version)

I'm Not Here

Intents and Purposes

Golden Brown

Leper

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140829/d5/21/d5/c6/42204699c56ba1878761ecb8_476x271.jpg

THE GEORGE-EDWARDS GROUP GIVE THE 3RD DEGREE
The strange and wonderful home recordings of The George-Edwards Group were recorded in the 1970s, yet they're marked by natural tape sounds that give them a timeless space. Having thus far provided two full albums of sanguine melody and mood, 38:38 and Archives, it's time now to prep our universal ear for the third installment of the book of George-Edwards, Chapter III!
Chapter III of The George-Edwards Group archives draws from deep in the pockets of their sporadic later embodiment. With their grand 70s dreams of Hollywood stardom fading, Edward Balian and Ray George continued to track their winsome muse, perhaps a bit more aggro and with a bit more dolor than they had back in the 38:38 days. Although late-60s Detroit was the seedbed for The George-Edwards Group, they had more in common with Silver Apples than the Amboy Dukes. Enamored of keyboard effects and sonic tomfoolery, they developed their sound away from the scene, slowly developing a spacily elegant pop music as the 70s passed by outside their basement lair. Scoring their melancholic melodies with bells, pianos and synthesizer led to something you might almost call ba-roque n roll (if someone hadn’t already said it about The Left Banke!), or perhaps like demos for Big Star’s Third. Chapter III throws the vault open once again with flair. Future generations (and this one too) will treasure these lost-and-found sounds as if they were their own; time makes The George-Edwards Group only more powerful. Chapter III begins October 21st!

I heard a rumor that Trouble In Mind is reissuing "The Further Adventures of Charles Westover” by Del Shannon. One of my favorite records!

Numerophiles of the world rejoice!

After an extremely successful tour of Europe this summer, The Numero Group’s own Rob Sevier, Ken Shipley, and Jon Kirby are bringing our records and message to other friendly climes. We know that many of you will not be able to travel to say, Scotlandia to see us, but there are plenty of west coast Canadians, Emerald Islers, and Blighties young and old who’ve never feasted their eyes or ears on these dashing lads. But it’s not just dudes in their thirties playing 45s for disinterested hipsters, we’re talking, shilling an exclusive album, and even hosting one of our patented pop-up stores. We’d love to see you, or at least we’d like to see you with your wallet in one hand.

The schedule:

September 10th Seattle, WA @ Barboza
September 11th Victoria, BC @ Rifflandia
September 20th Edinburgh, Scotland @ Studio 24
September 21st Manchester, England @ Elektrik Bar
September 23rd London, England @ Rough Trade East (a conversation with Rob Sevier & Ken Shipley)
September 24th London, England @ Servant Jazz Quarters
September 25th Dublin, Ireland @ Sugar Club
September 26th Cork, Ireland @ Triskel Arts Centre
September 27th London, England @ Ace Hotel
September 28th London, England @ Strongroom (Numero pop up store)

When we went to Europe we brought this dandy 45 by the Out of Sights:
http://www.numerogroup.com/products/out-of-sights-tears-dont-care-who-cries-bw-for-the-rest-of-my-life
We’re pleased to announce that we’ll be bringing not only a box full of those gems but also our first, and probably only, northern soul compilation.

http://www.numerogroup.com/images/product_images/web/tinmine-soul-supply-1.jpg

Only 1000 of these exist, and beyond showing up to a Numero gig in the UK or going to an indie store in the UK, the only way to procure this 10 quid, 20 song, talc-dusted piece of reverse colonial madness is to be a Numero subscriber, or to become one. Track list and pithy description here:
http://www.numerogroup.com/products/tinmine-soul-supply
We’ll of course have this and hundreds of other Numero titles at our London pop-up store. Looking for a copy of a rare Numero single? Did you just find out about our amazing Purple Snow: Forecasting The Minneapolis Sound 4LP/2CD box set because we won AIM's "Special Catalogue Release of the Year" award and now need copies for your friends, neighbors, and relatives? Wanna buy Cities of Darkscorch without having to pay an arm and a leg for freight? We’ve got you covered. Here’s those details:

The Numero Group Pop Up Emporium
Sunday, 28 September 2014
Strongroom Bar & Kitchen
2PM-10PM
Cash/Credit

We can’t wait to be showered with your undying love and affection.

Numero teased a possible Ork Records box on instagram today. That would be nice.

http://pitchfork.com/news/56557-captain-beefheart-box-set-sun-zoom-spark-1970-1972-announced/
(only relevance of Pitchfork is that it has the tracklisting and links to some related videos)

Lick My Decals off, Baby, Spotlight Kid and Clearspot all released in a box set on November the 11th with a 4th disc of outtake material. All remastered.
Decals was my first Beefheart lp after picking it up in a scratched up copy in my local 2nd hand record shop in '83. I thought the next lp after it was Clearspot since I'm hearing the start of a soul influence that becomes a lot more overt on that record on it. Seems to be about half way between that lp and Troutmask Replica. I think there were line-up changes between each of the lps at that point anyway weren't there? one guitarist leaving between TMR and LMDOB or something and further changes before the more conventional Clearspot. Clearspot is still reasonably weird but does sound like it fits in with other things around the same time, maybe that's just thinking of things like Little Feat who contain other alumni of Beefheart/Zappa in their ranks as being normal though.

Anyway I'm looking forward to this. Got to remember to try to get hold of the Bill Harkleroad book reprint if i didn't already miss it.

all of those outtakes are amazing and essential, there's a 5CD version floating around that was on Dime

My dad only had two rock LPs: sgt peppers and lick my decals. The rest was all baroque music and west coast jazz. It's my favorite beefheart.

I need to have another go at Captain Beefheart one day.

Is that Beefheart thing gonna a Handmade release, or on the regular Rhino label? Because $$$$$$$

ooh good question

I hate Rhino handmade, put that goddamn shit on your website as FLAC files after the CDs sell out you idiots

Amazon has it at $50, which seems on the low side for a Handmade release (when measured against the $40 2CD sets they peddle).

$99 for the vinyl but ooooh I want it, that cover art is great

Lots of people of been waiting for this for a long time, especially Decals which was out of print for 25 years. Wish I'd sold my copies before this was announced, as they would have paid for the new one. Two of his best albums, can't go wrong here.

Now let's have a matching Starsailor/Blue Afternoon/Lorca set (with sufficient lead time for me to sell my Starsailor CD at market value)

diving in to the tracklist for those outtakes, they seem to have nothing or very little in common with what is commonly known as "The Spotlight Kid Outtakes", which maybe makes them even more essential. Wonder where they dug this stuff up? Killing me that "Funeral Hill" has still not been officially released...

Yall may well be on top of this, but just in case: this guy does conjectural, "imaginary" versions of albums that never were (aborted, thwarted, etc)---incl Beefheart's apparently intended 2-discIt Comes To You In A Plain Brown Wrapper. Mostly if not all previously if belatedly released, but here minus what the Captain called "psychedelic Bromo-Seltzer" and other label mandates, and in what may be the intended order:
http://albumsthatneverwere.blogspot.co.uk/2014/08/captain-beefheart-it-comes-to-you-in.html

Oh cool, that guy's Floyd and VU and beach boys assemblies were wonderful

yes that's excellent, thanks

Bob Lind's best record will be reissued!!
http://mapacherecords.com/shop/bob-lind-since-there-were-circles/

https://light-in-the-attic.s3.amazonaws.com/uploads/release_image/16821/image/tmp_2F1406069701342-39oc035ht3jif6r-2998088339e48de476d32d330db2fcd2_2FBarbara_Cover.jpg

Barbara Lynn

Here Is Barbara Lynn

Light In The Attic

LITA 119

Available: October 28, 2014

To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that’s just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, “You’ll Lose A Good Thing,” recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit.

It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. “I decided that playing piano was a little bit too common, you know what I mean?” says Lynn in the new liner notes. “You’d always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that’s when I got interested in learning to play the guitar.” Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best–even as a teenager.

Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. “It took a lot of time,” Lynn remembers of the recording process, “but we got ‘Good Thing,’ we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.”

The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn’s mother to tell her what a talented daughter she’d raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, “Oh Baby (We’ve Got A Good Thing Goin’)” was covered by The Rolling Stones.

Though she was a precocious performer, hers is a talent that came to full bloom on Here Is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction of Lynn’s prodigious talents, her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It collected her early hit and a raft of new songs, each packed with Lynn’s passion and fire. Yet the introduction to her world–now reissued by Light In The Attic–largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the ‘70s and ‘80s. Now touring again, she’s amused to think of her 46 year-old album gaining new fans. “I hear this album, and it seems like… it seems like the old times to me,” she says. "I don’t know, it’s strange to know it’s coming out again. It is going to be a wild, first time thing for me, like going back in time. But I’m excited to see what happens.”

