Rolling Reissues 2020

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A little late, incl. in finding anything worth mentioning, but now we can start this off with a bang:

dow, Tuesday, 25 February 2020 22:46 (eight months ago) link

Randy Holden's Population II out Friday---heavy breathing and linked preview streams here:

dow, Tuesday, 25 February 2020 22:48 (eight months ago) link

I've really been looking forward to this reissue since Riding Easy announced it, but I'm a little confused about the release date since Riding Easy's site itself says it's not due out until April 6th.

soaring skrrrtpeggios (jon /via/ chi 2.0), Wednesday, 26 February 2020 16:42 (eight months ago) link

Rumours taht there is a box set and deluxe editions of the mid 70s Iggy Pop lps he cut with teh help fo david Bowie have been going around since the latest Robert Plant cover UNcut hasa big feature on the era. Not been able to find anything confiriming that though.
Have been hoping for remasters of teh 2 main lps for ages though.

There is definitely a 15 disc vinyl box based around Funhouse coming including all of the Complete sessions and the Unganos set.
A bit of overkill but it is the 50th anniversary.
Wish I could get some of the packaging on its own though.
Really want a poster with the remastered cover image in the same depth as the vinyl that came out at the time the 2cd set came out. Very sharp

Stevolende, Wednesday, 26 February 2020 16:49 (eight months ago) link

xpost good point Jon, have just queried publicist.

dow, Wednesday, 26 February 2020 17:10 (eight months ago) link

THere wasa good long interview with Randy Holden in Ugly THings a couple of issues ago #51. Goes right into the story behind the Population II lp and why nothings seemed to work for him at that point.He drifted out of music in disgust for decades.

Stevolende, Wednesday, 26 February 2020 17:19 (eight months ago) link

That was a great read, if overall depressing.

soaring skrrrtpeggios (jon /via/ chi 2.0), Wednesday, 26 February 2020 17:20 (eight months ago) link

Publicist replies: Because the vinyl was delayed considerably, as is the norm these days. It will be out on digital platforms this Friday, but the physical format won’t hit shelves until April 6th. Yeah, prob re the big pressing plant fire in Cali, I should think (but why no CD yet oh well meanwhile we have those streams linked in the press release web page posted above)

dow, Wednesday, 26 February 2020 18:13 (eight months ago) link

Thanks for the clarification!

soaring skrrrtpeggios (jon /via/ chi 2.0), Wednesday, 26 February 2020 18:18 (eight months ago) link

The Distractions – Nobody’s Perfect (Island/Occultation, 1980) Mar 20
An exciting, relatively rare case where a lost classic (from major label Island no less) is reissued on CD (and digital and vinyl) for the first time ever. It was a long road to get there, as the project was first announced in 2016, then abandoned, then made into a crowdfunded project. You can stream or buy the 14 original tracks of the album now, or buy the physical two disc set with the singles, demos and remixed album to be delivered in March. The amazing Manchester band is the missing link between Buzzcocks and The Jam.

Nick Haeffner – The Great Indoors (Hanky Panky, 1987) Jan 8
The voice of unsung cult post-punk/psych hero Nick Haeffner is finally being heard thanks to a renaissance of reissues, reunions and new material. Last year he got together with his old post-punk band The Tea Set (1978-81) for some performances, new song and video “Pharoahs,” and the Cleopatra released the compilation of their complete catalog in July, Back In Time For Tea. Then Hanky Panky reissued a double album version of his underrated solo debut, The Great Indoors (1987), a truly original collection that marries his post-punk background with Syd Barrett psych and jangle pop. It was officially released late last year in UK, so Jan is the US date -- mine just arrived this week.

UT – In Gut’s House (Blast First/UT, 1987) Jan 31
UT formed in no wave-era NYC in 1978, but soon relocated to London. Their second album, In Gut’s House, is a masterpiece of spectral, skeletal noise rock and post-punk, one of the most original albums of the time. Had they not disbanded in 1990, perhaps they would have achieved at least a portion of the success that the likes of Swans and Sonic Youth saw. They’ve actually been active since 2010, and with luck we’ll hear new music someday.

East Village – Hotrod Hotel (Slumberland) Jan 24
I don’t know that East Village were one of the Great Lost Bands, but they did some nice jangle pop tunes that were in line with what was going on with Flying Nun and Creation label bands. They broke up in 1991, two years before their sole album was released. This collects their late 80s singles.

Pale Saints – The Comforts Of Madness (4AD, 1990) Jan 17
Second tier dream pop & shoegaze from Leeds deserves a fresh listen on this deluxe reissue of their debut album, the first of three in their 7 year existence, 1987-94.

The Flys – Today Belongs To Me: The Complete Recordings 1977-1980 (Warner/Cherry Red, 2019)
This came out last year, but I just got my copy, tacked it on at the bottom of the Distractions review. One of the many Between The Cracks bands who navigated the murky gray areas between glam, pub rock, new wave and punk.

ggy Pop – The Idiot (Universal, 2CD, 1977) May
Iggy Pop – Lust For Life (Universal, 2CD 1977) May
Iggy Pop – 1977: The Bowie Years (Universal, 7CD) May

This is exciting news, as I’ve been waiting for deluxe reissues of those albums for decades. No details on what’s on that 7 disc set yet, but I imagine there would be stuff starting with Raw Power era Stooges and some live recordings, possibly with Bowie serving on keyboards.

Pedaljets – Today, Today (Twilight, 1988) TBD - I reviewed their new album:

Fastnbulbous, Saturday, 29 February 2020 13:35 (seven months ago) link

Yeah, I might well spring for the full Iggy box. Maybe we'll get even more live recordings with the awesome fidelity of TV Eye!

but also fuck you (unperson), Saturday, 29 February 2020 14:48 (seven months ago) link

Batiscafo FINALLY being reissued, this is one crazy record and long overdue. It's out 4/3

Munster Records presents a reissue of Batiscafo by Gregorio Paniagua. Immersed in an age of re-releases and the pursuit of rarities, hidden gems and marvels, record labels are constantly rediscovering musical jewels, which previously only collectors have had the chance to own. Batiscafo is one of these elusive treasures. First released in 1980 on the label Hispavox, the album disappeared after a short run and no further editions in any format have been available until now, in spite of the huge level of interest shown by fans to get their hands on a vinyl record in mint condition by this outstanding musical oddity made in Spain. Paniagua is a classically trained musician and scholar of music with an extensive and fruitful history of researching, recording and rediscovering ancient music, varying from Las Cantigas de Santa María del Rey Alfonso X El Sabio (which earned him a gold record in Japan), to Andalusían music from Spain's past or compositions from ancient Greece, as well as playing with the vocal and instrumental ensemble Atrium Musicae, which toured across the world to great critical acclaim. In 1980, Paniagua embarked on a solo project, moving from the classical to the pop department at Hispavox. He shut himself off from the world every night for a whole month to record Batiscafo. Assisted solely by a sound technician at the controls of the latest mixing desk, his instruments and brilliant inventiveness, he managed to create this gem, a record that seeks to emulate Mike Oldfield's Tubular Bells (1973) and which vanished all too soon, becoming the Holy Grail of Spanish experimental music. Batiscafo anticipated a wave of avant-garde Spanish music in the '80s with key figures such as Suso Sáiz, Pep Llopis, Ishinoana, or Finis Africae, who are now being rediscovered and admired outside Spain. It is a highly original and imaginative record that continues to surprise listeners forty years on, with its bold combination of early electronic music, classicism, experimentation and psychedelia. It's a masterpiece that endures the test of time.

Deflatormouse, Monday, 9 March 2020 02:29 (seven months ago) link

Oh! I'll order that East Village collection from Slumberland... Paul Kelly went on to form Birdie, who I love. And I guess Martin Kelly went on to marry Sarah Cracknell, who he loves.

avellano medio inglés (f. hazel), Monday, 9 March 2020 03:16 (seven months ago) link

ggy Pop – The Idiot (Universal, 2CD, 1977) May
Iggy Pop – Lust For Life (Universal, 2CD 1977) May
Iggy Pop – 1977: The Bowie Years (Universal, 7CD) May

This is exciting news, as I’ve been waiting for deluxe reissues of those albums for decades. No details on what’s on that 7 disc set yet, but I imagine there would be stuff starting with Raw Power era Stooges and some live recordings, possibly with Bowie serving on keyboards.

― Fastnbulbous, Saturday, February 29, 2020 1:35 PM (one week ago) bookmarkflaglink

Has this been confirmed somewhere now. The word was going around a couple of weeks ago but everything was citing the Uncut article in the Robert Plant cover edition as the source.
Iam looking forward to getting the lps if it is true but just haven't seen anything saying what makes them deluxe.
Have been waiting for an upgrade on the old cd for years.

