Rolling Reissues 2012

ha, i have this -- i asked my brother in law to play me his most obscure record and he brought it out. it's cool! kinda zappa fusion 70s jazz.

What the heck, I'll check it out. Never heard much piano-centric fusion. thanks for the tip.

my brother in law says that he bought it because someone told him it was actually zappa under a psuedonym. which doesn't seem to be true, but kind of funny.

Maybe Frank wanted to try his hand at the pianner?

http://184.173.71.130//20299/PromoImage.jpg

so, Willie Lowery, leader of Plant And See and Lumbee, the latter named for his North Carolina Indian tribe. Couple of whole tracks as sep streams, which I haven't checked yet, but really appealing excerpts in this featurette, with bobbing bass lines (Plant And See's bass player was Latin), reminds me of Jerry Ragavoy songs from the same era, with some of what might've attracted Joplin to "Piece of my Heart", for inst. It's all groovy! http://www.npr.org/2012/07/21/157117448/a-tribal-anthems-author-and-a-cult-rock-hero

I got the Plant and See reissue. It kind of reminded me of Smith and bands like that. But better, especially on the more rocking tunes.

Also, Don Cherry's Organic Music Society reissue is out dudes.

"Relativity Suite" kind of reminds me of both Arthur Russell and Alemu Aga.

Where did you find Plant And See?

you can order Plant and See from Light In The Attic

Thanks--they've got a contest for free copies of the Searching For Sugar Man soundtrack, wonder how that is? Think I've read about Cold Fact.

I got a promo download link for that Szobel thing but haven't listened to it. Tried the Don Cherry album, didn't like it much at all. My favorite thing of his is Eternal Rhythm.

Oh yeah. Eternal Rhythm is currently on YouTube

NUMERO TO RELEASE ALFONSO LOVO'S UNHEARD 70'S NICARAGUAN SPACE PSYCH MASTERPIECE LA GIGANTONA ON OCTOBER 23

VIEW THE VIDEO TRAILER HERE:http://bit.ly/SSq7V4

The son of a prominent Nicaraguan politician, Alfonso Noel Lovo was a choice target for the Sandinista rebels who hijacked his homeward flight from Miami in December of 1971, ultimately putting several rounds through the talented musician's torso and hand. After several years, and as many surgeries, he would break new ground on this psychedelic swirl of Latin jazz and pan-American funk with his musical partner, percussionist Jose "Chepito" Areas of Santana fame. Never commercially available, La Gigantona has lived its forty years lost in the grooves of a single acetate. Imagine a Nicaraguan take on Herbie Hancock's Afro-jazz masterpiece Mwandishi with some of the most penetrating, left-field guitar you've never heard.
Background
Born in 1951 in León, Nicaragua, Lovo's talents were discovered at the age of five, when he played "O Holy Night" note for note on his brand new accordion. He matured on the bellowed instrument at Catholic school functions, and picked up guitar at age eight after watching the family gardener serenade a gaggle of females with Elvis songs. Some years later, a basketball game would pit his high school against that of Jose "Chepito" Areas, a drummer of growing repute in the Nicaraguan music scene. The nuns decided an impromptu concert would be great half-time entertainment, pairing Chepito and Lovo for the first time. Recognizing music as a passion, not a profession, Lovo left for Atlanta, Georgia to attend college in the late '60s. Chepito had already fled to San Francisco, where he'd used his charisma, perspective, and timbale skills to transform a young Carlos Santana from blues guy to Latin rock icon. In 1973, while studying at Louisiana State University, Lovo traveled to nearby Loyola University to catch a Santana concert, and reintroduce himself to the group's celebrated percussionist. The two would foster a famous friendship, together routing Santana and company through Nicaragua to play a concert benefiting victims of the devastating earthquake of the previous year. After graduating from college in 1975, Lovo headed back
to Nicaragua to work for his family's businesses, which at the time included tractor dealerships, livestock, and real estate. One of the main things on his agenda would be to record an album with Nicaragua's most accomplished players. He intended to make Chepito a part of that.
The Creation of La Gigantona
Named after a yearly procession honoring the Nicaraguan folk legend La Gigantona, Lovo's record of the same name is anything but traditional. Experimental sessions were rendered over a month at Audio Ocho, a state of the art facility in downtown Managua. At the hand of engineer Roman Cerpas, La Gigantona was subjected to near-constant manipulation. Waves of tape loop crash over the album in quantities that would make Lee Perry blush. Most of the final tracks were the results of the relaxed jam sessions made possible by infinite studio time with skilled performers. Musicians were enlisted from across the country, originating in psychedelic rock bands, jazz combos, and even
the national orchestra, providing a rich and diverse cross section of Nicaragua's mid-'70s music scene. Subjected to mounting political unrest, Managua proved an inhospitable place to oversee a private pressing of your psychedelic jazz masterpiece, and La Gigantona's original intended release suffered accordingly.
Fortunately, in 2010, Lovo's unique project washed upon the shores of the Numero Group, who immediately recognized the recording's beauty and historical significance. Moving backwards from their modern-day meeting, Numero searched tirelessly for collaborators and bystanders, photos and ephemera relating to the furious fit of creativity Lovo committed to magnetic tape on the brink of a national coup. With extensive liner notes and never-before-seen photos, La Gigantona escapes the clutches of civil unrest, seeing the proper debut it deserves.
Available on LP & CD October 23, 2012

I used to work at that building at the far right of the Szobel picture with the gold dome on it.