24bit / 96kHz remastering from original 1/4” tapes
Liner notes by Jessica Hundley interviewing Barbara, plus rare archive photographs
180gram LP housed in an expanded deluxe Stoughton gatefold “Tip-On” jacket

Tracks streaming here, for now: http://lightintheattic.net/releases/1367-here-is-barbara-lynn

Hate that they're digitally remastering it for vinyl, but I appreciate their honesty. At least it's not CD quality.

Sly Stone
I’m Just Like You: Sly’s Stone Flower 1969-70
CD & Digital available NOW
LP Available: November 4, 2014

Check out this short doc on the making of this reissue project HERE.
https://www.youtube.com/watch?v=1oCyHAhJgFA

In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly’s musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower’s releases were credited to their individual artists, but each had Sly’s design and musicianship stamped into the grooves–and the words “Written by Sylvester Stewart/Produced and arranged by Sly Stone” on the sticker.

Set up by Stone’s manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone’s little sister Vaetta Stewart. It was short lived too–the imprint folded in 1971–but its influence was longer lasting. The sound Stone formulated while working on Stone Flower’s output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly’s productions for Stone Flower would inform the basis of his masterwork There’s A Riot Goin’ On.

The first 45 came in February 1970: Little Sister’s dancefloor-ready “You’re The One” hit Number 22 in the charts–the label’s highest showing. The follow-up, “Stanga," also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone’s “Dynamite," featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic "Life And Death In G&A” is one of the bleakest moments Sly Stone ever created on disc (Hicks’ prior single for Scepter, “Home Sweet Home,” the first released Stone Flower production, is also included).

This long overdue compilation of Sly’s Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you’ll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There’s A Riot Going On. I’m Just Like You: Sly’s Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone’s career.

-Compilation and notes by Alec Palao
-An exclusive new interview with Sly Stone himself
-In-depth liner notes with first-hand reminiscences of the Stone Flower era from many of the participants
-Features all five Stone Flower produced singles plus ten previously unissued cuts from the label archives
-All tracks newly remastered from the original tapes
-2xLP housed in a gatefold “tip-on” jacket
-Sly approved Rotter and Friends x Light In The Attic “Stone Flower” shirts
-Limited edition poster illustrated by Jess Rotter

--

that looks awesome

I am psyched about that. I only have one original Stone Flower 45 and kinda want everything. I'm sure there's some crossover with that Ace label comp of his recordings from the late 60s and early 70s, but that's fine.

Word from Forced Exposure newsletter: no bonus tracks, but good presentation:

BRIAN ENO & JON HASSELL: Fourth World Music Vol. I: Possible Musics CD
GLITTERBEAT (Germany) / GB 019CD
release date: 11/25/2014

DESCRIPTION

Originally released in 1980, Jon Hassell and Brian Eno's collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as "ambient music" but it also facilitated the introduction of Hassell's "future primitive" trumpet stylings and visionary "Fourth World" musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno's ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell's "Fourth World" concept is apparent not only in the marketplace genre "World Music" but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell's experiments with a "Fourth World" musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell's debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell's performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute "Charm (Over 'Burundi Cloud')" was a carryover from Hassell's concert repertoire. Hassell has made it clear in several interviews over the years that the album's shared billing was at least partly inaccurate and that Eno's contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno's records and more drone-based, reflective and sonorous than most of Hassell's outings, Possible Musics -- whatever the actual division of labor in sound and concept -- is a seminal highlight in both of their discographies. A meeting of two of the late 20th century's most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell's musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. "Fourth World" strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.

TRACKLISTING

01.

Chemistry

6:54

02.

Delta Rain Dream

3:27

03.

Griot (Over "Contagious Magic")

4:02

04.

Ba-benzélé

6:10

05.

Rising Thermal 14° 16' N; 32° 28' E

3:09

06.

Charm (Over "Burundi Cloud")

21:37

HIGHLIGHTS

- Glitterbeat reissues the genre-defining 1980 album Fourth World Music Vol. 1: Possible Musics from Brian Eno and Jon Hassell.
- Not only a defining moment in ambient music as defined by Eno, but also heralded the introduction of Hassell's "future primitive" trumpet stylings and visionary "Fourth World" theories.
- Gatefold LP version pressed on 180 gram vinyl with CD.
- "Jon Hassell invented the term 'Fourth World' both to describe his music and as a general term applicable

Gatefold LP version pressed on 180 gram vinyl with CD.
Oops, didn't notice that! The original vinyl was real good, at least on my Hassellhead friend's splendid stereo.

Oh yeah, also from Forced Exposure news; this one does have a couple bonus tracks:

http://www.forcedexposure.com/App_Themes/Default/Images/product_images/close_up/b/BANG082LP_CU.jpg

GUN CLUB, THE
TITLE
Mother Juno
FORMAT
LP

LABEL
BANG! RECORDS
CATALOG #
BANG 082LP
GENRE
ROCK
RELEASE DATE
10/14/2014

At last, a vinyl reissue of this 1987 classic album by The Gun Club, featuring Jeffrey Lee Pierce and Kid Congo Powers (The Cramps, Nick Cave And The Bad Seeds). Mother Juno meant the evolution of sound at The Gun Club's discography, entering into musical adventures where Jeffrey Lee Pierce and Kid Congo Powers mixed their guitars and melodies as per Television and Jimi Hendrix. This record has the addition of guitar cooperation from Blixa Bargeld (Einstürzende Neubauten, Nick Cave And The Bad Seeds) and was recorded in Berlin during the wild period before the fall of the Wall. Intense, obscure, rich in sound and writing, Mother Juno is a timeless classic for all fans of rock music. Proudly released by Bang! Records, courtesy of Creeping Ritual Productions, this record has been remastered and is presented in a deluxe gatefold edition, including two bonus tracks ("Crab Dance" and "Nobody's City" which has been recently covered by Iggy Pop and Nick Cave, alongside Sonic Youth's Thurston Moore and Beasts Of Bourbon's Brian Henry Hooper) previously unreleased on the original edition.

from Drag City newsletter

http://d31hzlhk6di2h5.cloudfront.net/20141003/96/10/ad/98/67e1dbfb3186acbc7cc919ea_476x271.jpg

RETURNING TO THE FIRST COMING OF THE SOURCE FAMILY
With the story of The Source Family out there, both as the subject of an acclaimed book and documentary film (as well as an ongoing series of rare, never-before-released recordings), it’s time to turn the light back on the records that made this whole thing a story in the first place. In the 1990s, it was a revelation to discover that there was a series of records made by a hippie cult led by a big Santa Claus-looking guy named Father Yod. More so that these records weren’t predictable light-rock recitals about Jesus — far from it! Instead, they were darkly psychedelic, stream-of-consciousness jams, with Father and the members of his band (usually The Spirit of ’76 or YaHoWa13) transforming divine coils of enlightenment rock over and over. The records were amazing home-recorded documents, adorned with hand-drawn phrases, logos and grainy color shots of what appeared to be truly magical everyday cult life with Father.
Now we return to the beginning, for the second coming of Kohoutek. It was the first spontaneous recording they actually pressed up and came out in 1973, the year of the comet Kohoutek, whose immanent arrival spawned a new round of cosmic consciousness in the media and with people all over the planet. It was more than a comet; its radiance was enormous, coming from ancient times to be experienced again by the enlightened people of the day. The Source Family were alive with expectation about the return of this long-haired messenger, and Father devoted considerable time chanting and eventually changing in his identity to Yahowa while meditating on the comet - the event provided an infusion of energy. The two sides of Kohoutek are a special jam that passes through tranquility to exultation, a tapping of the passing flame in the skies and a greeting from Father to the messenger and bearer of such awesome gifts. Very pure.
By contrast, Savage Sons of Ya Ho Wa is a record that Father doesn’t appear on. Well, he doesn’t play on the record, but look on the cover — Yahowa is still in the driver’s seat. Musically, YaHoWa13 go it on their own, with Octavius, Sunflower, Djinn, and Rhythm collaborating with Electron, who supplies powerful lead vocals. What’s here is a collection of heavy rock songs that will echo in your consciousness, like the opening track, “Edge of a Dream,” and the refrain “I want to see/What’s going on.” The guttural nature of Electron’s vocal sound may recall the name of Beefheart to some; Electron occupies the same unconsciousness, free in the communal slipstream, with less blues and more country gospel in his soul.
Neither album has been available on vinyl for decades, but by YaHoWa, it's our mission to bring these emanations of original, pure Source Family spiritual visions from the mid-1970s to you, November 18th - prepare for their re-arrival on this earth!

Fucking finally. Savage Sons isn't very good, but I'm just glad they're reissuing these and not more echoey leftovers.