Stevolende, Monday, 9 March 2020 10:06 (seven months ago) link

There's a new African Head Charge box out: Drumming is a Language: 1990-2011. It compiles four albums - Songs of Praise, In Pursuit of Shashamane Land, Vision of a Psychedelic Africa and Voodoo of the Godsent - with a 10-disc set of outtakes, Churchical Chant of the Iyabinghi. I bought the 5CD version from the On-U store on (along with the 2017 Dub Syndicate box Ambience in Dub 1982-1985) and got free downloads (MP3, WAV, or FLAC) of everything.

but also fuck you (unperson), Monday, 9 March 2020 16:42 (seven months ago) link

Now that's what I call talkin' about!
Wonder how this is?

The All American Powerhouse (Themes)
Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released. Highlights include Alan Parker’s confident, horn-heavy wah-wah-fuelled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’ percussive tour de force “Overide” that closes out the LP. Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully.
Excerpts etc. of this and other label reissues here:

dow, Monday, 9 March 2020 20:23 (seven months ago) link

Another Be With (tho currently Out of Stock on this site)
Visual Impact (kpm) LP

Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson. For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”. The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense “Rock Climb” and the sheer heft of “Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York.”
More samples etc.:

dow, Monday, 9 March 2020 20:30 (seven months ago) link

I had a weird mix of going between CDRs of The Cult and The Doobie Brothers today at work.

earlnash, Tuesday, 10 March 2020 02:09 (seven months ago) link

As RidingEasy Records' highly successful Brown Acid series (now at 10 volumes and counting) proves, there is a massive amount of incredible heavy psych and proto-metal music that has been lost to the sands of time. Case in point, the astoundingly great 50-year-old album The Ice Age by Indianapolis quintet ICE was never even released upon its completion.

In 1970, the band recorded 10 original songs at 8-Track Studios in Chicago, only to break up shortly thereafter. Two of the tracks were eventually released as a 45 in 1972, but confusingly under a different band name, Zukus! The A-side of that single was featured on Brown Acid: The Ninth Trip, which led RidingEasy Records to discover when licensing the track that an entire album had been languishing in obscurity all of this time. The 2-inch master tapes had been shelved and forgotten until recently when The Ice Age tracks were converted to digital and remixed, preserving the sounds of the original vocals & instruments. Finally, half a century later, this 10-song album of radio-ready rock will finally see light of day.

The Ice Age is an exceptional archive of hard edged rock with serious pop hooks akin to something like Grand Funk Railroad meets The Guess Who and The Move. It rocks hard, but is also interlaced with glorious melodic hooks. Had fate been less fickle, this album would've long been a classic rock radio staple.

"Goes back and forth between riffy '70s hard rock and the more mind-bending psych-pop sounds of the '60s. It's not hard to picture this being recorded in 1970 - like a lot of that year's rock records, you can feel the hangover of '60s hippie culture coming on but the sounds of the summer of love aren't completely gone yet." -- Brooklyn Vegan
Links to first single + more words:

dow, Tuesday, 10 March 2020 17:47 (seven months ago) link

Sir Lord Baltimore finally getting an official reissue of their lps as a 3cd on April 24th. Through Cherry Red .
That includes a 2006 reunion lp.

I think all cd releases to now have been bootlegs.

Stevolende, Wednesday, 11 March 2020 07:31 (seven months ago) link

Any updates on what is on the Iggy Pop 2cds or actual confirmation beyond the Uncut article?

Stevolende, Wednesday, 11 March 2020 07:33 (seven months ago) link

Just reposted your SLB news here, stevolende: Singing drummers
where I prev posted this, without having heard that those CDs were bootlegs(?) Got the legit orig lps, but only heard reissues and reunion on youtube:

Surprised that John Garner of Sir Lord Baltimore isn't on here. SLB's 1971 Kingdom Come is what would now be called proto-metal I guess---tagged as heavy metal when that was still a new, esoteric rock critic category---real good, and the follow-up was okay; way later when they were mentioned in CREEM again, somebody wrote in to say that Garner had become a Christian EMT and wedding singer. Then about 12 years ago the third album was finally released, earlier sessions re-worked with Christian-themed lyrics (considering the title of the debut, maybe this was always in there, but originally over my head if so). Kingdom Come's re-reissue on CD is prob OOP by now but worth looking for.

― dow, Thursday, September 6, 2018 10:30 AM (one year ago) bookmarkflaglink

Listening again---if you want visionary caveman vocals x drums for the wedding, Garner is your guy! Or was (RIP).

― dow, Thursday, September 6, 2018 1:17 PM

dow, Wednesday, 11 March 2020 21:39 (seven months ago) link

Mercury/Polygram put the first two SLB albums on one CD way back in 1994; I still have a copy (and it might even still be in print). Weirdly, both albums had their sides reversed, so the CD ran

Kingdom Come, Side A
Kingdom Come, Side B
Sir Lord Baltimore, Side B
Sir Lord Baltimore, Side A

I think I'm gonna spring for the Cherry Red box. That third album was good; I interviewed the two surviving members when it came out in 2007.

but also fuck you (unperson), Wednesday, 11 March 2020 22:59 (seven months ago) link

The Mercury set has been OOP for awhile; Garner himself published a review on Amazon complaining that he'd neither been approached nor compensated for it.

a bevy of supermodels, musicians and Lena Dunham (C. Grisso/McCain), Wednesday, 11 March 2020 23:02 (seven months ago) link

Well, I've just pre-ordered the Cherry Red box (only about $27 including shipping to the US; release date 4/24, which is just far enough in the future that I'll have forgotten I ordered it by the time it lands in my PO box).

but also fuck you (unperson), Wednesday, 11 March 2020 23:14 (seven months ago) link

two weeks pass...

From Sounds of the Universe, Soul Jazz Records storefront:


From the writers of 'Last Night A DJ Saved My Life', Bill Brewster & Frank Broughton have come up trumps again with this fabulous book 'The Record Players'!!!

Leading dance music writers Brewster and Broughton detail the visionary DJs who dramatically changed the course of music: from the very first nightclub DJs, to the founders of entire genres, including northern soul, hip hop, disco, techno, drum’n’bass and beyond.

These are the obsessives, the playboys, the musical eccentrics who founded the craft of DJing, developed amazing techniques for performing with recorded music, and revolutionised the way music is conceived, created and enjoyed. They gave us new ways to have the times of our lives and forged a worldwide industry of nightlife and dance music. From unsung pioneers to overheated superstars, all the biggest DJ names are here!

Includes Tom Moulton, Francois Kevorkian, Louie Vega, Marshall Jefferson, John Peel, David Mancuso, Alfredo, Shut Up & Dance, Danielle Badelli and lots, lots more!!!!!

dow, Sunday, 29 March 2020 19:49 (six months ago) link

also from SOTU:

(update) SORRY SOLD OUT!!

Absolutely seminal dubby tripped-out POST-PUNK DANCE CLASSIC originally on New York's seminal 99 RECORDS in the USA and Goldman's tiny own label in the UK in 1981.

Recorded at the height of dance/punk crossover, Vivienne's seminal single features John Lydon and Keith Levene from PIL's production, and the flip produced by Adrian Sherwood. It's even got Robert Wyatt on percussion! It's the bomb!

This is a beautiful new exact reproduction of the single with its stunning original sleeve with paper inner and polyurethene plastic outer sleeve. It has been unavailable for 40 years and you have one chance to get this before it gets deleted!

*ONE COPY ONLY PLEASE*!!! Oh well you can still hear some of the a-side:

dow, Tuesday, 31 March 2020 21:47 (six months ago) link

Haven't heard from Anthology Editions in years, thought gone!

Anthology Editions Announces 13th Floor Elevators: A Visual History Book, Out April 21st
Their journey still occasions wonder and awe. For so many years, it was hardly told. Here it is, in pictures and words. This is the way, step inside.” - Jon Savage

13th Floor Elevators: A Visual History, written and curated by Paul Drummond and published by Anthology Editions, will be released April 21st, and is available for preorder now. Direct orders of the book through the Anthology website will be shipped immediately. 13th Floor Elevators: A Visual History tells the complete and unvarnished story of a band, which, until now, has been thought of as tragically underdocumented. Drummond has spent years amassing an unprecedented archive of primary materials, including scores of previously-unseen band photographs, rare and iconic psychedelic artworks, and more. A full list of visual assets can be found belowBorn out of a union of club bands on the burgeoning Austin bohemian scene and a pronounced taste for hallucinogens, the 13th Floor Elevators formed in late 1965 when lyricist Tommy Hall asked a local singer named Roky Erickson to join up with his new rock outfit. Four years, three official albums, and countless acid trips later, it was over: the Elevators’ pioneering first run ended in a dizzying jumble of professional mismanagement, internal arguments, drug busts, and forced psychiatric imprisonments.