Where was that?

Tompkins Square Releases First Book/CD Project, 'He Is My Story : The Sanctified Soul of Arizona Dranes' August 28th, 2012
Book by Michael Corcoran. 78 transfers by Christopher King. Design by Susan Archie.

A singer sits at the piano and loses all inhibitions while in complete control of the instrument: Little Richard, Ray Charles, Jerry Lee Lewis. Although church singer Arizona Dranes doesn't come close to the stature of those icons, she set the mold for rockin' singer/ pianists in 1926 with six "test records" that have stood the test of time.

Until now, very little has been correctly reported about Dranes other than the facts that she was blind, from Texas, had a piercing Pentecostal voice and was the first recording artist to play piano in the secular styles of the day, while singing words of deep praise.

Michael Corcoran, former music critic and columnist for the Austin American-Statesman, has spent years unearthing revelatory details on the life of the mysterious woman behind the music. The book includes a CD containing all 16 of Arizona Dranes' recorded tracks, expertly remastered from the original OKeh label 78 RPM records by Grammy-winning producer Christopher King.

The book will also be available digitally (without the music) as an eBook on August 28th.

TSQ 2677. UPC : 894807002677. ISBN 978-0-615-61615-5. Available August 28th, 2012 via INgrooves/Fontana (US), Cargo (Europe) and FUSE (Australia).

Legendary Queen of Metal, DORO PESCH, will release Under My Skin - A Fine Selection Of Doro Classics in North America via AFM Records next month. Set for release on August 14, 2012, the mammoth career-spanning retrospective — which already enteredthe German charts at #53 upon its first week of release overseas — includes more than 30 tracks spread across two CDs. Compiled in close collaboration between AFM and DORO herself, the gorgeous package offers an abundance of DORO staples as well as rare B-side singles and hand-written liner notes. Under My Skin… is also available in a limited wooden fanbox edition (1000 copies; import only) which includes a two-CD digipak, flag, patch, bracelet, a postcard and a certificate of authenticity.

In related news, DORO was recently added to the third annual 70000 Tons Of Metal lineup. The original heavy metal cruise takes place in January 2013 and features 40 metal bands and 2,000 fans from all over the world seafaring the Caribbean on a luxury cruise ship for a 5-day/4-night ocean adventure. Sporting the biggest open air stage to sail the open seas, the world’s biggest floating heavy metal festival will include: Ensiferum, Lacuna Coil, Nile, In Flames, Immolation and more! For more info, go to THIS LOCATION.

DORO was recently featured in Decibel Magazine’s August 2012 special “Women In Metal” issue. In an interview conducted by J. Bennett, DORO discusses her new Raise Your Fist record, reminisces about quitting her job in 1986 to tour with Judas Priest, what her one-year stint in a hospital years ago taught her, and the nexus of attitude and being dignified.

listening to that arizona dranes thing right now -- pretty nice! great voice.

If anyone's into UK psych-folk (heavier on the psych, really), the Axe "Live & Studio" album is being reissued under it's original title ("Axe Music") with a new band name for some reason, Crystalline. LP+CD in one package, really beautiful female vocals over cool psych jams.

That La Gigantona thing sounds pretty interesting.

Massive Zappa reissue campaign starting in next few days.
Blurb I read mentioned remastering but not exactly what. So, since this is coming from the Zappa estate is it going to be the Zappa tampered ones?

Just found out that the Zappa Threesome box sets have rising prices online. Still need the 2 early 70s Bitchesbrew influenced sets.

Zappa estate has already reissued some unfuckedwith stuff (Greasy Love Songs was all the original recordings remastered, instead of the bastardized Rueben tracks from the 80s) so hopefully that continues.

Edsel are supposed to be reissuing the 1st 5 Steve Miller band lps at the end of August. Heard they have linernotes based on interviews by Joel Selvin.
I think its about time since the last cds I'm aware of for Sailor at least date back to '90. Would love a decent sounding copy of that

The Dicks reissues are out now on Alternative Tentacles and they sound pretty good to me (lack of master tapes for 'Kill from the Heart' notwithstanding).

Oh fuck yeah, finally. Although I notice they haven't included the Live At Raul's Club LP - which is odd cos didn't T&G reissue the Big Boys side of that on the Skinny Elvis CD? I have the 2x7" sort of reissue of that but it's missing a lot of tracks (it has 3 songs each from the LP plus 1 unreleased track from each band).

From RockBeat Records, via Conqueroo. Always meant to check the Moving Sidewalks:
FOR IMMEDIATE RELEASE
July 31, 2012
See note beneath contact information.

FOUR-DISC SURF ERA NUGGETS BOX
ON ROCKBEAT RECORDS
COLLECTS HITS AND OBSCURITIES
OF THE SURF MUSIC ERA

RockBeat also readying Moving Sidewalks, Dickie Goodman
and music from the hit TV series Dallas, all for September 25 release

LOS ANGELES, Calif. — Surf Age Nuggets, a four-disc box set chronicling the history of surf music, will headline an ambitious quartet of reissues coming on September 25, 2012 on RockBeat Records, a unit of S’more Entertainment. Other reissues arriving on that date include an self-titled two-CD set by Texas garage band the Moving Sidewalks on CD and vinyl LP, Dickie Goodman’s Long Live the King, and Dallas: The Music Story.