Now let's have a matching Starsailor/Blue Afternoon/Lorca set (with sufficient lead time for me to sell my Starsailor CD at market value)

― Rand McNulty (Jon Lewis), Sunday, September 14, 2014 2:30 PM (2 weeks ago) Bookmark Flag Post Permalink

If they're likely to do this at all I hope they'd add both audio and video of the Boboquivari set

Indeedio. Meanwhile:

https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/b85d5d83-0992-44a5-a281-3c6cf5e5722d.jpg

Black Beauty, the masterpiece by Arthur Lee’s legendary psychedelic rock band Love, is making its first-ever official release on CD, out November 11th via High Moon Records. The album had never been released in any format until High Moon Records put it out on vinyl in 2012. In November, Black Beauty will be available as a TrueSound Audiophile CD, packaged in a Hardbound Eco-Book. With its unparalleled sound and state-of-the-art packaging, Black Beauty is being hailed as an instant classic by critics worldwide. Read and share the exciting announcement courtesy of Rolling Stone.

The Deluxe CD comes with a 62-page photo-filled booklet with over 35 never-before-seen photos by Herbert W. Worthington and a revelatory essay by Ben Edmonds. Bonus
tracks feature explosive live Black Beauty-era Love performances, an unearthed Arthur Lee interview from 1974, and two unreleased Arthur Lee studio cuts. The ultra-rare title track from legendary filmmaker Max Julien’s “Thomasine & Bushrod’, recorded a few months after the completion of Black Beauty, was Arthur Lee’s first and only foray into film soundtrack composition. Recorded in 1973 for Hair Executive Producer Michael Butler’s Buffalo Records, Black Beauty remained unreleased when the label folded. Finally, after 40 years High Moon Records is honored to fulfill Arthur Lee’s wish that Black Beauty be heard by music fans worldwide on CD.

Black Beauty is that rarest of rock artifacts: a full-length studio album, from an undisputed musical genius. The album is the missing link in a
catalog that includes Forever Changes, the classic 1967 Love album
the New York Times called “one of the most affecting and beguiling
albums of all time.” With Black Beauty, Arthur Lee manages to
combine searing 70’s-rock with gorgeous melodies and stellar
songwriting—topped off by his most powerful, soulful vocals
ever. With its wonderfully eclectic collection of songs, the album offers
Love fans a rare glimpse into a previously undocumented phase of
Arthur Lee’s fabled career, while shining a light for new fans to
discover the unique genius that is the music of Arthur Lee and Love.

There will be a Love exhibit at the Smithsonian National Museum of African American History and Culture, which opens in 2015. Love’s Black Beauty album will be featured in the exhibit.

https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/be839ab9-f10f-4139-bec1-3196d90bd926.jpg

Gene Clark’s “Lost” Album Two Sides To Every Story Coming Out on CD For First Time via High Moon Records on November 18th, 90 Minutes of Unreleased Bonus Tracks Included

“Extra tracks, rare photos and detailed liner notes help make this the definitive version of a lost and nearly forgotten gem.” – American Songwriter

Two Sides To Every Story, the criminally long out-of-print solo album from Gene Clark, a founding member of The Byrds, will be released as a deluxe CD on November 18th via High Moon Records. The album, which came out in 1977 will be available as an expanded CD with bonus tracks. This re-mastered version of Two Sides To Every Story features absolutely stunning sound.

Two Sides To Every Story is packaged in a deluxe hardbound Eco-Book with a full-color 26-page book. It has never-before-seen photographs by Ed Caraeff from the Two Sides Photo session and liner notes by John Einarson, author of accalaimed Gene Clark biography, Mr. Tambourine Man. There is also an exclusive download card featuring over 90 minutes of unheard Gene Clark in 24-bit WAV files including stunning live full-band performances from 1975. The deluxe CD features a never-aired 1974 Gene Clark interview by L.A. disc jockey B. Mitchel Reed.

The album was voted #3 in the 2010 Uncut feature “Readers 50 Greatest Lost Albums.” From the country-rocking “Kansas City Southern”, to the to the achingly, melancholy, strings-and-synthesizer-draped “Sister Moon”, Two Sides is a masterfully eclectic album that All Music
Guide proclaims “succeeds on many more levels the more heralded No Other.” Produced by Thomas Jefferson Kaye (who also produced Clark's masterpiece No Other), the album features an all-star cast of musical co-conspirators: Emmylou Harris on backing vocals, banjo virtuoso Douglas Dillard, Country violin legend Byron Berline, pedal- steel ace Al Perkins, and Jeff "Skunk" Baxter on guitar.

Gene Clark served as The Byrds' chief songwriter in the mid-sixties, penning some of their most essential songs, including "Feel a Whole Lot Better," "Eight Miles High" and "You Showed Me." Clark is widely considered to be the pioneer of three musical genres: folk-rock, country-rock, and psychedelic-rock. Gene Clark’s inimitable songwriting and singing continue to inspire and influence countless artists, including: Robert Plant and Alison Krauss (who recorded TWO of his compositions on their 2010 Grammy® winning Album Of The Year, Raising Sand), Bob Dylan, Beach House, Fairport Convention, REM, Grizzly Bear, Tom Petty, Fleet Foxes, Yo La Tengo, and Wilco.

To coincide with the release, Gene’s son Kai has organized an intimate concert in celebration of his father's 70th birthday. The event will take place at the 175-seat Hotel Café in West Hollywood on November 16th 2014. https://www.facebook.com/GeneClarkTribute

stunning live full-band performances from 1975

wonder if this is the Ebbetts (?) Field set...

Dunno, but speaking of Gene, check this guy's stash: http://bbchron.blogspot.com

Especially (but not only) this: http://bbchron.blogspot.com/2014/06/gene-clark-gene-clark-box-set.html

https://www.youtube.com/watch?v=fpnnwYn93UA
From Light In The Attic
Available: November 25, 2014

Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey.

Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.

The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin “Sipreano” Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.

With cooperation and guidance from the artists, producers, family members, and behind the scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality, but also tell of real tragedy and strife, like that of Algonquin/Mohawk artist Willy Mitchell, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.

Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Métis singer-songwriter and poet Willie Dunn, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States’ Lower 48 and Mexico is currently in production.

34 tracks newly re-mastered
Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations)
Deluxe 3xLP set includes 60 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations), housed in a “Tip-On” slip case with three “Tip-On” jackets
Liner notes by Kevin “Sipreano” Howes
Color vinyl editions:
- 200 on “Burnt Orange” wax (LITA Vinyl Subscriber Edition) + “Sweetgrass” LITA logo tote bag and sticker
- 200 on “Tan” wax (LITA.net Pre-order Edition – limit 2 per customer) + “Sweetgrass” LITA logo tote bag and sticker
- 100 on “Gold” wax (LITA Shop Edition – limit 2 per customer)
preview tracks here: http://lightintheattic.net/releases/1332-native-north-america-vol-1-aboriginal-folk-rock-and-country-1966-1985

that looks so good -- a friend is heavy into this kind of stuff and put together a homemade comp a little while back. really amazing.

Numerophiles-

It will comes as no surprise to anyone reading this missive that we make a lot of vinyl. By year's end we'll have produced 43 unique titles for the year (down from 48 in 2013) across a handful of different imprints. About two years ago we launched a series of records dedicated to replicating original LPs down to their tiniest detail, using Numero's benchmark for quality. "The 1200s"—as they're known around the office—have grown from four modest LPs by Zion, Illinois' Shoes to nearly 40 albums, spanning a wide variety of genres and decades. We're pleased to add three more to record bins and shelves everywhere, available at finer shops or our website now.
The Montgomery Express

THE MONTGOMERY MOVEMENT

http://www.numerogroup.com/images/product_images/web/the-montgomery-express-the-montgomery-movement-2.jpg
Funk's answer to the Five Blind Boys of Alabama, Florida's Montgomery Express stood at the crossroads of politically conscious soul and mystically awakened dance music. Comprised of two blind musicians in their 20s and a teenage rhythm section, their lone LP was cut in 1972 for Orlando's Dove label, then reissued on Folkways two years later. Although the label usually steered clear of soul music and anything remotely commercial sounding, Montgomery Express tapped into Folkways' Guthrie-cum-Chamber Bros. nerve.

Sensational Saints

YOU WON'T BELIEVE IT

http://www.numerogroup.com/images/product_images/web/sensational-saints-you-wont-believe-it-1.jpg

Formed in the early '50s under the watchful eye of Tuskegee, Alabama, transplant Charles Chambliss, the Sensational Saints were handpicked from a Cleveland clothing store, a pool room, and from a group of friends singing from a third story window. After years spent rotating members and issuing stray singles for assorted non-denominational imprints, the group connected with the vocally inclined Reverend Melvin Kenniebrew at the close of the '60s, making good on their "Sensational" boast. "With God in their hearts and singing on their minds," the Sensational Saints mounted their crown jewel in 1973 with "You Won't Believe It" (Try It You'll Like Us). Pressed in conservative quantities by local gospel magnate James Bullard on his King James label, the group's lone long-player perfectly encapsulates the intersection of funk and gospel as only the religious conversion of a Bill Wither's tune can do.