In their short existence, however, the group succeeded in blowing the lid off the budding musical underground, logging early salvos in the countercultural struggle against state authorities, and turning their deeply hallucinatory take on jug-band garage rock into a new American institution called psychedelic music. Before the hippies, before the punks, there were the 13th Floor Elevators: an unlikely crew of outcast weirdo geniuses who changed culture. 13th Floor Elevators: A Visual History places the band finally and undeniably in the pantheon of innovators of American rock music to which they have always belonged.

13th Floor Elevators: A Visual History Visual Assets:
● Rare photos, including many newly-discovered color shots
● Family scrapbook photos and clippings
● Photography and ephemera from the band’s friends, a who’s-who of the 1960s Austin arts scene
● Stills from the band’s television appearances
● Contemporary newspaper and underground press clippings covering the band’s rise (and fall)
● Materials from the books that inspired the band’s unique iconography
● Internal documents from the band’s label International Artists documenting the disastrous business side of the Elevators’ career in detail
● Materials relating to the band’s legal troubles, from handwritten drug deal letters to Austin Police Department surveillance photos to mugshots and draft cards
● The most complete collection of show flyers and handbills ever assembled, including many rare alternate printings of iconic psychedelic posters

About the Author:
Paul Drummond is a renowned antiquarian bookseller based in London. He has spent years documenting every aspect of the history of the 13th Floor Elevators, and is the author of Eye Mind (2007), the exhaustive and definitive biography of the band.

Order 13th Floor Elevators: A Visual History
(even if you don't want to pre-order, maybe check their reissues still available, like Tully's Sea of Joy)

dow, Wednesday, 1 April 2020 23:36 (six months ago) link

I wish Eye Mind would get put back into print. My copy got trashed and it's fetching ridiculous $$$ online.

"...And the Gods Socially Distanced" (C. Grisso/McCain), Wednesday, 1 April 2020 23:51 (six months ago) link

Matador's promo page for the new Alien Lanes vinyl re-ish includes this teaser at the bottom:

Other Matador Revisionist History Catalog Features Coming in 2020
April 11, 1995 — Pavement Wowee Zowee — 25th anniversary
May 2, 1995 — Yo La Tengo Electr-O-Pura — 25th anniversary
Anniversary releases for Chavez‘s Gone Glimmering, Bailter Space’s Wammo, and Mary Timony‘s Mountains to follow later this year.

morrisp, Thursday, 2 April 2020 18:05 (six months ago) link

three weeks pass...

New Zealand’s legendary group The Clean have dusted off several releases from their catalog and made them available on all digital platforms! Today marks the digital debut of the band’s 1996 studio album Unknown Country and that of Live Dead Clean, a six-song EP of early live tracks recorded in 1981 and 1982. Pop some “Champagne & Misery” to celebrate.

The Clean’s David Kilgour and Robert Scott on Unknown Country:

DK: The Clean always wanna try something different, but on this LP, we were obsessed with the idea. Tracks like “Wipe Me, I’m Lucky” and “Franz Kafka at the Zoo” are fine examples of the approach, I reckon. Quite a long way from “Tally Ho!” and “Beatnik”!

I remember we generally left vocal ideas to last, after the tracks were recorded, so we never really knew where we were headed. Might also explain all the instrumentals!

Made during the Balkan War, hence the reference. And for the freaks, I think “Balkans” is the only Clean track ever to not actually feature the Clean playing. It’s all Alan Starrett, as we removed the backing track.

RS: This album is very different from our other albums. We didn’t go into the studio with many “song” ideas—a lot of it was written on the spot. I really enjoyed recording this as it was free of expectation. We weren’t playing much live at the time. It does contain some of my favourite Clean songs such as “Twist Top,” “Wipe Me, I’m Lucky,” and “Valley Cab.” Certainly our most experimental album.

In addition to the releases mentioned above, Compilation, Vehicle, Modern Rock, and In-A-Live are available for your listening pleasure on your favorite digital service today!

contact: mike at

dow, Monday, 27 April 2020 18:43 (six months ago) link

So last year, Reappearing Records released a listening companion to Love and Death on the New York Dance Floor, the third volume of historian Tim Lawrence's NYC saga--link to stream that is on the below bandcamp page, for upcoming soundtrack of his first book, Love Saves The Day (stream for this not yet available):
With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by David Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

releases May 22, 2020, digital and vinyl
Les Troubadours Du Roi Baudouin - Dibwe Diambula Kabanda
Chuck Mangione - Land Of Make Believe
Wilson Pickett - Don't Knock My Love (Part 1)
Wilson Pickett - Don't Knock My Love (Part 2)
James Brown - Give It Up Or Turn It Loose
Jackson 5 - Hum Along And Dance (Uncut Version)
Brainstorm - Lovin' Is Really My Game (12" Version)
Domenic Troiano - We All Need Love (12" Version)
Gladys Knight And The Pips - It's Time To Go Now
Don't know if Part 1 refers only to the book's placement in series or if there will be a another audio release re the book.

this is how it's divided up on vinyl, according to Vinyl Factory:
Side A

1. Les Troubadours Du Roi Baudouin – Dibwe Diambula Kabanda
2. Chuck Mangione – Land Of Make Believe

Side B

1. Wilson Pickett – Don’t Knock My Love (Part 1)
2. Wilson Pickett – Don’t Knock My Love (Part 2)
3. James Brown – Give It Up Or Turn It Loose

Side C

1. Jackson 5 – Hum Along And Dance (Uncut Version)

Side D

1. Brainstorm – Lovin Is Really My Game (12 Version)
2. Domenic Troiano – We All Need Love
3. Gladys Knight And The Pips – It’s Time To Go Now

dow, Tuesday, 28 April 2020 18:56 (six months ago) link

Here's the one that came out last year, with 16 tracks:

dow, Tuesday, 28 April 2020 19:08 (six months ago) link

This Delta 5 comp came out on CD in '06, then two vinyl editions and cassette were released late last year, but don't think I noticed---either way, listen/order here:
excerpts from post on that page:
Delta 5 - Biography
By Alan Riggs

Ros Allen - Bass guitar & vocals
Kelvin Knight - Drums
Bethan Peters - Bass guitar & vocals
Alan Riggs - Guitar & vocals
Julz Sale - Vocals

Formed in Leeds, Yorkshire, England, UK 1979.

There was a Leeds music scene at the time that revolved around the Leeds University Art Department, and local bands The Gang of Four and The Mekons were doing well. Kelvin had briefly replaced Hugo in The Gang of Four and was recommended to Delta 5 as a drummer. Kelvin and I played in a band in York together so I went along to audition and joined in May 1979.
...The single came out in December.

John Peel was given a pre-release copy and he decided to play it twice that night. The next day we got a call asking if we'd like to do a session for him - yes please!! Then, we were off and running.

"Delta 5" and "Make Up" included on this CD are from that session of February 1980. We recorded a follow-up, "Anticipation" / "You" in February 1980. We were gigging more often at this point and "You" turned out pretty well. More gigging in Europe and the UK; around 1980 - 81, we played quite a bit at The Lyceum in London and shared the bill with The Gang of Four a few times, Echo and the Bunnymen, B52s, Specials, Teardrop Explodes and U2 to name a few. We toured with The Gang of Four and Pere Ubu in 1980.

In September 1980 we did our second Peel session, which included "Triangle," which is included on this CD. Later in September 1980 we went to the USA.

We played New York and all along the East Coast. Then we went West, and "Shadow," "Circuit," and "Journey" are all from a show we did at the Berkeley Square in Berkeley, CA. Back to England in October and we recorded "Try"/ "Colour" with the Bad Manners horn section who we had met at a festival In Finland.
...We experimented quite a bit on the album and perhaps we should have just recorded the songs as they were - the session versions included here are more a reflection of how we were live as they were all recorded quickly in one or two takes.
...The early days were the best and although we did argue a lot, (what band doesn't!), we also had a lot of laughs - for a couple of years we got to play live and make some records, and then that was enough.

dow, Friday, 1 May 2020 17:36 (five months ago) link

The Best Of the Rest: Rare and Unreleased Recordings
Coming to CD on May 22nd

"As much as has been written about the sixties, it's arguable that no one experienced that defining moment in American history more personally than Phil Ochs" - Steve Earle

Phil Ochs is known primarily as a songwriter; however, his oeuvre extends far beyond that - to short stories, poetry, criticism, journalism and satire

More than a torrent, less than a flood-the songs poured out of Ochs so quickly in the early days of his career that not all were able to find their place on his albums, leaving a fair few in limbo. Some of those "betwixt and between" songs would only emerge decades later and a few have hitherto languished in the archives.