Surf Age Nuggets traces the ethos and attitude of surf music from 1959 through its demise in 1966. From long boards and short hair to short boards and long hair, the collection celebrates the lesser-known purveyors of the sound. Included in Surf Era Nuggets are such bands as Dick Dale & the Del-Tones, Bobby Fuller, the Velvetones, the Shan-Tones, the Valiants, the Ramrods, the Surf Teens, the Royal Coachmen and dozens of others.

All 100 tracks are instrumentals and many are indeed obscure. There were a number of indie labels willing to cash in on the surfing movement and there was no shortage of bands ready to take the money and play. This compilation accurately reflects the first time that music, sport and teenage lifestyle came together and confirms the attitude that surfing has always been a “rebel sport.”

Surf music was perfect for everyone with its twangy mixture of basic, pure-yet-raw ’50s rock & roll, minus the teen-idol baggage. Suddenly, surfing and surf music were front and center, featured in comic books, advertising, movies and television series such as Batman, Mr. Ed and The Flintstones. The sound became pervasive and songs like Link Wray’s “Jack the Ripper” and “Rumble” perfectly capture the essence of surf music. To this day, his music is the centerpiece for television (“The Sopranos”) and films such as Pulp Fiction, Independence Day and Desperado.

RockBeat A&R VP James Austin compiled and annotated Surf Age Nuggets. The set contains four discs and a large book in a hard-bound box.

The Moving Sidewalks: The Moving Sidewalks

Texas has been a flashpoint for some of America’s most exciting artists for well over a century. During the 1960s, Houston, Texas was on fire. Dubbed Space City, as the United States government built the huge NASA space center just outside the city limits, Houston had an electric vibrancy no other metropolis in America could match. With bands like the Sir Douglas Quintet (formed by hipsters Doug Sahm and Augie Meyers), the Outcasts, the Sparkles, Zachary Thax, Mouse & the Traps and of course the 13th Floor Elevators, Houston also became a hotbed of great rock.

Billy Gibbons, known for four decades as the thundering guitarist and frontman in ZZ Top, had been influenced by the blues at a very young age, and acquired an affinity for those primal sounds from all that swirled around him in Houston. By junior high, Gibbons had a working combo called the Coachmen and was performing all over the city. As he became more experienced, he started experimenting with his sound. In time, personnel shifted and the band was re-named the Moving Sidewalks.

RockBeat’s two-CD/two-LP release The Moving Sidewalks contains the psychedelic blues-rock band’s original album Flash in its entirety plus a second album featuring alternate tracks and previously unreleased songs. The group’s music stands up to this day, and in many ways sounds as new now as when it was recorded. And while moving sidewalks may not have been the wave of the future, the Moving Sidewalks surely were.

The Moving Sidewalks release features a deluxe 56-page book. The two discs are packaged in mini LP sleeves within the box.

Dickie Goodman: Long Live the King

Dickie Goodman is the Grammy-winning King of Novelty, noted by Billboard and Guinness World Records for recording the most charted novelty/comedy hits (17) of all time. He has even more listed under various pseudonyms such as John & Ernest and Spencer & Spencer.

Some of Goodman’s most famous records are “The Flying Saucer (Part 1)” (#3 on Billboard), “Mr. Jaws” (#4 on Billboard), “The Flying Saucer” (#3 on Billboard and Grammy winner), “Mr. President,” “Batman & His Grandmother” and “Hey ET.” These songs appear among 27 included in RockBeat Records’ compilation Long Live the King.

Goodman’s records have been called many things: parody, satire, samples, cut-ins or mash-ups. He took bits and pieces of popular songs and used the tiny sound bites to fill in as answers to questions he posed in his records. But what kind of questions did he ask? That depended upon what the most popular current event of the day was and also who the most notable public figures were at the time. He might pretend to be a news reporter conducting an interview of a presidential candidate or the star of a current hit movie.

Goodman’s records were always timely when first released, and their universal appeal has turned them into audio time capsules, summarizing the most talked about events, and music, of an era. Also included on this collection is a new Dickie & Jon Goodman track, the timely “Election 2012.”

Dallas: The Music Story

Dallas: The Music Story is a collection of songs based and inspired by the characters, relationships and events from the original Lorimar television series.

Originally released in 1985 on vinyl, this re-mastered CD contains the eponymous opening and closing theme and features three of the actors from the show: Steve Kanaly (Ray Krebbs), veteran musical star Howard Keel (Clayton Farlow) and Jenilee Harrison (Jenna Ewing), displaying their varying degrees of vocal prowess. The rest of the CD features performances by such notable country artists such as Crystal Gale, Karen Brooks and Johnny Lee, who was immortalized in the legendary Waltons song “My Husband Beats Me.”

The LP has been unavailable for more than a decade and will be available for the first time on CD.