Bulbous Creation

YOU WON'T REMEMBER DYING

http://www.numerogroup.com/images/product_images/web/bulbous-creation-you-wont-remember-dying-1.jpg

A truly underground document of the national obsession with heavy, mind-bent psychedelia. Originating in the unassuming suburb of Prairie Springs, KS, Bulbous Creation seem to have warped directly from the wrong side of the looking glass with a jabberwocky full of surreal lyrics and gratuitous guitar solos. Recorded and abandoned in the catacombs of Independence, Missouri's Cavern Sound studio in 1969, Bulbous Creation's eight-song screed invokes images of sinners, wage slaves, drugs, out of touch parents, jail, and the devil, naturally.

http://exclaim.ca/images/nico3.jpg

http://exclaim.ca/News/nicos_end_gets_expanded_vinyl_reissue_for_40th_anniversary

By Alex Hudson

...This reissue expands the collection to a double LP with the inclusion of radio sessions, TV performances and alternate versions. This more than doubles the tracklist from eight tracks to 17.

According to Music on Vinyl, this it the first time these extra tracks have been pressed on vinyl. That being said, the same songs have previously appeared on a 2012 CD reissue.

The End...:

A1. It Has Not Taken Long
A2. Secret Side
A3. You Forget To Answer
A4. Innocent and Vain
A5. Valley of the Kings
B1. We've Got the Gold
B2. The End
B3. Das Lied Der Deutschen
C1. Secret Side (John Peel Session 20th February 1971)
C2. We've Got the Gold (John Peel Session - 3rd December 1974)
C3. Janitor of Lunacy (John Peel Session - 3rd December 1974)
C4. You Forget to Answer (John Peel Session - 3rd December 1974)
C5. The End (John Peel Session - 3rd December 1974)
D1. Secret Side (Old Grey Whistle Test - 7th February 1975)
D2. Valley of the Kings (Old Grey Whistle Test - 7th February 1975)
D3. Das Lied Der Deutschen (June 1st 1974)
D4. The End (June 1st 1974)

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

http://d31hzlhk6di2h5.cloudfront.net/20141010/56/da/bd/e0/94975d28e6352c18489f836c_280x280.jpg

OLD 97’s’ CLASSIC DEBUT HITCHHIKE TO RHOME
RECEIVES EXPANDED 20th ANNIVERSARY REISSUE
ON OMNIVORE RECORDINGS
Prototype alt-country band’s 1994 indie debut release
now available as 2-CD (with 12 bonus tracks) or 2-LP package
Photo by Danny Clinch
DALLAS, Texas — The Old 97’s burst onto the alt-country scene in 1994 with their independently released debut, Hitchhike To Rhome. With subsequent albums on Bloodshot, Elektra, New West, and ATO Records, the quartet became one of the Americana genre’s most enduring bands.
To celebrate this anniversary, Omnivore Recordings will reissue Hitchhike, the band’s first album, with an expanded release on 2-CD, digital, and — for the first time — on double LP. Street date is November 17, 2014.
When band member and set co-producer Ken Bethea was revisiting the original tapes for this reissue, he discovered a treasure trove of eight extra tracks cut at the album sessions — many of which the band hadn’t even remembered recording. It seemed the perfect time to bring those previously unissued songs to light and add the tracks from their first four-song demo cassette to round out the early picture of the 97’s.
The 2-CD version of Hitchhike To Rhome contains the original album, coupled with a second disc of those 12 rare and unreleased tracks, many mixed from the original multi-tracks for the first time by longtime Old 97’s engineer Rip Rowan. The double LP (limited edition first pressing on translucent orange vinyl) features the LP on three sides with six of the recently unearthed tracks on Side 4. The download card included gives the buyer the complete 2-CD program. Both formats include rare photos, memorabilia and notes from Bethea.
The entire album has been remixed from original session tapes by Rip Rowan.
From the Too Far To Care reissue complete with demos (also available separately on vinyl as They Made A Monster), to the band’s sessions with the great Waylon Jennings, Omnivore continues to add to the Old 97’s legacy with this integral, early part of their history and catalog.
Return to the origins of the Old 97's with Return to Rhome!
CD TRACK LIST:
Disc One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Doreen
Hands Off
Mama Tried
Stoned
If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Disc Two
St. Ignatius (demo cassette version)
Drowning In The Days (demo cassette version)
Making Love With You (demo cassette version)

Stoned (demo cassette version)
Dancing With Tears (demo)*
Ivy (demo)*

Eyes For You*

Crying Drunk*

Victoria*

Old 97’s Theme Spgeddi*
Alright By Me*

Desperate Times*
LP TRACK LIST:
Side One
St. Ignatius
504
Drowning In The Days
Miss Molly
Dancing With Tears
Side Two
4 Leaf Clover
Wish The Worst
Old 97’s Theme
Tupelo County Jail
Doreen
Hands Off
Side Three
Mama Tried
Stoned

If My Heart Was A Car
Desperate Times
Ken’s Polka Thing
Tupelo County Jail
Side Four
Crying Drunk*

Dancing With Tears (demo)
Ivy (demo)*

Victoria*

Eyes For You*
Old 97’s Theme Spgeddi*
* Previously unissued

From Forced Exposure:

EDIP AKBAYRAM & DOSTLAR: Nedir Ne Degildir? CD
PHARAWAY SOUNDS (Spain) / PHS 020CD
release date: 10/14/2014

DESCRIPTION

As Turkey's political factions turned more and more violent in the late 1970s, Buscemi-eyed Edip Akbayram was nearly beaten up by rioting audiences for daring to sing about rural points of view that were naturally critical of Istanbul's political leaders. This second album of Anatolian psychedelia, originally released in 1977, showed defiance even in its gatefold art, with a drawing of the band members seeming to grow straight out the ground, covered in plant tendrils. Akbayram poached members of Mogollar and Bariş Manco's Kurtalan Ekspres to get the best fuzz breaks and Hammond slams & put 'em straight in your ears. The band also tried out some mixes that pushed the vocals or a particular instrument way up front, and of course, long, low, reverberant welcomes from Edip's echo-covered voice. Remastered sound, insert/booklet with photos and liner notes by Angela Sawyer of Weirdo Records.

CEM KARACA: Nem Kaldi? CD
PHARAWAY SOUNDS (Spain) / PHS 022CD
release date: 10/14/2014

DESCRIPTION

Cem Karaca announces his intent to slay all enemies of Istanbul's leftist counterculture with stompin' prog keyboards. Sophisticated and passionate, with flamboyant taste in sunglasses, Cem Karaca led Istanbul's music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet's broiling righteousness and also his listeners' common ground with their elders in Turkey's history. 1975's Nem Kaldi? gathers more '60s-'70s singles that lead the listener through Karaca's own musical history, skipping across various collaborations. Sink deeper into the intrigue both musical & otherwise as fractious personnel changes & real-life assassins multiply, yet the double-time drums & badass synthesizer schwings pound on.

https://www.youtube.com/watch?v=K6T3vxF_xF0&list=UUAVuQPaWK_yC_0qeN4Q1b-w

ERNAN ROCH: La Onda Pesada, Mexico 1971 CD
SHADOKS MUSIC (Germany) / SHAD 141CD
release date: 9/23/2014

DESCRIPTION

Almost nothing was known about this mysterious record until Shadoks' friend Enrique Rivas managed to make contact with Ernan Roch, very much like he did with Kaleidoscope. This album was recorded in Mexico in 1970 together with the band El Amor, who recorded three albums for Capitol Records. His outstanding song "The Train" has a similar vibe to Damon's "Song of a Gypsy," with great fuzz guitar all over. Ernan sings all songs in English, which is not very common for bands from Mexico. This is the first official release of this album from Ernan Roch with great liner notes and photos. One of the best releases from Mexico. Features four bonus tracks.

https://www.youtube.com/watch?v=Gl1PsmjK93E&list=UUAVuQPaWK_yC_0qeN4Q1b-w

CHARLIES: Musiikkia Elokuvasta Julisteiden Liimaajat CD
SHADOKS MUSIC (Germany) / SHAD 163CD
release date: 9/23/2014

DESCRIPTION

One of the most influential bands from Finland are Charlies. They recorded their second album Buttocks in 1970 and also that same year, this first album. Shadoks has included six bonus tracks on this release, including their rare single from 1969. The album was recorded for an underground movie of the same title, and Charlies had full artistic freedom to create psychedelic songs and effects. Their song "Sunshine Supergirl" is a good example of classic work by this amazing underground band, featuring great guitar riffs by Eero Ravi. The original LP was pressed only a few hundred times and is a very rare collector's item today. What a great band and what a great guitar player. Dave Lindholm wrote: "Charlies was the first big Finnish rock band for me. They played loud & rough. They looked like men, not popstars. They played the music I love. Could I ask for more? Well, I didn't!"