The Warner/Chappell demos which make up the main portion of this new album represent a time period spanning Ochs' last two albums for Elektra: I Ain't Marching Anymore and In Concert, when Phil was finding his full strength as a songwriter and moving to include the lyrical in his repertoire, alongside the topical and satirical.

Songs such as "In the Heat of the Summer" and "Here's to the State of Mississippi" will certainly be familiar to most Phil Ochs fans. Others, like "The Confession" and "I'm Tired" (the latter with subtlety adjusted lyrics) may be known only to those who have the Farewells and Fantasies and A Toast to Those Who are Gone albums, respectively (or perhaps Shawn Phillips' rare cover of "I'm Tired" on his 1965 album for Capitol, Favorite Things).

Readers of Broadside ("the national topical song magazine") issue 69, in April 1966 would have encountered Ochs' "Take It Out of My Youth. However, if they missed that issue, or did not have the rare good fortune to hear Ochs perform it live, then they might never have even been aware of the song. Rather than paying for a drink from a five or ten ("depending upon one's station in life"), Ochs suggests a more personal, and perhaps more draining, means of payment.

"I Wish I Could Have Been Along" is even more obscure-never published in any magazine, with no known live recordings or cover versions. The song ranges from (barely) repressed wanderlust and the desire for experience on the one hand, to introspection and mournfulness on the other (there are times when one can almost hear Ochs sing, "I Wish I Could Have Been Alone," son of "As I Walk Alone" perhaps?). Another line calls to mind an even more famous Ochs song, of similar vintage, "tell me of the changes in your mind."

"Sailors and Soldiers," perhaps partially inspired by the Soldiers' and Sailors' Memorial Monument in Riverside Park in New York City-with Phil transposing the armed services, either for the sake of emphasis through unfamiliarity or, perhaps more likely for the sake of how the line would scan, lyrically. In any case, it too was completely unknown before being rescued and covered by the Long Ryder's Sid Griffin with Billy Bragg (Phil fans both) on Griffin's solo album Little Victories in 1997. The words ("far from the planners who sent them to die") cut as deeply today as they did when the song was written.

The bonus tracks delve even more deeply into the Ochs Archives. The version of "The War is Over" from a November 20, 1967 WBAI broadcast, in advance of the protest celebration five days later, features almost entirely divergent lyrics ("all the children play with Gatling guns, tattooed mothers with their tattooed sons") from those of the released version and is a wonderful example of Ochs never being satisfied with the merely clever and well-written, forever polishing to a fine poetic point.

"All Quiet on the Western Front," from 1969, was previously only known from incomplete versions recorded live in New York and Philadelphia (both missing, as though through some conspiracy, the opening verses). Ochs was more economical with his songs later in his career and this is a rare example of a lost song saved from those latter days.

In "No More Songs" we close with a familiar song, but something new-a rehearsal take, replete with comments on what instrumentation and countermelodies Phil envisioned. It is a rare glimpse behind the curtain and a fitting last word from Phil.

I'm Gonna Say It Now: the Writings of Phil Ochs (Backbeat Books, May 2020) compiles damn near all of Phil's non-song works, sourced, in part, from the Ochs Archives at the Woody Guthrie Center in Tulsa, Oklahoma. Phil is known primarily as a songwriter; however, his oeuvre extends far beyond that - to short stories, poetry, criticism, journalism and satire, all of which are included in this tome.

Spanning foundational texts written while still in school at Staunton Military Academy and Ohio State University-to the music criticism, polemics and satire penned in New York City (appearing in such diverse magazines as Sing Out, Mainstream, The Realist and Hit Parader). Onward, with ringing calls to action, from an absurdist point of view, for the two War Is Over rallies in Los Angeles and New York City-to exploring Phil's more lyrical side, via his poetry (the majority previously unpublished) to, finally, a recapitulation of sorts, in works written in the early 1970's touching on movies, travel (from his private journal), Bruce Lee and, dare we say it... Impeachment and the fate of presidents.
Track Listing
In the Heat of the Summer
That's What I Want To Hear
The Men Behind the Guns
Days of Decision
Here's To the State of Mississippi
Sailors and Soldiers (previously unreleased)
City Boy
I'm Tired
I Wish I Could Have Been Along (previously unreleased)
I'm Gonna Say It Now
Canons of Christianity
Song of Soldier
Colored Town
The Confession
Love Me, I'm A Liberal (previously unreleased)
Take It Out Of My Youth
War Is Over: 20 November, 1967 (previously unreleased)
All Quiet On the Western Front (previously unreleased)
No More Songs (rehearsal, previously unreleased)
"Phil Ochs told the truth before it was ready to be accepted, before it was politically expedient. He was the kind of truth teller that made liberal allies nervous because his truth demanded an accountability to their own compromise."
- Tim Robbins

"Phil Ochs was a tireless crusader for justice. He is one of the all-time great activist troubadours. With wit and fire, his songs skewered the evildoers of his day and remain perfect examples of how to fight the power with guitar in hand."
- Tom Morello

"Phil Ochs was a born writer. He played guitar because that was the language his generation was speaking. Today, his questioning voice chimes as clearly as it ever did."
- Billy Bragg

dow, Thursday, 7 May 2020 23:42 (five months ago) link

Volume 2 of Kyriakos Sfetsas' 1976 "Greek Fusion Orchestra" project. Sfetsas' vision behind the formation of GFO, was to create a piece of work that would expand the boundaries of Greek traditional music. The result was a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, performed by Athens' best musicians of the day.
more info, audio:

dow, Friday, 8 May 2020 19:25 (five months ago) link
Soul Jazz Records’ new Black Riot: Early Jungle, Rave and Hardcore is a brand new collection of heavyweight ragga-influenced hardcore jungle tracks from the early 1990s. Dark and heavy!

Featuring classic and seminal tracks from the likes of Levictus and Krome &Time, alongside a host of rare and little-known ragga & junglist hardcore tunes from the likes of Babylon Timewarp’s hypnotic Durban Poison, Rhythm for Reasons’ mad ‘The Smokers Rhythm’, The Freaky rave-y breakbeat sound of ‘Time and Age,’ Trip One’s super dark ‘Snowball’ and loads more!

Expect super heavy basslines, equally heavy twisted Amen drum loops, even heavier ragga vocals! Original jungle style - roots and culture - from the earliest days of drum and bass.

Included with the album is a free limited-edition graphic mini-novel “Black Riot: The Mysterons save Planet Earth from the Xatheroid Angels.” This is the third collaboration between Soul Jazz Records and writer/illustrator Paulo Parisi, the highly respected author of graphic books on Jean Michel Basquiat and John Coltrane.

This new graphic story continues the story of black electronic dance music – this time set around the birth of Jungle and continues onwards from Soul Jazz’s earlier ‘Invasion of the Killer Mysterons’ (Jamaican electronic Dub, co-compiled by Kevin Martin (The Bug)) and Mysterons Invade the Jackin’ Zone (about Chicago Acid & Experimental House).
LP, CD, mp3---more info, audio:

dow, Friday, 8 May 2020 19:30 (five months ago) link

Far Out Recordings reissue Milton Nascimento’s 'Maria Maria'! Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil’s greatest ever songwriters at his creative peak.

info, audio:

dow, Friday, 8 May 2020 19:39 (five months ago) link

cor just got a crossword I couldn't finish a little closer to completion.
Probably ought to know that name a bit better though.

Stevolende, Friday, 8 May 2020 19:46 (five months ago) link

A favourite within the rare-groove scene and Latin jazz scene alike, this classic from Eumir Deodato gets reissued via Far Out! At the height of Deodato’s productivity in the early 70s, 'Os Catedraticos 73' was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan ‘Mamao’ Conti, percussion master Orlandivo and Sergio Barroso on bass, while the horn section features some of NYC's top players from CTI's in-house brass section.
More info, audio:
They also have reissues of the Deodato-produced group Caterdraticos, Azymuth, and a bunch of other Brazilain on the Far Out Label.

dow, Friday, 8 May 2020 19:47 (five months ago) link

And speaking of jungle etc

All Crews: Journeys Through Jungle/Drum & Bass Culture
By Brian Belle-Fortune
Killer book on the evolution of Jungle and Drum and Bass in the UK. The raves, the shops, the djs, the
mcs. Essential!

"The Definitive book on Jungle". GROOVERIDER
More info:

dow, Friday, 8 May 2020 19:53 (five months ago) link

And several, maybe all, Felas on Knitting Factory, incl. The Complete (?) Works[/i]:
One copy for sale £542 on Discogs! Buy it here for £442 less!