Cerebrum's Eagle Death is out today on Shadoks (forcedexposure should have it). Uncut version of the single edit is bold and sad, as befits its title, and kind of a scrambling boogie, complicated but def groove appeal--so prog boogie, could imagine this long-gone Spanish combo opening for the original line-up of Traffic, and Amboy Dukes too, winning over impatient foggy audiences. As w Traffic, vocalist can be a bit mystically tedious, but unlike Traffic, he's not the first among equals, to put it politely (or contending to be re, Winwood and Mason)--more about the overall effect, esp w vividly recorded drums and bass (some of this sounds lifted directly from vinyl, but only adds to crispness, fuzz, and bits sliding into and out of degrees of stereo and maybe mono dimensions too--analog *times* digital, hell yeah). Aside from the 1970 singles, five tracks are live 1969 demos, from the Studio of Spanish National Radio. Covers are deft: "One Kind Favor", "Amphetamine Annie", "Murder In My Heart For The Judge" (Moby Grape as an inspiration for early live Los Lobos?), "You Don't Love Me." So good to hear familiar stuff stretched and snapped into customized shape, with the original virtues re-vitalized, that's what I love about international rock, funk etc from 60s-70s especially. Mind you, I'm not an expert in any of it, but disappointed often enough to notice differences in quality.
http://images.hhv.de/catalog/detail_big/00266/266338.jpg

Damn, thought that statement including the Moving Sidewalks set was talking about a release fir The Conqueroo. Do wish somebody would collect whatever there is around of their surviving material and compile it. Been missing my From The Vulcan Gas Co set since i lost the vinyl.
Might have thought the reissuing of 13th Floor Elevators material a couple of years back might trigger some interest in getting their work back out.

bold and sad, as befits its title Eagle Death!

what the heck

http://images.hhv.de/catalog/detail_big/00266/266338_1.jpg

also on CD

So looking forward to that Cerebrum album (gonna have to be on CD because Shadoks vinyl pricing is bullshit). Been listening to those first four tracks for years now, it'll be nice to actually OWN it.

Oh hey guys SYPH's fourth album is being reissued on vinyl by Made In Germany, I think it was recorded around the same time as "On The Way to the Peak of Normal" and it's got a very weird, mysterious CAN vibe.

They're also doing Agitation Free's "Malesch" on LP.

All if this is around in one legit/boot form or another, but might be good to have it w possibly better sound, sequence etc
KEYSTONE COMPANIONS/
THE COMPLETE 1973 FANTASY RECORDINGS
SPOTLIGHTS THE LEGENDARY MERL SAUNDERS/JERRY GARCIA
COLLABORATION INCLUDING
SEVEN PREVIOUSLY UNRELEASED TRACKS

Deluxe four-CD box set, due September 25th, contains vintage photos, extensive liner notes and memorabilia

Double vinyl LP reissue of the very first Saunders/Garcia album
Live at Keystone due to be released concurrently

BERKELEY, Calif. — Keystone Companions/The Complete 1973 Fantasy Recordings, recorded live on July 10 and 11, 1973 at the Keystone club in Berkeley, California, beautifully captures the magical musical friendship of keyboardist Merl Saunders and guitarist Jerry Garcia. The Fantasy Records lavish four-disc set, scheduled for September 25, 2012 release on the heels of the 70th anniversary of Garcia’s birth, includes seven previously unreleased tracks, a special booklet featuring vintage photos; liner notes by Grateful Dead expert David Gans; and a poster, coaster, button, and “scratchbook” (replicating the design of the original album’s promotional matchbooks).

The sterling band featured Saunders on keyboards; Garcia, guitar and vocals; John Kahn, bass; and Bill Vitt, drums. Virtuoso David Grisman added mandolin to Bob Dylan’s “Positively 4th Street.” The mix of songs ranged from Saunders originals to covers of songs by Jimmy Cliff, Junior Parker, Holland-Dozier-Holland, Rodgers & Hart, Blind Lemon Jefferson, Arthur “Big Boy” Crudup, Lightnin’ Hopkins, Don Nix and Dan Penn and Dylan.

San Francisco-born keyboardist Merl Saunders had been writing and performing in New York before returning to the West Coast. Producer Nick Gravenites offered him studio work that included playing with guitarist Jerry Garcia, already at the helm of one of the world’s most popular rock bands, the Grateful Dead. “Garcia reminded me of [jazz guitarist] Eric Gale,” Saunders recollected, “Anything he played was very musical. He knew how to do a rhythm on any kind of tune — gospel, blues, jazz. I was amazed.”

Saunders also helped Garcia expand his harmonic knowledge and even showed him some Art Tatum runs. “He taught me music,” Garcia said of his friend.

By December 1970, a weekly jam session featuring Saunders, Garcia, Kahn, and Vitt had become a weekly gig at San Francisco’s Matrix. Of course Garcia was already a major figure in the musical counterculture as lead guitarist for the Dead, so he kept this new band low-key — so much that it never really had a name (although it was referred to as The Group at times.) As Garcia said, “I couldn’t take the pressure of being a double celebrity. It’s a drag just being it once.” (That didn’t stop the itinerant Garcia from having a third band as well, Old and In the Way, with David Grisman, Peter Rowan, and Vassar Clements.)