ENSAMBLE POLIFONICO VALLENATO/SEXTETO LA CONSTELACION DE COLOMBIA : Fiesta, Que Viva La CD
STAUBGOLD (Germany) / STAUB 134CD
release date: 10/28/2014

DESCRIPTION

The first-ever release of mythic Colombian groups Ensamble Polifonico Vallenato and Sexteto La Constelacion De Colombia. A full-length album of exclusive archive recordings featuring members of the Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas. Bland rock and pop music took over Colombia in the 1980s. For a country with so much musical heritage, this was blasphemy. Ensamble Polifonico Vallenato and Sexteto La Constelacion de Colombia were two groups who, in the late 90s, fought to redress the balance. Ensamble Polifonico Vallenato started as a joke, a parody of the bad vallenato music a bunch of university students would hear on the bus into campus. Their idea was simple: "to play whatever and see what happens." The resultant music was as heavy as rock, as acidic as punk and as far-out as the most left-field free-jazz. At the heart of it all was fiery accordion and acerbic vocals, often playing in call-and-response, just like the classic vallenatos of yore. The lyrics formed a big part of the group's identity; they were deep, sarcastic and surrealistic, and revelled in toying with Colombian clichés. The music soon stopped being a parody. The students began to learn more and more about Colombian folklore and their sound evolved. Soon, they ditched the accordion, replacing it with flutes from Colombia's Caribbean coast, and renamed the group Sexteto La Constelacion de Colombia. The musicians were now more mature, though no less experimental. Both groups were rebellious, counter-cultural and added to their reputations with anarchic live shows. At the time, the reaction was mixed. To quote the group, they were "approved by a few but disapproved by a lot." For many musicians who saw them play during their short lifespans, they offered an alternative, a new form of Colombian music that was rooted in their country's heritage but could be as innovative and experimental as any jazz or rock. A seed was sown that started a new branch of Colombian tropical music. The band members now play in groups like Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas -- bands that have released albums and toured internationally, as well as won critical and public approval while maintaining the revolutionary spirit that will ensure that the evolution of Colombian music is not ready to stop yet.

https://soundcloud.com/staubgold/ensamble-polifonico-vallenato-chandeath

Not a reissue, but good idea for Nashville exhibition: Dylan, Cash and the Nashville Cats: A New Music City. A little too varied for Rolling Country (really didn't get that Bridge Over Troubled Water fit, though Elvis did great live version of the title track)

http://cdn.americansongwriter.com/wp-content/uploads/2014/10/unnamed-1-e1413226269117.jpg

http://www.americansongwriter.com/2014/10/country-music-hall-fame-announces-new-exhibition/

this week the first worldwide release of Ethiopian jazz and funk band Hailu Mergia and the Walias' "Tche Belew” comes out on Awesome Tapes From Africa LP/CD/Digital/Cassette.

Recorded in 1977, the album went on to become one of the most celebrated of all Ethiopian pop recordings from the golden age of Addis Ababa’s live band scene, not to mention a "holy grail” LP that collectors trade for ~$4000 on eBay.

From Smog Veil: first a reunion, then reissues:

X__X has a Cleveland date scheduled with The Gizmos, making this an extra special gig. The band also has an in-store scheduled for November 1 at Minds Eye in Lakewood. If you are lucky enough to possess X__X's 2 records originally issued on Drome Records, or the recent (and I think now out of print) retrospective LP on Ekto Records, then you know that these gigs will be ones not to miss, details are copied below. Uncertain? Check out the digital download version available at your favorite download source (he means Amazon):
http://ecx.images-amazon.com/images/I/61IKmcV1biL._SL500_AA280_.jpg
x_x
hearpen.com has a new release this month: a remix/reissue of '18 Monkeys on a Dead Man's Chest' from David Thomas and two pale boys. Here's what we know: This is the 2014 David Thomas remix of the original 2004 multitracks. Tracks were cleaned up, some modifications made and David's current mix methodology used. Nothing was added in terms of new recordings. Some elements not used in the original mix were re-introduced.

'18 Monkeys on a Dead Man's Chest' is the companion album to Pere Ubu's Carnival of Souls. 18M completes the first cycle of 2pbs albums and is a lynchpin between the 2pbs and Pere Ubu projex. The Chinese Whispers methodology had been tested and was ready for its final stage of implementation, which was going to be within the Pere Ubu structure. The stories and characters, as well as musical ideas, were taken up again for COS and, for that reason, 18M provides key elements of the backstory and is essential to the 'getting' of COS. Get it here:

There is a download single of out-takes from the 18M session that are available at a special price from hearpen.com.
Updates for all the new stuff, reviews, mp3 samples and videos available daily at the Smog Veil Facebook fan page. Check it out:

Smog Veil Records at Facebook link!
Attend a gig in your area:

X_X

Saturday, November 1: Cleveland, OH, WCSB Halloween Ball (w/The Gizmos)

BUZZ CLIC ADVENTURE

FRI, NOV 14: N. Hollywood, CA, Universal Bar

PERE UBU

Wed, Nov 12: Leicester, The Musician
Thur, Nov 13: Swansea, The Scene
Fri, Nov 14: Tunbridge Wells, The Forum
Sat, Nov 15: Manchester, Band On The Wall
Sun, Nov 16: Bristol, The Fleece
Mon, Nov 17: Cambridge, Junction 2
Tues, Nov 18: Edinburgh, Voodoo Rooms
Wed, Nov 19: Glasgow, Centre for Contemporary Arts (CCA)
Thur, Nov 20: New Brighton (Wirral, Merseyside), Floral Pavilion
Fri, Nov 21: Leeds, Brudenell Social Club
Sat, Nov 22: London, Institute of Contemporary Arts (ICA)
Sun, Nov 23: Brighton, Brighton Film Festival, Duke of York's Cinema, Underscore to Roger Corman's 'X, The Man With The X Ray Eyes'
Mon, Nov 24: Gateshead, Sage Gateshead
Thurs, Nov 27: Vitoria-Gasteiz (Basque, Spain), Jimmy Jazz
Fri, Nov 28: Barcelona, La [2] de Apolo
Sat, Nov 29: Madrid, Sala El Sol (981 Heritage)
Sun, Nov 30: Valencia, 16 Tonelades
Mon, Dec 1: Alicante, Teatro Arniches
Tue, Dec 2:
Zaragoza, CMM Las Armas
Thurs, Dec 4: Lisbon, ZDB
Fri, Dec 5: Braga, GNRnation
Sat, Dec 6: Vigo, Marco

Ok, all for now comrades...Mr. Frank/Smog Veil Boss

http://4ad.com/uploads/news/546_c_w_450_h_450.jpg

The week commencing 1st December, Pixies and 4AD will celebrate the 25th anniversary of Doolittle with the release of Pixies: Doolittle 25 - an expanded edition of the classic album that brings together all the album's B-sides, Peel Sessions and demos for the first time, with nearly half of the tracks having not been commercially released before.

The second studio album from Pixies - Black Francis, Joey Santiago, Kim Deal and David Lovering - Doolittle was to prove a pivotal moment for both band and the wider scene. Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, it was an instant hit, containing some of the band’s most memorable singles (‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Debaser’). Included among the many plaudits thrown Doolittle’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and five years on, it’s now time to give it the deluxe release treatment it deserves.

The 3 CD Pixies: Doolittle 25 contains an impressive fifty tracks with the original album on disc one, two full Peel Sessions and six B-sides on disc two and the complete album in demo form plus seven bonus tracks on disc three. A gatefold double LP version is also being released, with two pieces of 180g black vinyl being pressed - the first containing six B-sides and two full Peel Sessions and the second being the album in complete demo form plus 3 bonus tracks. A download card is included, offering access to all LP tracks plus four more bonus tracks. The full tracklistings can be found below.

Like all other Pixies sleeves before it, Vaughan Oliver returns to oversee its design, reinterpreting his original artwork and Simon Larbalestier’s photographs to create a stunning design using metallic ink.

Pixies: Doolittle 25 is being released on 1st / 2nd December and is available to pre-order now direct from the band.
The band are offering an exclusive t-shirt bundle with both CD and LP pre-orders.
The album can also pre-ordered from the 4AD store, with the opportunity for one buyer to win a white label of the record.