29 cds + dvd! The whole kaboodle, the whole nine yards, the big whammy. Complete indeed! Phew!
Info, no audio (for this particular release):

dow, Friday, 8 May 2020 20:00 (five months ago) link

More Red Kross reissues/editions, optimistic tour dates----excerpt from Third Man Records press release:

Brothers Jeff and Steve McDonald formed Redd Kross (originally Red Cross) in Hawthorne, CA in the late ‘70s. Rumor has it that the band name was inspired by a prop from the 1973 horror film The Exorcist. Their first show was opening for Black Flag and they released their debut record the mythical Posh Boy EP in 1980 when they were just 17 and 13 respectively. The Posh Boy EP features Black Flag’s 2nd singer, Ron Reyes, on drums and founding member of Circle Jerks, Greg Heston, on guitar. 1982 saw a line up change and the release of Born Innocent, a high water mark of American Punk Rock. Containing nods to Jim and Tammy Faye Baker, Linda Blair, Lita Ford and breakfast cereal as well as a killer cover of Charlie Manson’s "Cease To Exist." Redd Kross loves pop culture.

The brothers have kept Redd Kross going through the decades (and line-up changes), releasing 8 studio albums and a slew of EPs and singles. They have also stayed busy with side projects, production gigs and even occasional acting jobs. What are Redd Kross? Punk Rock? Psychedelia? Heavy Metal? Bubblegum? Power Pop? Whatever they are they are 100% Redd Kross, the catchiest of catchy, chock full of hooks, melodies and harmonies, impossible to not smile and sing along.....maybe even dance. Their live show just keeps getting better. Redd Kross are one of those rare bands who would be equally at home in a dark punk club and on stage at the Enormodome.


The McDonald brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gere Fennelly on 1993’s Phaseshifter. Redd Kross leaves the ‘60s and ‘70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk/bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like "Crazy World," "Dumb Angel," "Pay For Love" and "After School Special."

Show World

Phaseshifter line-up intact (Gere Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, "Pretty Please Me," and sets the tone for yet another killer album by the thinking person’s good time band.

Like all RK albums before and since, this one is all killer, no filler, with special highlights "Stoned," "Vanity Mirror," "One Chord Progression" and the absolutely sublime "Follow The Leader."


ON TOUR 2020

09-24 Cologne, Germany - Yard Club at Kantine

09-25 Copenhagen, Denmark - Stengade

09-26 Stockholm, Sweden - Debaser

09-27 Oslo, Norway - Krosset

09-29 Malmo, Sweden - Plan B

10-02 Hamburg, Germany - Headcrash

10-03 Berlin, Germany - Hole 44

10-05 Epinal, France - La Souris Verte

10-06 Paris, France - Petit Bain

10-07 Antwerp, Belgium - Kavka Zappa

10-08 Brighton, England - The Albert

10-09 London, England - The Lexington

10-10 London, England - The Lexington

10-11 Bristol, England - Exchange

10-13 Glasgow, Scotland – Broadcast

10-14 Leeds, England - Brudenell Social Club

10-15 Manchester, England - The Deaf Institute

dow, Sunday, 10 May 2020 01:57 (five months ago) link

Oops. should have started w this info:
Third Man Records has released its reissues of Redd Kross' two beloved 1990s albums, Phaseshifter (1993) and Show World (1997). The 180-gram vinyl-only reissues, which come on the heels of their amazing 2019 album Beyond The Door and after 40 years as a band, mark the first-ever North American vinyl pressings of either album. Exclusive colored vinyl editions are also available -- Phaseshifter is available on red vinyl, and Show World on green. Purchase Phaseshifter HERE and Show World HERE. The band has also scheduled a slate of fall European tour dates, and will have the colored vinyl editions for sale on the road.

dow, Sunday, 10 May 2020 02:04 (five months ago) link

The Adventures Of Kindaichi Kosuke LP

The ‘imaginary’ soundtrack to the adventures Of Kindaichi Kosuke, the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best 70s Japanese Funk musicians, the album is pure undiluted Disco Funk. This reissue is the album's first official release outside of Japan. Remastered from the original tapes, it features artwork by renowned illustrator Ichibun Sugimoto, OBI strip and a 4 page insert with a new introduction by Anton Spice. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaich...a peculiar character. He is a sort of goofy, yet scrupulous detective, not dissimilar to Columbo, and has become legendary in Japan over the decades. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though...

The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game 'Wizardry'. For "The Adventures Of Kindaichi Kosuke" album, he assembled a supergroup of some of the best Tokyo funk and City Pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 'Joe Henderson In Japan' album, Jun Moriya (ds), who is on Joe Hisaichi's cult 'Wonder City Orchestra' album, Tadaomi Anai (perc) who played with Disco singer Eri Ohno, Koji Hadori (tpt) who's featured on Haruomi Hosono's "Pacific" album. Also present on the album are Takeru Muraoka (sax) who plays on many Tatsuro Yamashita cult albums including "For You" and "Spacy", Kimiko Yamauchi (koto) who's on Akiko Yano's landmark "Japanese Girl" and, last but not least, Koji Yamaguchi (fr horn) who plays on Yazuaki Shimizu's "Kakashi" album Together they lay the funk on ten instrumentals filled with pur disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene.
This reissue which Wewantsounds is delighted to officially put back on the market, features OBI strip and a four page insert faithfully reproduces the original artwork plus audio remastered from the original tapes.

Hear some of it here:

dow, Tuesday, 12 May 2020 04:19 (five months ago) link

This Is Mainstream! LP

2 x LP

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect
balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Audio etc.:

dow, Tuesday, 12 May 2020 04:29 (five months ago) link

From Numero's Wayfaring Strangers series:


As the hippie movement hurtled towards its imminent demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips.

Deluxe 2LP comes housed in a blacklight poster-style jacket illustrated by Benjamin Marra, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies.
In the fall of 1967, signs of San Francisco’s darkening fell like leaves. The transient young people who’d invaded the Bay Area to cash in on the media’s cheap drugs/free love promises had departed for points east. Haight-Ashbury, what remained of it, had become an open-air market for illicit substances, overrun with speed freaks, panhandlers, and Hell’s Angels motorcycle club adherents. Throughout the summer, leather-clad Hells Angels had become a fixture in the San Francisco scene, their Harleys crowding sidewalks outside the Fillmore West and the Carousel Ballroom, on nights when hometown rock n’ roll heroes the Grateful Dead or Big Brother and the Holding Company crowded the stage.

Hippie harbingers Ken Kesey and his Merry Pranksters had established ties to the Angels in ’65, introducing the biker brutes to LSD at a house happening in the hills of nearby La Honda. The Angels turned on and, for the most part, got along with psychedelic types who just liked to get high and groove. They loathed Berkeley’s politico set and were far from peaceniks. In less than two decades of activity, Angels had racked up more than 800 felony arrests—for sexual aberrations, drug charges, assault, and even attempted murder. On August 24, 1967, a prominent Hell’s Angel known as Chocolate George cruised Haight and crashed—at high speed and most likely high otherwise—into the back of a ’55 Chevy. For droves of locals, the demise of Chocolate George signified the Summer of Love’s departure.
From his apartment at 369 Haight Street, San Francisco musician Dickie Peterson looked down on the deathscape of Chocolate George’s last ride. At summer’s end, suffused with the Haight’s baddest vibes, Peterson and his bandmates took to Amigo Studios in North Hollywood to capture their fried acid trips on tape. They named themselves Blue Cheer, after a potent strain of LSD cooked up by Grateful Dead engineer and chemist Augustus Owsley Stanley. Vincebus Eruptum—mangled Latin for some kind of conquering eruption—emerged at the dawn of ‘68. The LP’s lead single was a fuzzed-over rendition of Eddie Cochran’s 1954 hit, “Summertime Blues.” On May 4, 1968, the single hit #14 on the Billboard Hot 100, sending fuzz-fueled acid rock into wildfire combustion. With pained ears and expanded minds, early Stateside adopters wasted little time cutting their own lysergic episodes to wax.