Live at Keystone, originally released as a double LP, was recorded by Grateful Dead associates Betty Cantor and Rex Jackson; all four artists are credited as producers. Additional material was released as Live at Keystone, Volumes 1 & 2 in 1988. Keystone Companions/The Complete 1973 Fantasy Recordings assembles the original recordings and presents them, remastered, in the order in which the songs were performed at those two shows. The repertoire spans blues, rockabilly, jazz, funk, Broadway, Motown, two Bob Dylan songs, and Jimmy Cliff’s immortal “The Harder They Come.” Some songs appear twice, providing the opportunity to hear how the band kept it loose and fresh.

As Gans notes, “This music is as exciting and satisfying 40 years later as it was on the day it was made.”

On the collection’s September 25 street date, Fantasy Records will also reissue, on multi-color double vinyl LP, the first Saunders/Garcia album Live at Keystone.

The first of five(!) Boris Midney reissue packages due from Harmless at end of August:
http://www.demonmusicgroup.co.uk/Product.aspx?ProductID=6152

dead.net's got a sampler stream, and a clip of Weir talking about this leg of the tour

And now for something a little different. This year's box set - Grateful Dead: Spring 1990 - offers six complete shows from the epic spring '90 tour, one concert from each city the band played, personally selected by Dead vaultmeister and archival release producer David Lemieux. The sizzling six are: 3/16/90 Capital Centre (Landover , MD), 3/19/90 Hartford Civic Center, 3/22/90 Copps Coliseum (Hamilton, Ontario), 3/26/90 Knickerbocker Arena (Albany, NY), 3/30/90 Nassau Coliseum (Uniondale, NY) and 4/2/90 The Omni (Atlanta, GA).

In his "Producer's Note" in the beautiful book that is part of the box, Lemieux, who attended the first 10 shows on the tour, states, "To my ears this was the last tour that was consistently great, where every show is excellent, not a dud in the bunch." And Grateful Dead historian Dennis McNally's comprehensive and informative insider's essay in the box is titled "The Last Great Dead Tour." These guys know what they're talking about!

Besides the discs themselves, Grateful Dead: Spring 1990 has much to offer, including: a gorgeous 60-page hardcover book containing copious color photos by Jim Anderson and Michael Laurentus, unique artwork by Brooklyn-based fine artist Wes Lang, fascinating business letters and communications related to the tour, a detailed historical essay by Dennis McNally, a Producer's Note by David Lemieux and individual show descriptions by Blair Jackson; a reproduction of the Dead's 1990 tour program (printed and sold later in '90, for the fall and Europe '90 tours); tickets and backstage passes of all six shows; a band publicity photo from 1990 by Ken Friedman; Dennis McNally's tour laminate; and reproductions of the colored 8x10 sheets GDTS sent out with hotel, food and other information for each city on the tour.

With recordings made by longtime Grateful Dead recordist and producer John Cutler, mastered by Jeffrey Norman in HDCD, you just know it's gonna sound great - and it does!

That's the straight-to-your-in-box skinny, you can get ALL the details of this Dead.net exclusive here.

This box is limited to just 9,000 numbered copies - please note, this is the only time these shows will ever be officially available on CD . There will not be an All Music Edition and single shows will not be available physically. Due to ship out August 31st, we anticipate that this extraordinary set will sell-out, so order your copy today!

(If you're looking for more of a bite-sized taste of '90, Spring 1990: So Glad You Made It, a 2-CD set featuring a handful of favorites, will be in stores on September 18th. You can also pre-order it here.)

TALKIN' ABOUT SPRING 1990

We welcome you to listen to a mighty fine selection from 3/16/90, Capital Center, Landover, MD here.

ARTIST IN RESIDENCE - WES LANG
Wes Lang
We've been enamored with fine artist Wes Lang's hand-drawn work ever since we came across his contemporary interpretations of the Dead's classic iconography and we hope you will be too.

Get to know Wes in an exclusive interview with Blair Jackson.

SHOP THE SPRING 1990 BOUTIQUE
In conjunction with our limited-edition Spring 1990 box, we proudly present the Grateful Dead X Wes Lang collection. In the official Spring 1990 boutique, you'll find limited-edition hoodies, t-shirts, stickers and more. These items are one-run only, so get them while you can! Explore the store here*.

Spring 1990
Take home this stellar Wes Lang Indian Skull 16x20 poster (only 500 made!) with your box and save $20. Learn more here.
*All Spring 1990 purchases will be processed through the Spring 1990 boutique at Dead.net/spring1990store. If you wish to purchase a non-Spring 1990 product, you may do so separately at Dead.net/store.