Pixies: Doolittle 25
3CD Edition (CAD 3425CD)
Disc One - Doolittle 1. Debaser (2.52), 2. Tame (1.55), 3. Wave of Mutilation (2.04), 4. I Bleed (2.34), 5. Here Comes Your Man (3.21), 6. Dead (2.21), 7. Monkey Gone to Heaven (2.57), 8. Mr. Grieves (2.05), 9. Crackity Jones (1.24), 10. La La Love You (2.43), 11. No. 13 Baby (3.51), 12. There Goes My Gun (1.49), 13. Hey (3.31), 14. Silver (2.25), 15. Gouge Away (2.45)
Disc Two - Doolittle: Peel Sessions & B-Sides 1. Dead (Peel Session) (3.18), 2. Tame (Peel Session) (1.58)*, 3. There Goes My Gun (Peel Session) (2.18), 4. Manta Ray (Peel Session) (1.49), 5. Into The White (Peel Session) (4.11)*, 6. Wave of Mutilation (Peel Session) (2.31), 7. Down To The Well (Peel Session) (2.14), 8. Manta Ray (2.40), 9. Weird At My School (1.58), 10. Dancing The Manta Ray (2.14), 11. Wave of Mutilation (UK Surf) (3.02), 12. Into The White (4.43), 13. Bailey's Walk (2.24)
Disc Three - Doolittle: Demos 1. Debaser (3.00), 2. Tame (2.10)*, 3. Wave of Mutilation (First Demo) (2.04)*, 4. I Bleed (1.46)*, 5. Here Comes Your Man (1986 Demo) (3.07), 6. Dead (1.35)*, 7. Monkey Gone To Heaven (2.52)*, 8. Mr. Grieves (1.42)*, 9. Crackity Jones (1.21)*, 10. La La Love You (2.08)*, 11. No. 13 Baby - VIVA LA LOMA RICA (First Demo) (2.17)*, 12. There Goes My Gun (1.29)*, 13. Hey (First Demo) (3.22)*, 14. Silver (2.11)*, 15. Gouge Away (1.42)*, 16. My Manta Ray Is All Right (2.30)*, 17. Santo (2.17)*, 18. Weird At My School (First Demo) (1.53)*, 19. Wave Of Mutilation (1.30)*, 20. No. 13 Baby (3.07), 21. Debaser (First Demo) (3.37)*, 22. Gouge Away (First Demo) (2.08)*

Pixies: Doolittle 25
2LP Edition (CAD 3425)
Side One - Doolittle: B-Sides 1. Manta Ray (2.40), 2. Weird At My School (1.58), 3. Dancing The Manta Ray (2.14), 4. Wave of Mutilation (UK Surf) (3.02), 5. Into The White (4.43), 6. Bailey's Walk (2.24)
Side Two - Doolittle: Peel Sessions 1. Dead (Peel Session) (3.18), 2. Tame (Peel Session) (1.58)*, 3. There Goes My Gun (Peel Session) (2.18), 4. Manta Ray (Peel Session) (1.49), 5. Into The White (Peel Session) (4.11)*, 6. Wave of Mutilation (Peel Session) (2.31), 7. Down To The Well (Peel Session) (2.14)
Side Three - Doolittle: Demos 1. Debaser (3.00), 2. Tame (2.10)*, 3. Wave of Mutilation (First Demo) (2.04)*, 4. I Bleed (1.46)*, 5. Here Comes Your Man (1986 Demo) (3.07)*, 6. Dead (1.35)*, 7. Monkey Gone To Heaven (2.52)*, 8. Mr. Grieves (1.42)*, 9. Crackity Jones (1.21)*
Side Four - Doolittle: Demos 1. La La Love You (2.08)*, 2. No. 13 Baby - VIVA LA LOMA RICA (First Demo) (2.17)*, 3. There Goes My Gun (1.29)*, 4. Hey (First Demo) (3.22)*, 5. Silver (2.11)*, 6. Gouge Away (1.42)*, 7. My Manta Ray Is All Right (2.30)*, 8. Santo (2.17)*, 9. Weird At My School (First Demo) (1.53)*

* Denotes previously unreleased
The Peel Sessions were recorded on 18th October 1988 and 2nd May 1989 and originally broadcast on BBC Radio 1
Related Releases

LITA Black Friday Specials and 2014 Recap

(individual press releases for *most* of their 2014 reissues have already been posted here)
Record Store Day Black Friday 2014

Fall is finally upon us and the best part of the season is not gathering with family and friends for a seasonal feast, but rather the limited edition vinyl available on Black Friday, November 28th!

Lee Hazlewood
There's A Dream I've Been Saving (vinyl edition)
First up is the vinyl edition of There's A Dream I've Been Saving. Seven years in the making this is the ultimate artifact for Lee Hazlewood heads new and old. Now, for the first time, you can enjoy the entire experience on vinyl. This landmark box set contains an expansive LP-sized hard cover book detailing the label history of Lee Hazlewood Industries, accompanied by 8LPs + 4CDs and the never-before-released film Cowboy in Sweden.

Lizzy Mercier Descloux
Fire b/w Morning High, 7"
This year marks the ten-year anniversary of impassioned poet, painter, actor, and prolific, self-taught musician Lizzy Mercier Descloux’'s death. Instrumental in the late 70s New York underground, yet of Parisian origin, Mercier Descloux, with partner Michel Esteban, established the magazine Rock News and ran in the same circles as Patti Smith and Richard Hell. Lizzy became a genre defying artist and pioneer of worldbeat and avant garde rock, and supreme minimalist of the no wave genre in her own right. Next year, we will release a detailed series showcasing her work. A glimpse of what’s in store for this upcoming archival series, this 7" presents two key tracks from the Mercier Descloux catalog: the epitomic, 1979 disco-punk classic “Fire” backed with a rare session featuring Lizzy and “Godmother of Punk” Patti Smith reciting a bilingual version of Arthur Rimbaud’s poem, “Matinée d’ivresse/Morning High,” set to music by experimental contemporary Bill Laswell. Remastered from the original tapes, this 33 1/3 RPM 7” single comes pressed on “Fire” colored wax.

Wayne McGhie & The Sounds of Joy
S/T
Finally back in print and one of the pinnacle releases in our catalog, this 1970 masterpiece is the Holy Grail of Toronto Funk! The first true debut of Studio One veteran and Jackie Mittoo bandmate Wayne McGhie, this self-titled LP is a wicked mix of Caribbean Funk, Soul and reggae. For this special Black Friday edition we have expanded the album to a deluxe gatefold "tip-on" jacket with rare archival photos and extensive liner notes featuring interviews with McGhie, Alton Ellis, and Lloyd Delpratt.

LITA 2014 Reissues

Mark Lanegan- Has God Seen My Shadow? An Anthology 1989-2011
Bobby Charles- Bobby Charles
Bob Frank- Bob Frank
Peter Walker- "Second Poem To Karmela" Or Gypsies Are Important
Brothers & Sisters- Dylan's Gospel
Built to Spill- Ultimate Alternative Wavers
Michael Chapman- Playing Guitar The Easy Way
Stephen John Kalinich- A World Of Peace Must Come
Lewis- L'Amour
Big Boys- Lullabies Help The Brain Grow
Big Boys- No Matter How Long The Line At The Cafeteria, There's Always A Seat
V/A- Light In The Attic/Burger Cassette Series
V/A- Wheedle's Groove, Vol. II: Seattle Funk, Disco & Modern Soul 1972-1987
Donnie & Joe Emerson- Still Dreamin' Wild: The Lost Recordings 1979-1981
V/A- Country Funk Volume II 1967-74
Lewis Baloue- Romantic Times
Tinariwen- The Radio Tisdas Sessions
Tinariwen- Amassakoul
Sly Stone and Various Artists- I'm Just Like You: Sly's Stone Flower 1969-70
Barbara Lynn- Here Is Barbara Lynn
Sylvie Simmons- Sylvie
V/A- Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985
V/A- There's A Dream I've Been Saving: Lee Hazlewood Industries 1966-1971
Lizzy Mercier Descloux- Fire b/w Morning High
Wayne McGhie & The Sounds of Joy- S/T
Grateful Dead- Two From The Vault