In 1968, Ty Gilliland was introduced to hard drugs by a member of the Outlaws motorcycle club after a gig in Columbus, Ohio. “They liked us enough because we played some Stones songs,” Gilliland said. “One of the Outlaws they called Muscles came up to me after a show. He held out his hand and said, ‘This’ll make you feel better.’ It was speed. Boy, I could sure play fast on that stuff.” And so he did. One amphetamine addiction later, Gilliland wrote “Speed Freak” for his band, The Rituals. Four hundred miles away, on the eastern seaboard, Baltimore high schoolers The Cross Blood Experiment were turning on with LSD—Orange Sunshine, specifically, a varietal concocted by the Brotherhood Of Eternal Love. They named their distortion-drenched single after the stuff, and made the drug’s effects sound far less than sunny. The embodiment of a bad trip, it comes on slowly, weaving vivid lyrical trails before speeding on into a rhythmic gallop beside an unhinged guitar solo. Out in Kansas City, Paul Parkinson of Bulbous Creation was having just as little fun, on pot or smack or whatever it was that had him “Hooked.” “I’m sick of hearing myself,” he sang. “My head hurts like hell. My mouth so dry I can’t spit. Oh Lord, I wish I had another hit.”
Darkness billowed out of the psychedelic cloud in the final weeks of 1969. In the months leading up to the West Coast answer to Woodstock, lurid tales of Charles Manson’s deathcult and their affiliations with rock’s literati had spilled across the headlines. The Rolling Stones, Jefferson Airplane, Santana, and Crosby, Stills, Nash, and Young were set to share the bill at Altamont Speedway in northern California on December 6. Bad vibes disturbed the air long before sunrise. Concert-goers arrived the night before, ill-prepared for near-freezing temperatures; for warmth, they burned fencing, garbage, and rock show road cases, adding a crusty stench to a cold, dusty valley. As the morning rolled on, the highway leading to Altamont clogged for miles. Hell’s Angels showed up for security duty, parting the dense crowd on 800-pound metal bikes. By noon, the medical tent overflowed with acid casualties. An hour later, when Santana took the stage, the Angels had long since helped themselves to handfuls of uppers, downers, wine, joints, and the $500 beer allotment they’d received in lieu of pay. Power-mad, they descended on any fan who posed even the slightest threat, unleashing flurries of fists and pool cues. At sundown, the Stones mounted the stage, as tension filled the air. "The vibes were bad,” Grace Slick recalled. "It was that kind of hazy, abrasive and unsure day. I had expected the loving vibes of Woodstock but that wasn't coming at me. This was a whole different thing." Breaking point at Altamont and “Under My Thumb” arrived together, when a juiced-up Angel stabbed 18-year-old fan Meredith Hunter repeatedly with a buck knife. Hunter had been armed; he’d been on speed; he died of his wounds. The 1960s were officially fried.

Noxious fumes quickly crossed the Atlantic, as evidenced by Black Sabbath’s emergence from the haze on a Friday the 13th in February of 1970 with their Billboard debut LP. It’s a record that bears the pall of the sunny ’60s into a drug-addled English wood; lyrics are written in Lucifer’s voice, and “The Wizard” is as much an ode to Gandalf as it is to the band’s dealer. Sabbath countrymen Brass Alley and Sardonicus got the memo, dropping pink pills on the way toward eroding their own brains. In Portugal, the like-minded band Xarhanga didn’t even bother to mince words, delivering an actual “Acid Nightmare” that spun at 45 RPM. And a Viennese group called Novak’s Kapelle planted a flag firmly in the drug rock canon with their daring single “Hypodermic Needle,” its message mangled by a language barrier and a misunderstanding of what exactly was happening in the U.S. rock scene.
As the ’70s dragged on, a deep, dark hangover set in. In the American Midwest, Whistler’s Mother, TNS, and Gollum came in dehydrated and fumbling with the child-proof cap on a bottle of expired aspirin before issuing “Dark Dawn,” “Times Up,” and “Prayer of Despair.” In the south, the Shy Guys fretted about the dangers of lightning, Mass Temper wrote an ode to a drunk driving casualty, and The Purple Sun preached of “Doomsday.” Terre Haute, Indiana’s Goliath had made most of their career abusing drugs, but the comedown came at a terrible cost. “I had two guitar players and both of them committed suicide,” said Goliath drummer Steve Peterson. “In those days, it was very hard to keep young guys straight.”

The nightmare is over, but the flashbacks remain.


Bulbous Creation
A truly underground document of the national obsession with heavy, mind-bent psychedelia....
[LP, Digital]
Bulbous Creation

Crib notes from a 12-step confession gone awry. Wasted Terra Haute, Indiana, hard rock for the blue...

Warfaring Strangers
With Warfaring Strangers: Darkscorch Canticles, the impacts of Led Zeppelin and Black Sabbath on US...
[LP, CD, Digital]
Warfaring Strangers

more info, videos etc.

dow, Wednesday, 13 May 2020 16:07 (five months ago) link

I thought they totally dropped those.

Stevolende, Wednesday, 13 May 2020 19:14 (five months ago) link

From MVD Entertainment Group:

"Now" and "Jumpin' In the Night" This Summer

The band that played a major role in the evolution of power pop and are considered a forerunner of punk rock readies two of their most popular albums.

The Flamin' Groovies played a major role in the evolution of power pop and are considered a forerunner of punk rock. This summer they will reissue two classic albums: "Now" on July 10th and "Jumpin' In the Night" on August 7th.
NOW (CD, July 10th)

While it took a long and torturous five years for the Flamin' Groovies to find their way back to an American record deal with Shake Some Action, a year and a half later the band had a follow-up ready, and while 1978's Flamin' Groovies Now isn't quite as cohesive as the album that preceded it, in many respects the band sounds at once tighter and more relaxed, with some time on the road firming up the rhythm section while giving the songs a bit more room to swing (which wasn't one of the strong suits of the British Invasion bands that provided their aural template). The band lost guitarist James Ferrell during the post-Shake Some Action tour, but former Charlatans picker Mike Wilhelm proved to be a more than simpatico replacement on these sessions, and while leader Cyril Jordan didn't come up with another new song as transcendent as "Shake Some Action," "All I Wanted" comes pretty close. But it's significant that most of the songs on Flamin' Groovies Now are covers, and while all of them are played with love, enthusiasm, and the right period flair (especially the Beatles' "There's a Place," Paul Revere & the Raiders' "Ups and Downs," and "Move It," an early U.K. hit for Cliff Richard), they give the album a feeling of being padded, and just because covering the Rolling Stones rarity "Blue Turns to Grey" was a good idea didn't mean the Flamin' Groovies had any business tackling "Paint It Black." All in all, Flamin' Groovies Now is a terrific-sounding record that captures a fine band when it was in great form, but it also makes clear that the gremlins that often dogged the Groovies in the studio (namely their inability to make a 100 percent satisfying album) hadn't gone away.

Feel A Whole Lot Better 2:26 Gene Clark
Between the Lines 4:15 Cyril Jordan/Chris Wilson
Ups and Downs 3:07 Mark Lindsay/Terry Melcher
Move It 2:57 Ian Samwell
Take Me Back 2:50 Cyril Jordan/Chris Wilson
Reminiscing 2:03 King Curtis
Good Laugh Mun 2:55 Dave Edmunds/Cyril Jordan/Chris Wilson
Yeah My Baby 3:55 Dave Edmunds/Cyril Jordan/Chris Wilson
House of Blue Lights 2:18 C. Miller/Don Raye/Freddie Slack
Blue Turns to Grey 2:29 Mick Jagger/Keith Richards
Paint It Black 3:04 Mick Jagger/Keith Richards
All I Wanted 3:02 Cyril Jordan/Chris Wilson
Don't Put Me On 4:12 Cyril Jordan/Chris Wilson
There's A Place 1:50 John Lennon/Paul McCartney
Cyril Jordan: Lead/rhythm guitars, guitars, mellotron, vocals
Chris Wilson: Vocals, Rhythm guitar, harpsichord
Mike Wilhelm: Lead/rhythm guitars
George Alexander: Bass/vocals
David Wright: Drums
All percussion: David Chris, George
Dave Edmunds: Piano, guitar on "Move It" and Piano, vocals on "Yeah My Baby"

The third and last of the Flamin' Groovies late-'70s albums for Sire, Jumpin' in the Night storms out of the gate with the title song, a top-shelf rocker that brings the muscle of the Flamingo-era lineup of the Groovies to the more style-conscious British Invasion sonics of Cyril Jordan's version. Though Jumpin' in the Night never rocks that hard or that well again, it does sound decidedly tighter and tougher than 1978's Flamin' Groovies Now, and guitarist Mike Wilhelm, a new addition to the Now lineup, is much better integrated into their wall of guitars, with the Groovies sounding more solid than they did a year before. But while Jumpin' in the Night finds the Flamin' Groovies sounding better than ever, the material unfortunately lets them down. It's no wonder why the Flamin' Groovies loved the Byrds -- both were American bands who fell in love with the sounds of British rock and crafted their own variation on the style -- but three Byrds covers on this album is about two too many (especially given how clunky David Wright's drumming sounds on "5D"), and though having the Groovies tackle "Absolutely Sweet Marie" and "Please Please Me" sounds good on paper, the audible results are a bit underwhelming. (On the other hand, their cover of "Werewolves of London" is better than anyone had a right to expect.) The production and engineering by Roger Bechirian is crisp and flattering to the guitars, but lacks the resonance of Dave Edmunds' more layered approach on Shake Some Action and Now. A great band, the Flamin' Groovies often seemed to have a hard time reconciling their best qualities with the record-making process, and Jumpin' in the Night is probably the best example of this dilemma, though it has more than enough worthwhile moments to compensate.