What's Inside

60 page Hardcover Smyth-Sewn book featuring essays by Dennis McNally, David Lemieux, and Blair Jackson and photos by Jim Anderson & Michael Laurentus
25th Anniversary Tour Program
Official Band Letters
6 Ticket Stubs
6 Cloth Sticker Backstage Passes
1 Tour Laminate
Official 1990 Band publicity shot
6 complete shows on 18 discs
3/16/90 Capital Center, Landover, MD
3/19/90 Civic Center, Hartford, CT
3/22/90 Copps Coliseum, Hamilton, ON, Canada
3/26/90 Knickerbocker Arena, Albany, NY
3/30/90 Nassau Coliseum, Uniondale, NY
4/2/90 The Omni, Atlanta, GA

Recorded by long-time Grateful Dead audio engineer John Cutler
Mastered by Jeffrey Norman in HDCD
Original art by Wes Lang
Individually Numbered, Limited Edition of 9,000
Fun Facts
-80 unique songs are included the box

-50 songs were only played once during these six shows

-24 songs were only played twice during these six shows

-This box features the last live performances of "Death Don't Have No Mercy," "Built To Last," and "Believe It Or Not"

When David suggested I do the liner notes for this box, my first reaction was of uncertainty. For me, as I would guess for all who traveled with the band, the '90s were not an entirely happy memory - first Brent, then Jerry's decline, and finally the tour from hell and what followed. Not so good. Then I listened to this box...and my jaw dropped. This is the Dead playing as well as they ever did, with energy, sophistication, and even joy. Whew!
Dennis McNally
The band stormed into the '90s like they were on a mission to prove that after 25 years together, they still had the fire burning in them, that they were "built to last." Night after night in the spring of '90 their high-energy assault left their sold-out crowds happy and exhausted-what a feeling!
- Dennis McNally
Working on these Spring 90s shows has been a complete pleasure..the band is playing great and John Cutler has captured it all, with powerful and revealing mixes.this is big stuff .
- Jeffrey Norman
In the glorious arc of the Dead's 30-year career, the Spring 1990 tour was one of the all-time highest peaks, fully equal to the golden ages of Fillmore '70 or Europe '72. All the pieces just came together - impassioned vocals, the Brent/Jerry mind-meld, the MIDI expansion of the band's sonic vocabulary, and a bunch of new tunes and choice revivals - with the X factor in full mind-bending effect. It was a great time to be a Deadhead.
- Steve Silberman
"Without hesitation, when anyone asks me are what the best tours in Grateful Dead history, I mention Spring '90 amongst Europe '72, Fall '73, and Spring '77. The music was consistently great every night of the tour, and the tour included some of the best shows in Grateful Dead history. A truly epic three week span in the Grateful Dead's career.
- David Lemieux

Paul Ngozi, The Ghetto QDK Media, via forcedexposure)7/31--from 1976, "zamrock," Zambian trad elements and language x heavy 70s rock. Kind of a proto-metal Marley fan? Well, title track incl observations of booze abuse in ghetto life's implosion, "Help Me" scared of a man at the door: "He looks like a hippie..He looks like a bushman..." Neighbors eventually to the rescue, and what they do to the stranger is left to the music's implications, but here's where the album's demo tendencies are a bit frustrating (no actual demos here, apparently). "Who Will Know" (when God comes) might be another suspect figure, judging by tension, good, Suicide: "No matter what your Mama does--thou shall not commit it!" Fuzz tones and thin though sometimes fluid picking coat and brush big bass, crisp minimal drums, riff cycles, not too familiar and good little tempo shifts on "Ulesi Tileke", my fave so far of the more Zambian tracks (still rocking). The top end gets a richer, fuller sound on "Can't You Hear Me"; "Jesus Christ" is the fastest and heaviest, could imagine early Sabs doing this. Rec also to fans of the James Gang and some of Wino's more recent, stripped down stuff. But they prob were better live, or could have been. I'd def start with xpost Cerebrum for a more fully realized album, actual demos and all.

http://images.hhv.de/catalog/detail_big/00266/266339_1.jpg

Press sheet advises "You will love this if you liked The Witch and Amanaz" Apparently Chrissy Zabby Tembo & Ngozi Family is "famous among collectors."

Ngozi's "Bamayo" on The Ghetto LP is worth the price of admission alone (and yes, I mean the nonsensical $35-40 that everyone's charging). The Chrissy Zebby Tembo LP is very fine; the Ngozi Family 45,000 Volts LP is even larger.

thanks, will check those out.

It's pretty sweet, worth $16. The Zebby Tembo and '45,000 Volts' definitely even better--worth the $25 you'll pay.

Oh, cool, thanks--they've done a reasonably priced cd. I was willing to pay for "Bamayo," but now I can point my friends at something sensible.

Aug. 3, 2012, SAN FRANCISCO - ISIS and Ipecac Recordings issue Temporal, a retrospective collection of unreleased rarities, remixes and videos, on Nov. 6.

Temporal spans the groundbreaking band's entire discography with inclusions from Mosquito Control to the band's final full-length album, Wavering Radiant. "It was fun and also very nostalgic collecting material for this release," commented Aaron Harris. "I hear our catalogue differently now that I'm not living with these songs day to day. This is a special collection of outtakes, demos, unreleased tracks and videos; some of which I think we even forgot about." More details including a complete track listing will be released soon.

Decibel Magazine profile one of ISIS' landmark albums, Oceanic, in the magazine's September issue (http://www.decibelmagazine.com/magazine/testament-095-september2012/). The 7-page interview with all five band members (Jeff Caxide, Mike Gallagher, Aaron Harris, Clifford Meyer and Aaron Turner) speaks to the "sea change" that Oceanic was for heavy music. Albert Mudrian, Editor-in-Chief for Decibel, explains: "ISIS may have left a massive void in heavy music's body when they sailed away for good a couple of years ago, but the ripples of Oceanic continue to cause waves a decade after its release."