GAME THEORY AND SNEAKERS
HEADLINE OMNIVORE’S VINYL OFFERINGS
FOR BLACK FRIDAY RECORD STORE DAY, NOVEMBER 28
Game Theory’s early EPs Distortion and
Pointed Accounts of People You Know reissued on 10" vinyl
Sneakers featured Chris Stamey and Will Rigby (later of the dB’s)
with Mitch Easter (Let’s Active) and Don Dixon.
Their 1976 EP, which gets expanded edition reissue,
was a prototype of American indie rock
LOS ANGELES, Calif. — Omnivore Recordings’ contributions to Record Store Day Black Friday will feature coast-to-coast exemplars of smart pop: Davis, Calif.’s Game Theory, whose early EPs Distortion and Pointed Accounts of People You Know will be issued as 10" vinyl EPs (in clear and green vinyl, respectively) and Winston-Salem, N.C.’s Sneakers, whose influential self-titled 1976 7" EP will be issued as an expended-edition 10" clear vinyl EP with added tracks. Street date for both is Black Friday, November 28, 2014.
Game Theory followed up their debut album, Blaze of Glory (recently reissued by Omnivore Recordings as the beginning of their Game Theory catalog re-launch) with a pair of EPs — 1983’s Pointed Accounts of People You Know and the following year’s Distortion. Omnivore is pleased to present the next two pieces of the Game Theory puzzle with collectible, one-time only 10" pressings of these landmark releases (Distortion on green vinyl; Pointed Accounts … on clear vinyl).
Distortion contains five tracks, including Game Theory staples “Shark Pretty” and “Nine Lives to Rigel Five.” Lead guitar was provided by David Bowie’s then-axe man Earl Slick, credited for contractual reasons on the original release as Ernie Smith.
Produced by the Three O’Clock’s Michael Quercio, Distortion showed another musical growth, as Game Theory moved toward the sound they would refine on later releases like Real Nighttime and Lolita Nation (reissues of which are on the horizon for 2015). Distortion’s green vinyl 10" contains a download card for the entire program. http://d31hzlhk6di2h5.cloudfront.net/20141023/fc/b7/78/2c/404151c8228394862a2b26dc_280x218.jpg

Pointed Accounts of People You Know contains six tracks, including Game Theory classics “Metal and Glass Exact” and “Penny, Things Won’t.” Also featured is the original version of “Selfish Again,” recently covered by Eric Matthews (who also appears on Omnivore’s new retrospective from Ireland’s Pugwash, A Rose in a Garden of Weeds). The band’s Scott Miller produced Pointed Accounts of People You Know. The vinyl EP also contains a download card for the entire program.
http://d31hzlhk6di2h5.cloudfront.net/20141023/5f/31/5d/7d/dd46dacbd715aefe0c6060c0_280x218.jpg
Both Distortion and Pointed Accounts of People You Know will see their full reissues in this one-time pressing of 1,500 units for Record Store Day Black Friday. They are destined to be highly sought-after pieces, and vital additions to any collection.
Selected tracks from both EPs also comprise the CD reissue of the French compilation Dead Center, available November 24th, and intended to remain part of the permanent Omnivore catalog.
Game Theory (Photo: Robert Toren)
Track Listing for Pointed Accounts of People You Know:
SIDE ONE
Penny, Things Won't
Metal and Glass Exact
Selfish Again
SIDE TWO
I Wanna Get Hit by a Car
Life in July

37th Day

Track Listing for Distortion:
SIDE ONE
Shark Pretty
Nine Lives to Rigel Five
The Red Baron 

SIDE TWO
Kid Convenience
Too Late for Tears

http://d31hzlhk6di2h5.cloudfront.net/20141023/00/91/c0/61/0fef8f6eb397bdbc3ed41eee_280x280.jpg

Chris Stamey and Mitch Easter, icons of indie pop, first began to explore recording techniques in Winston-Salem, N.C., during their youth. In 1976, Chris and his band, Sneakers (including drummer Will Rigby, with appearances from Easter), released a EP on Stamey’s own Carnivorous Records (later to morph into Car Records and release Chris Bell’s “I Am the Cosmos”). The sessions were engineered by Don Dixon, who would eventually produce bands such as R.E.M. (with Easter) and the Smithereens. Stamey and Rigby would go on to form the dB’s, and Easter would reappear in Let’s Active. The Sneakers EP — one of just a handful of self-released records that created the template for the modern indie avalanche — remains vital in not only independent record history, but music in general.
Omnivore Recordings is proud to reissue this seminal 7" EP as an expanded 10", clear-vinyl EP for Record Store Day Black Friday. Sneakers’ original six tracks are joined by three more tracks, including a previously unissued cover of The Grass Roots’ “Let’s Live for Today.”
Housed in a sleeve that replicates the first issue, this pressing includes a download card for the entire program. Sneakers’ 1,500 units will give people the opportunity to experience the birth of the music they love. Whether to run to the record store or just to dance, everyone needs Sneakers.

Track listing for Sneakers

SIDE ONE
1. Ruby
2. Condition Red
3. Driving

4. Love’s Like a Cuban Crisis
5. On the Brink 

SIDE TWO 

1. Let’s Live for Today
2. Story of a Girl

3. Nonsequitur

4. S’il Vous Plaît

(Don't remember Game Theory very well, but got a really good Sneakers collection from several years back; think it's on the now-defunct Collector's Choice label)

Try that cover again

http://d31hzlhk6di2h5.cloudfront.net/20141023/00/91/c0/61/0fef8f6eb397bdbc3ed41eee_280x280.jpg

From Kill Rock Stars weekly etc.:

http://dev1.mtimg.com/product_photos/imgs/000/012/932/full/Bratmobile_Pottymouth_LP-2.jpg
We are excited to announce that Bratmobile's debut Pottymouth is BACK ON VINYL for the first time in over 10 years on 11/18/2014.

Comprised of singer Allison Wolfe, guitarist Erin Smith, and drummer Molly Neuman, Bratmobile made their debut at 1991's International Pop Underground convention and quickly took the Riot Grrrl underground by storm. The band released their debut album Pottymouth in 1993 following a series of 7 inch singles on labels like Homestead, K, Four Letter Words, Simple Machines, and Twelve-Verse-Twelve. The band broke up in 1994, reunited in 1999, and released two more albums on Lookout! Records. They played their last show in 2003.

Pottymouth is one of the most beloved albums in the Kill Rock Stars back catalog and we couldn’t possibly be happier to have it back on vinyl where it belongs.
https://soundcloud.com/killrockstars/bratmobile-cool-schmool

https://www.youtube.com/watch?v=Yxa0UsDRenU

Critical praise for Pottymouth:

"Has any band ever done unalloyed, sneering contempt quite as witheringly as Pottymouth-era Bratmobile? " - Stereogum

" Pottymouth is a definitive riot grrrl record and essential listening for fans of indie rock and punk." - James Elliott, Amoeba Records

"... Pottymouth was an album full of jittery agitations, quickly solidifying the group as one of the Pacific Northwest’s garage greats." - The AV Club

Pottymouth is also available on CD and good ol’ MP3 for those without turntables.

http://www.soundsoftheuniverse.com/mailouts/img/main/535/w/discoalbumcover.jpg

This album here is an amazing collection of rare and independent tracks from Disco’s halcyon period – 1978 to 1982 – expertly compiled by Disco Patrick, who also compiled the new deluxe book. Blurring the musical lines between disco, modern soul and boogie this double album features many exclusive and hard to find records from the era.

Included here are in-demand classics such as The Fantastic Aleems featuring Leroy Burgess, John Gibbs and the US Steel Orchestra, rare Patrick Adams and Peter Brown productions, Jessie G, The Easton Assassin (a 12” given out free at boxing matches!) and much more!

The album comes as a double CD, two seperate volumes of heavyweight double-album vinyl (with free download codes) and worldwide digital release.

This album is released to coincide with the massive new 360-page deluxe hardback book Disco – An Encyclopedic Guide To The Cover Art of Disco featuring over 2,000 album cover designs as well as over 700 12” sleeves, including sections on roller disco, disco instruction albums and more. There are also interviews and introductions by Tom Moulton, Nicky Siano, Mel Cheren (West End Records), Ken Cayre (Salsoul), Marvin Schlachter (Prelude) and more. This book is compiled by Disco Patrick and Patrick Vogt, text by Claes Widlund.

Tracklisting:

CD 1/2xLP Vol.1

1. The Fantastic Aleems featuring Calebur - Hooked On Your Love

2. Superfunk - Superfunk

3. Jessie G - That's Hot

4. Jupiter Beyond - The River Drive

5. The Sunburst Band - The Easton Assassin

6. John Gibbs and The U.S. Steel Orchestra - Trinidad

7. Sparkle - Disco Madness

8. Chain Reaction - Sweet Lady (Dance With Me)

9. Wayne Ford - Dance To The Beat Freakout

CD 2/ 2xLP Vol.2

1. Sympho-State - You Know What I Like

2. The Fantastic Aleems - Movin' To The Beat

3. Something Extra - Sexy Lady

4. Stwange Poweple - Get Up (Let's Rock)

5. Chemistry - Skateboard

6. Cirt Gill and The Jam-A-Ditty Band - Turn This Disco Out

7. Sugar Bear Johnson - When Your Jones Come Down

8. Retta Young - My Man Is On His Way

9. The Imperials - Fast Freddie The Roller Disco King

10. Cordial - Wave

listen here: http://www.souljazzrecords.co.uk/releases/?id=39893

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

Soul Jazz Records presents 100% Dynamite Xmas Party:

HURRY TO GET YOUR TICKET FOR THIS EVENT NOW - ALL PREVIOUS EVENTS HAVE SOLD OUT!