Jumping In the Night (3:24) - Cyril Jordan; Chris Wilson
Next One Crying (2:36) - Cyril Jordan; Chris Wilson
First Plane Home (3:50) - Cyril Jordan; Chris Wilson
In the U.S.A. (3:20) - Cyril Jordan; Chris Wilson
Down, Down, Down (2:49) - James Burton
Yes I Am (2:35) - Cyril Jordan; Chris Wilson
Werewolves of London (3:37) - LeRoy Marinelli; Waddy Wachtel; Warren Zevon
It Won't Be Wrong (1:57) - Roger McGuinn, Harvey Gerst
Please, Please Me (2:00) - John Lennon; Paul McCartney; Cyril Jordan; Chris Wilson
Tell Me Again (2:00) - Cyril Jordan; Chris Wilson
Absolutely, Sweet Marie (3:15) - Bob Dylan
5D (Fifth Dimension (2:41) - Roger McGuinn
Lady Friend (2:31) - David Crosby
Cyril Jordan: Lead/rhythm guitars, mellotron, vocals
Chris Wilson: Vocals, Rhythm guitar, harpsichord
Mike Wilhelm: Lead/rhythm guitars
George Alexander: Bass/vocals
David Wright: Drums

dow, Tuesday, 19 May 2020 17:37 (five months ago) link

I'm sure you must want to know this is coming out but not sure why it is.

Sigue Sigue Sputnik: Flaunt It, 4CD Deluxe Capacity Wallet

Released October 9, 2020.


 Deluxe 4CD set showcasing one of the most notable albums of the mid-1980s, and the phenomenon that surrounded it.

 The Giorgio Moroder produced album, B-sides, remixes and rarities (including many never before on CD) PLUS A COMPLETE PREVIOUSLY UNRELEASED LIVE SHOW recorded at London’s Abbey Road Studios in front of an invited audience.

 Includes the international hit singles ‘Love Missile F1-11’, ‘Sex Bomb Boogie’, ‘21st Century Boy’ and ‘Massive Retaliation’, plus remixes and versions.

 Produced with input from band members Tony James and Neal X.

 Material remastered from the original tapes.

In the mid-1980s, former Generation X founder Tony James pieced together a pop group like no other. Taking the greatest rock ‘n roll traditions and clichés and fusing them with a utopian vision of modernism, commercialism and the future, Sigue Sigue Sputnik brought together a previously unknown and inexperienced collection of would-be musicians and faces and turned them into the must-see band of the era. Under James’ strategic masterminding, Sputnik were hyped in the media before a note had been released, were courted by major labels and television stations, became regulars on London’s glittering social circuit and developed a reputation for chaos and grandiosity which appealed to the mainstream tabloid press as much as it did the music papers.

Working with studio legend Giorgio Moroder, the band crafted a club-oriented, electronic rock ‘n roll sound littered with immovable basslines, pop culture samples, familiar licks, self-glamorising lyrics and a futurist aesthetic. Marketing and advertising were warmly embraced – the album included paid-for adverts between tracks – and Sputnik resolutely insisted on their own brilliance, whether you liked it or not. THE ULTIMATE PRODUCT FROM THE ULTIMATE GROUP, they declared, and they weren’t far wrong.

This celebratory package brings together “Flaunt It” and its many remixes, B-sides and rarities, alongside a brilliant and chaotic live recording made at London’s Abbey Road Studios, providing the perfect counterpoint for the rule-bending studio manipulation found elsewhere. Sputnik’s star burned brightly, and their influence stretched into the late 1980s and 1990s as technology and globalisation

brought their crossover sound and bold visual aesthetic into the mainstream. This set is a must-have for fans of the band and 1980s pop culture, and for believers in a glittering future.







8. BUY EMI (£4,000,000 MIX)



Stevolende, Sunday, 16 August 2020 10:12 (two months ago) link

Brooklyn, New York (August 25, 2020) - Other Music, a documentary about the legendary NYC record store that closed in 2016 is available today in a wide digital release via Factory 25. The store helped launch the careers of countless indie stars and served as a cultural hub in New York City for 21 years. The film is now available on Amazon Prime, iTunes, Google Play, Kanopy, etc.

The film was slated to have a theatrical run in April which was cancelled just as Covid hit. The filmmakers made lemonade out of lemons by partnering with over 200 temporarily-shuttered record stores and theaters on a Virtual Cinema release, which raised over 25k dollars for those places in a time when it was desperately needed. Tickets to stream the film were sold via the partners with 50% of the proceeds going to the store or theater in need. The cancelled April theatrical release was planned for the week of Record Store Day, and this wide digital release coincides with the week of Record Store Day's rescheduled 'RSD Drops' event.

The film delves into the iconic New York City record store's influence with appearances by Tunde Adebimpe (TV On the Radio), Jason Schwartzman, Martin Gore (Depeche Mode), Matt Berninger (The National), Janeane Garofalo, Ezra Koenig (Vampire Weekend) and more.

"It's a story about record stores, sure, but moreover it's about the power of community, and the changing face of our cities and towns and culture. The film is a joyous celebration of creativity and the people and places that matter in this life. And it feels all the more relevant today." - Josh Madell, Former Owner of Other Music

Other Music was an influential and uncompromising New York City record store that was vital to the city’s early 2000s indie music scene. But when the store is forced to close its doors due to rent increases, the homogenization of urban culture, and the shift from CDs to downloadable and streaming music, a cultural landmark is lost. Through vibrant storytelling, the documentary captures the record store’s vital role in the musical and cultural life of the city, and highlights the artists whose careers it helped launch including Vampire Weekend, Animal Collective, Interpol, Yeah Yeah Yeahs, William Basinski, Neutral Milk Hotel, Sharon Van Etten, The Rapture and TV On The Radio.


Contacts, trailer, other links in here:

dow, Wednesday, 26 August 2020 01:30 (two months ago) link

One Little Independent Records has revealed details on the Crassical Collection, a collection of seminal avant-punk collective CRASS’ legendary albums, restored from the original analogue studio tapes.

Set for release in North America on October 30, the Crassical Collection includes Stations of the Crass(1979), Feeding of the Five Thousand (The Second Sitting) (1981), Penis Envy (1981), Christ – The Album (1982), Yes Sir, I Will(1983), Ten Notes on a Summer’s Day(1986) and Best Before 1984(1986). Each of the records have been repackaged and bolstered by rare and unreleased tracks, and stunning new artwork from Gee Vaucher, who has lovingly created what could only be considered a true artifact.

The first six albums include two CDs, with the first disc being the main album remastered by Alex Gordon at Abbey Road Studios and the second being a mixture of rare live and remastered studio recordings. Each package also includes a fold-out poster and a high-quality 60-page booklet featuring all lyrics along with extensive liner notes from band members Penny Rimbaud and Steve Ignorant, which shed light on the making of the records.

The Best Before 1984 Crassical Collection is brand-new and has also been remastered and features five fold-out posters and a 52-page booklet.

“Number seven – the one that almost got away,” CRASS’ Penny Rimbaud notes. “This final Crassical Collection double CD re-mastered by Alex Gordon and Penny Rimbaud at Abbey Road Studios in 2018 contains the original album plus a further album’s worth of related material; good, bad and indifferent. Half the band want it out, while the other half wanted out, but hey, here it is in all its glory.”

Leading up to the release of the Crassical Collection, CRASS has embarked on the ambitious The Feeding of the Five Thousand Remix Project. Beginning in late 2019, CRASS took the step of making the original separate track stems of their seminal debut album The Feeding of the Five Thousand available as a free download. With a call to take the original 16 track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

The resulting Normal Never Was series has just released its third installment, featuring remixes by legendary producer Steve Aoki and Japanese outsider musician Mikado Koko. All proceeds from the Normal Never Was series are being donated to the Refuge charity (

but also fuck you (unperson), Wednesday, 26 August 2020 17:24 (two months ago) link

Resonance Records To Issue Set of Sonny Rollins Discoveries From the Dutch Jazz Archive, "Rollins in Holland," As a Limited 3-LP Record Store Day Exclusive On November 27

Collection of Unheard "Take-No-Prisoners" Live & Studio Recordings From the Tenor Sax Master's 1967 Netherlands Tour Will Arrive as a 2-CD Set On December 4

On Nov. 27, “Black Friday,” independent jazz label Resonance Records will continue its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, Rollins in Holland: The 1967 Studio & Live Recordings.