Harris, Caxide and Meyer recently partnered with Chino Moreno (Deftones) to form Palms. The band's debut album will be out in early 2013 via Ipecac. Turner's Old Man Gloom released No in late June and he will be touring Japan this September with Mamiffer. Gallagher continues on with his solo project MGR as well as scoring films, most recently 22nd of May.
-30-

The Pin Group

Yeah, I'll wait for a review of that Pin Group reissue. All they did was add live tracks to the previous release. They'd have to be killer for me to care.

another from Forced Exposure:

VA: Zendooni CD (PHS 001CD) : OUT 08/07/2012 Subtitled: Funk, Psychedelia and Pop from the Iranian Pre-Revolution Generation. Zendooni celebrates a time when pop artists in Iran ruled the country. During the '70s, before the Revolution, Occidental and Middle East mannerisms collided and the result was a new kind of Iranian pop which incorporated different genres and arrangements to its Persian roots. Touches of funk, jazz, Latin, bossa, progressive/psychedelic sounds and Morricone/Blaxploitation-styled soundtracks can be heard on this collection, culled from miraculously survived vinyl and cassettes. A surreal voyage back to the golden age of Persian pop. A vibrant time when female singers like Nooshafarin, Azita, Pouran and Ramesh appeared in colorful teen mags dressed in full hippie fashion. Pharaway Sounds is proud to present for the first time to Western ears amazing examples of Persian psych-prog like "Safar" by Hassan Shamaizadeh and "Vi Bafa" by Kambiz; Persian funk by Azita, Nooshafarin, Emad Raam, Pooneh; Bollywood-styled sounds by Ahmad Wali & Hangama and much more. Remastered sound with a color booklet and one bonus track. https://www.youtube.com/watch?v=Ri9sIqGzA4M

ROYAL BAND DE THIES: Kadior Demb CD (TBCD 016CD) : OUT 09/11/2012
Teranga Beat proudly presents Royal Band De Thiès in their first-ever and entirely unreleased 1979 recording. Singers and composers James Gadiaga and Secka Will guide you through the sweet melodies, wicked rhythms and vocal traditions of Senegalese music, in a fabulous performance that combines mbalax with Afro-jazz. While many bands in the world claimed the title of "pacesetters," none can stand next to Royal Band De Thiès. The 9-member band with its dynamite percussion and horn sections will twist you like a tornado! Tracks like "Hommage à Mbaye Fall" will take you on a musical journey to the cultural crossroads of Senegal, West Africa's meeting point of European, Latin American and African musical traditions. This real-time, two-microphone recording gives the impression that the group is playing live in front of you, making it hard to believe it dates back 33 years ago. The liner notes of the CD booklet include more interesting details, outlining James' and Secka's musical careers along with the past and present of the band. http://www.terangabeat.com/index.php?/releases/royal-band-de-thies---kadior-demb/

Monster Numero 10th Anniversary Eccentric Soul Box:

Synopsis: 45 7" singles from the dustiest corners of the United States, replicated down to the tiniest detail. Housed in a custom Numero-patterned 45 box, replete with metal hardware and handle. Clothbound hardback book with a word count of almost 50,000, covering the bizarre histories of each group, the early history of Numero, plus an absurdly detailed series of indices.

Background: Back in early 2003, when Numero was still in an embryonic state, the labels' inaugural release was envisioned as a 10-disc, 20-artist pile of peculiar soul 45s, packaged in a cardboard clamshell mailer. It was cobbled together from what, at the time, seemed like a unique selection of singles: off-key vocalists and over-the-top guitar soloists, one-piece string sections and piecemeal brass lines, each of them ostensibly helmed by a savant mad-scientist producer working in jury-rigged, barely functional studio conditions. Its working title was Eccentric Soul.

The imagined box of ten 45s was scrapped, replaced by Eccentric Soul: The Capsoul Label, the project that became Numero 001. From the wreckage of the original set, Altyrone Deno Brown turned out to be a bedrock voice, a central story, and the cover image on 003, Eccentric Soul: The Bandit Label; the Dynamic Tints brightened one small corner of Twinight's Lunar Rotation; and Lady Margo's "This Is My Prayer" later found a home inside Pepper's Jukebox, the double LP that accompanied Michael Abramson's photography in 2009's Light: On The South Side hardcover book.

All 14 volumes of Eccentric Soul that pre-date this Omnibus sketch a given skein of connective tissue, but fully fleshed out here are the colorful strands linking any given record to untold others: untimely deaths, racial injustice, kid groups dimmed of charm by oncoming adulthood, military base installment, the bitter duty of Vietnam, the state of Alaska, tantalizing flirtations with fame. All of it is evidence that the darkened corners of the music business looked much the same in the pale light of Fresno, California, or Owensboro, Kentucky, or Benton Harbor, Michigan: record labels run by wannabe gangsters, managers with sticky fingers, radio promotion men funneling payola into disc jockey pet projects, marching bands turning into stage bands, youth centers turned into soul schools, and master tapes lost to fire, storm, and flood. Most of these 45s appear austere and simple at a glance, but every crude, hand-drawn logo, every missing or misspelled bit of crucial information, every malapropism-laden band name belies a deep well of unique history. PVC footholds in an uphill battle against badly stacked odds, these were records willed into existence through pure determination.