Sat 20 Dec 2014 Electrowerkz, Islington, London.

(check Soul Jazz site)

http://www.soundsoftheuniverse.com/mailouts/img/main/536/w/pcjscatholic_frontweb.jpg

SOUNDS OF THE UNIVERSE RECOMMENDS: Patrick Cowley & Jorge Socarras 'Catholic'
Available Today, November 20

Cowley is known as one of the pioneers of disco in the 1970s, particularly the hi-NRG strain. This material was written and recorded with vocalist (and frequent collaborator) Jorge Socarras in San Francisco between 1975 and 1977, before the latter went to London and Cowley started a gig playing synthesizers for Sylvester. The two artists reconvened in 1979 and re-recorded some of the material, eventually sending an album to Megatone Records who ultimately decided not to sign it.
2-LP, more info & audio here: http://www.soundsoftheuniverse.com/releases/?id=40441

http://www.soundsoftheuniverse.com/img/releases/40439/t1/r-6198250-1413500305-7202.jpg
BAY AREA RETROGRADE--Various/Vols. 1&2
(Dark Entries)
Both volumes of Dark Entries’ compilation of underground music from San Francisco (and the greater Bay Area) made between 1978-1988 are available here! Collecting tracks from the Bay Area (at the time a hotbed for experimental and quirky new wave, post punk, and synthpop) that draw a comparison to New York’s No Wave scene and Berlin’s Neue Deutsche Welle.
CD, more info & audio here: http://www.soundsoftheuniverse.com/releases/?id=40439
Tracklisting
1. Nominal State — Middle Class
2. Batang Frisco — Power
3. Necropolis Of Love — Talk
4. Wasp Women — Kill Me
5. Distant Thunder — Tin Soldiers
6. Voice Farm — Voyeur
7. Danny Boy And The Serious Party Gods — Castro Boy
8. Quiet Room — Yangtzee River
9. Los Microwaves — Silent Screamers
10. Standard Of Living — N.F.A.
11. Units — Mission
12. Factrix — Night To Forget
13. Chrome — Meet You In The Subway
14. Red Asphalt — Red Asphalt
15. Tuxedomoon — Day To Day
16. Ki Di Me — Islamatic
17. Indoor Life — Gilmore Of The Fillmore
18. Baby Buddha — Little Things
19. Timmy Spence — Brand New Dance
20. Human Being Men — Human Dub
21. Wonders Of Science, The — Let’s Start A Rumor
22. Zru Vogue — Nakweda Dream

Dennis Brown---Deep Down
(Iroko)

Killer mid 70s roots album from Dennis Brown & Niney The Observer reissued with gatefold sleeve and great liner notes by David Katz. Recorded at Joe Gibbs Studio with The Soul Syndicate band and Niney at the helm. Check 'So Long Rastafari' 'Voice Of The Father' 'Tribulation' and many more.
LP, more info & audio: http://www.soundsoftheuniverse.com/releases/?id=40681

Jerry Harris---I'm For You
(Wackie's)

Very rare Wackie's deep roots album gets reissued by Deeper Knowledge people from New York. Originally released in 1982, this version has added dubs plus dropping a few weaker tracks from the original release with the added bonus of a unreleased track.
LP, more info & audio: http://www.soundsoftheuniverse.com/releases/?id=40638

Transllusion

The Opening Of The Cerebral Gate
(Tresor)

**VINYL NOW AVAILABLE**

Long-out-of-print groundbreaking C-L-A-S-S-I-C electro album - an essential lesser-konwn piece of Drexciyan history!

Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub label Tresor dedicated to a more abstract and experimental electro sound, “The Opening Of The Cerebral Gate” was conceived as the second part of the so-called Drexciyan Storms – a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album “Harnessed The Storm” being the first). Informed by esoteric concepts, the music on this brilliant album is chock full of hypercharged arpeggios and driving pulse patterns. BRILLIANT.
2-LP, CD, more info & audio: http://www.soundsoftheuniverse.com/releases/?id=40180

From Smog Veil Newsletter---put this on 2015 by mistake

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

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

http://hearpen.com/pageart/hr181.jpg

Great album, one to play on special occasions. Hope he doesn't do anything too bloody-minded to it.

The Bangles: early 80s demos, live tracks, their first EP, all in new collection:

http://www.billboard.com/articles/columns/pop-shop/6327650/the-bangles-song-premiere-the-real-world-interview?utm_source=twitter

WARDRUNA's mesmerizing debut full-length, Runaljod - Gap Var Ginnunga, finally gets the reissue treatment in North America via Indie Recordings. Originally released in 2009, Runaljod - Gap Var Ginnunga serves as the first release in the band's stunning Runaljod trilogy, a musical rendition of the twenty-four runes in what is often referred to as the "elder futhark." Runaljod - Gap Var Ginnunga incorporates some of the oldest of Nordic instruments such as primitive deer hide frame drums, kraviklyra, tagelharpe, mouth harp, goat horn and lur, poetic metres and lyrics written in Norwegian, Old Norse and Proto-Norse tongue. Some of the recordings are captured outdoors or under circumstances of significance to each rune while other sources of sound like trees, rocks, water and torches are used. All of these elements are carefully woven into a rich musical landscape and complemented with whispering voices, melodic song and mighty choirs. Although WARDRUNA's sound shares characteristics with music typically labeled as folk, world and/or ambient, none of these genres can accurately describe their unique style. It truly must be experienced. Music from Runaljod - Gap Var Ginnunga is featured in the soundtrack to both seasons of The History Channel's Vikings series.

Runaljod - Gap Var Ginnunga Track Listing:

1. Ar var alda

2. Hagal

3. Bjarkan

4. Løyndomsriss

5. Heimta Thurs

6. Thurs

7. Jara

8. Laukr

9. Kauna

10. Algir - Stien klarnar

11. Algir - Tognatale

12. Dagr

WARDRUNA:

Kvitrafn: vocals, all instruments (except fiddle), songwriting

Lindy Fay Hella: vocals

Gaahl: vocals

WARDRUNA was founded by Einar Kvitrafn Selvik and in 2009 and enchanted listeners with Runaljod - Gap Var Ginnunga. In the ensuing years the group has spent a great deal of time adapting their music to a live format and establishing a live band, resulting in a handful of very special concerts, perhaps most notably when they performed in front of the majestic 1100-year-old Gokstad ship at the Viking Ship Museum in Norway. The second album in the Runaljod trilogy, Yggdrasil, was released in 2013. Multi-instrumentalist and songwriter Selvik, together with vocalists Kristian Espedal (aka Gaahl) and Lindy-Fay Hella, managed to create a strikingly beautiful and intense continuation of what was started with their first album, but without falling into the trap of merely repeating themselves. The band is currently working on Ragnarok, the final release of the series.

Runaljod - Gap Var Ginnunga is available on CD, black double vinyl gatefold and
digitally via Indie Recordings.

from Luaka Bop:
William O box
http://www.williamonyeabor.com/boxbrowse/WO_LP.1.jpg

William Onyeabor
CD/LP Box Set

William Onyeabor self-released 8 albums between 1978 and 1985 and then became a Born-Again Christian, refusing ever to speak about himself or his music again. Various biographies can be found online. Some say he studied cinematography in the Soviet Union and returned to Nigeria in the mid-70s to start his own film company, Wilfilms. Some say he was a lawyer with a degree from a university in Great Britain. Others portray him as a businessman who for years worked on government contracts in Enugu, Nigeria.
Now for the first time Luaka Bop will release ALL of Onyeabor's creative output, 9 albums in total. Available as 2 hand-numbered LP boxes or 1 CD box with 9 CDs. Get them while they last!

---also noteworthy

http://luakabop.com/portal/wp-content/uploads/bbcinterview2.jpg

Light In The Attic playlist starts w new track by amazing Sylvie Simmons, but think all the rest are from reissues, incl many if not all mentioned on this thread, like Native North America:

https://www.youtube.com/watch?v=G7zphev_6Wk&list=UUPFJl-I-PhIonNPBGUK0Aog

124 videos, it says here.

5-Disc Kinks box, releases & demos 1964-71 just out, http://www.amazon.com/Anthology-1964-1971-5CD-Box/dp/B00NJADEJ2/ref=sr_1_1?s=music&ie=UTF8&qid=1419558209&sr=1-1&keywords=the+kinks+anthology+1964-1971

Fresh Air interview w Ray Davies (orig Nov. 26), w backstory of several early tracks: http://www.npr.org/2014/12/25/372906846/naive-yet-revolutionary-ray-davies-on-50-years-of-the-kinks

http://ecx.images-amazon.com/images/I/A1KnKf1KA-L._SL1500_.jpg

Damn, pretty good interview! And the songs are real short, so get to hear concentrated excerpts.