Omnibus Vol. 1 is an attempt at laying bare a tangled mess of loose ends that Numero (and cohorts) have been tripping over for years. Too disconnected and isolated from one another for expansion into full-length CD or LP projects, we've bound together 90 songs and 45 stories, cross-referencing each town and year of issue, and gathering it all into a compact and elegant monument to America's soul diaspora.

I don't even wanna know how much this'll cost.

They're also "releasing" a single from this each day for the next two weeks, dunno if this means you can actually buy them sep., but that's certainly what it should mean. As usual, will be clips etc on numerogroup.com Still got 45 subscription series etc:
Shoes LP reissues (and first issues)
After we got talking with Jeff Murphy from Shoes about including them on Buttons: From Champaign To Chicago, it occurred to us that we were standing on the precipice of a great catalog. The band has done a great job of keeping their albums in print on CD since the early 1990s, but their vinyl was woefully difficult to track down. One In Versailles and Black Vinyl Shoes had both been issued in editions of 500 a few years back, but at $50 a pop, only the cult was being serviced. In an attempt at reintroducing this great pop band to a whole new audience, we are thrilled to announce an LP reissue campaign that begins with Versailles and revisits Black Vinyl, but adds the never issued on wax Bazooka and an entire album of demos that would become their landmark LP Present Tense.

Each LP will of course be packaged to Numero’s highest standard, including reprints of the stickers, lyric sheets, and even iron-ons that accompanied the original issues. We’re working closely with the band to remaster the LPs from the original master tapes, a marked improvement over the DAT conversions that past reissues of their catalog have been subject to.

Shoes should be dropping in two pairs in November 2012. Try on a pair here.

The 700 Club

In September we'll be rolling out a line of 2x7" singles in the hard rock/garage/psych vein. Each will be packaged in a gorgeous tip-on gatefold sleeve, with our typical too-informative liner notes and photographs. The first 45 will be a replica of a previously issued single, while the second pocket will hold two unissued sides. The first three are:

701 Pretty: Mustache In Your Face+3

Twisted Kansas City garage psych produced by Michael Quint from the Electric Prunes and recorded in an actual cave.

702 Wicked Lester: You Are Doomed+3

Over the top Cleveland riff rockers with a serious Kiss fetish. Recorded by Thomas Boddie, who must've been scratching his head.

703 Cave Dwellers: Run Around+3

This 1965 Chicago Sun-Times quote says it all: “If a boy looking like that came calling on my daughter, I’d kick him out of the house.”

Circuit Rider

A few years ago, a mysterious LP appeared, only for sale from a limited number of retail outlets, most of the pressing being sold at the WFMU Record Fair in 2009. Some people recognized that it emanated from the Numero camp (even appearing on some lists as a Numero release), but no information was ever provided, and no official credit was ever taken. The LP, simply known as Circuit Rider, was living out its arcane origins. The sticker offered little, if any, info: “This is the ultimate burnout biker psych masterpiece. Finally repressed directly from tapes to flawlessly restore the cigarette burns, Harley fumes, and cocaine hangovers of the original ride, this is a 40 minute recipe for a complete mental breakdown. Included on the Acid Archives list of Top Ten LPs Most Likely To Be Owned By A Serial Killer, Circuit Rider is lost on the same journey as Kenneth Higney, Nicodemus & Matchez, YaHoWa, Boa, Heitkotter, Dave Lamb & Gye Whiz, Raven, Fraction, and The Doors’ LA Woman.”

We are pleased to be putting this replica LP back into print as the opening salvo in our mysterious "Jr." imprint. Available in our webstore now, or in finer record shops everywhere at the end of September.

NUM003 Eccentric Soul: The Bandit Label 3LP

Our post-nascent number two in the Eccentric Soul series, Bandit gets epic as we further dissect the improbable world of Chicago’s Arrow Brown and his near-cult of musicians, singers, pimps, questionable child stars and unverified child brides. Since its original issue nearly 8 years ago, we’ve unearthed more story, more photographs and yes, more music. An extra album's worth of music, in fact, accompanied by a 12″ by 12″ 52 page bound book containing a 20,000 word essay and dozens of unseen photographs and ephemera. A final, definitive edition of one of Chicago’s most eccentric soul producers. Available end of 2012.

NUM048.5 Medusa S/T LP

While it teetered from the cliff of Sabbath to the canyon of prog, Medusa’s self-titled debut LP never saw the inside of a record bin. Regulars on Chicago’s ’75 to ’78 rock club scene, this multi-gendered, semi-coven brought their dark vision on weeknights to dirt-bag pleasure palaces like Tuts and The Hanger. Housed in a black velour LP jacket with the truly amazing Medusa logo embossed in red and gold, Medusa finally gets a proper debut, bringing back acid-tinged, classic-rock riffs to Numero fans in search of blood. Available end of 2012.

And still to come… Eccentric Soul 45 subscription series, Lewis Connection LP, Eccentric Soul: The Cash Label, Good God! Title TBA, Eccentric Soul: The Dynamic Label, Ladies From The Canyon 2LP, Fern Jones 2LP, and something so massive that to tack it on here at the end of this message would be merciless. We've committed enough vengeance upon your wallet already today.