Featuring more than two hours of music, this stunning collection, drawn from tenor saxophone master Rollins’s Netherlands tour of May 1967, will also be presented as a two-CD set, due Dec. 4.

In a new interview with Feldman included in the set, the 89-year-old Rollins says, “I’m so happy that Resonance is putting it out because it really represents a take-no-prisoners type of music. That’s sort of what I was doing around that period of time; that was sort of Sonny Rollins then—a wham-bam-thank-you-ma’am approach. It was very much me. And I loved it and I loved playing with those guys.”

The music heard on the Resonance album is drawn from a little-documented period in Rollins’s career. The musician’s 1966 Impulse! album East Broadway Run Down was his final record date before a studio hiatus that lasted until 1972. In 1969, mirroring a celebrated public exit of a decade earlier, he began a two-year sabbatical from live performing.

Rollins in Holland captures the then 36-year-old jazz titan in full flight, in total command of his horn at the height of his great improvisational powers. He is heard fronting a trio, the same demanding instrumental format that produced some of the early triumphs of his long career: the live A Night at the Village Vanguard (Blue Note, 1957) and the studio dates Way Out West (Contemporary, 1957) and Freedom Suite (Riverside, 1958).

During his brief but busy 1967 stay in the Netherlands, the saxophonist was supported by two of the nation’s top young players, bassist Ruud Jacobs and drummer Han Bennink. The pair had together supported such visiting American jazzmen as Johnny Griffin, Ben Webster, Wes Montgomery, and Clark Terry, among others. Jacobs was a celebrated straight-ahead accompanist, while Bennink had developed a reputation as an avant-garde lion, having backed Eric Dolphy on 1964’s Last Date. The pair jelled magnificently behind their celebrated leader.

Rollins in Holland brings together material drawn from three separate appearances by the trio: a freewheeling May 3 concert at the Arnhem Academy of Visual Arts, at which Rollins stretched out in expansive performances that sometimes topped the 20-minute mark; a four-song May 5 morning studio session at the VARA Studio in Hilversum, where Dolphy and Albert Ayler had also cut unforgettable dates; and two live shots captured during the band’s stand that evening on “Jazz met Jacobs,” a half-hour national NCRV TV show presented from the Go-Go Club in Loosdrecht and hosted by bassist Jacobs’s pianist brother Pim and his wife, singer Rita Reys.

In his essay for the collection, Dutch jazz journalist, producer, and researcher Frank Jochemsen notes that while recordings of the Arnhem show (presented here with carefully restored sound) had been passed hand-to-hand by Dutch jazz buffs over the years, the rest of the music was only recently unearthed.

In 2017, the four stereo tracks from VARA Studio were discovered by Jochemsen, and they were authenticated by Ruud Jacobs and Han Bennink as they were being digitized for the Dutch Jazz Archive (NJA). In 2019, Jochemsen also discovered the audio from the “Jazz met Jacobs” appearance in the Dutch Jazz Archive, along with a unique set of photos shot at the sound check and live broadcast of this lost TV show.

Jochemsen says, “I find it an exciting idea that so much has been recovered and documented from this modest tour and that the music is indeed of such high quality. Even more sensational is the fact that the whole world can listen to it now. The great Sonny Rollins at his best, accompanied by a great rhythm tandem, which makes me, as a Dutchman, extra proud.”

Rollins in Holland also includes an in-depth interview by Levy with Han Bennink and Ruud Jacobs, conducted a year before Jacobs’s death from cancer in July 2019. In it, the late bass virtuoso recalled the experience of playing with the American legend as “something spiritual. [There was] a very special atmosphere on the stage where I felt I could do anything.”

but also fuck you (unperson), Thursday, 27 August 2020 14:07 (two months ago) link

Looks great, never heard him in a trio.

Dudu Phukwana and the Spears: s/t

Original Dudu Phukwana and the Spears album recorded in 1968 and only released in South Africa via Trutone’s Quality label in 1969. Features acetatere recording produced at the same time but never released. 19 tracks. 2xLP £26.00
More info:

Zorro Five: Jump Uptight
Reissue of this killer funk/beat album, 'Jump Uptight' by Zorro Five - a South African band who won the “Best Beat Group” at the 1971 South African Recording Industry Award for this album. The single 'Reggae Shhh!' b/w 'Reggae Meadowlands' was an underground hit in the UK! 12 tracks. LP MM116LP £18.00

Cosmic Discotheque Vol. 3: 12 Junkshop Disco Funk Gems from the 70s
Various Artists
After the second volume's Afro oriented atmospheres, this new chapter will take us right back to the heart of 70's disco-funk/proto-disco/cosmic. A glorious decade made of lots of "cheap" records, obscure B sides, and forgotten or even unreleased instrumental versions. Tons of often ignored and yet stellar studio productions...
12 tracks. LP NRR003LP £19.00

dow, Friday, 28 August 2020 00:00 (two months ago) link

The Upsetters with Vin Gordon
Musical Bones
Recorded at The Black Ark Studio in 1975

Very rare Upsetters & Vin Gordon album 'Musical Bones' was first released in the U.K. in 1975 only on a white-label pressing without a sleeve on Dip records (£400+). Only 300 were made at the time.

Superb Studio One rhythm recuts, deep, deep funk cuts - sparse, raw and edgy - CLASSIC Lee Perry!

The title is a play on word 'Trombone' being the instrument of the lead artist Vin Gordon. Produced by Lee Perry at The Black Ark, Kingston, raw Jamaican roots music 1975. Don't miss... 10 tracks.
More info, audio:

Horace Tapscott Quintet
The Giant Is Awakened
This album has been out of print for near on 50 years and is a 100% essential cornerstone deep, deep spiritual jazz release - don't miss out!

Seminal spiritual jazz masterpiece from 1969! Horace Tapscott's debut (and only) release for a major label - Flying Dutchman - occurred at the height of the civil rights/black power movement in the USA. Soon after the Watts Riots (65), Tapscott was the central figure at the heart of the community music scene (a precursor to that of Thundercat, Kendrick Lamar, Flying Lotus almost 50 years later).

Flying Dutchman was the only major label that Tapscott trusted to release his music - a testament to founder Bob Thiele who had produced John Coltrane's seminal Impulse releases throughout the 1960s. At the same time as Tapscott, Flying Dutchman signed Gil Scott Heron and Leon Thomas.
More info, audio:

dow, Friday, 28 August 2020 00:09 (two months ago) link

Musical Bones was reissued on this 2CD set by Sanctuary in 2005, but credited to Lee Perry.

but also fuck you (unperson), Friday, 28 August 2020 00:47 (two months ago) link

Sound Of The Universe: ltd. quantity August releases re Record Store Day, vinyl only? We shall see, when I've made all my extremely selective selections from a boatload:

Hawkwind At The BBC 1972

Recorded live by the BBC on 28th September 1972 at the BBC’s famed Paris Theatre in London, this is the classic “Space Ritual” era Hawkwind featuring Dave Brock, Nik Turner, Lemmy Kilmister & Stacia Blake. This 11 track, hour long show of the stereo version features Hawkwind classics “Born To Go”, “Seven By Seven” & "Master of the Universe". The release also includes two bonus tracks recorded for Johnny Walker’s BBC Radio 1 show the same year; “Brainstorm” & “Silver Machine”. 13 tracks, 2 LPs.
More info:

dow, Sunday, 30 August 2020 02:49 (one month ago) link

Kuumba-Toudie Heath:

Limited 40th anniversary edition. An essential piece of spiritual jazz history featuring legends Herbie Hancock and Don Cherry. Pressed on heavyweight vinyl in original gatefold sleeve format. 5 tracks. More info:

dow, Sunday, 30 August 2020 02:53 (one month ago) link

This is out of stock at the moment, but worth checking back:

Linton Kwesi Johnson: Bass Culture / LKJ In Dub

40th anniversary 2-LP edition of 'dub poet' Linton Kwesi Johnson's classic 1980 album, released on Island Records, with additional LP - 'LKJ in Dub', featuring dub versions of tracks from Bass Culture and previous studio LP 'Forces Of Victory'.Produced by Linton Kwesi Johnson and the legendary Dennis Bovell ('Blackbeard'), the album is a fierce, politically-charged view of Britain at the time.The music however is both highly accessible and experimental, going beyond traditional reggae arrangements to include free jazz and avant-garde elements.Remastered at Abbey Road, released on heavyweight coloured vinyl:GREEN for Bass Culture / RED for LKJ In Dub.Features expanded artwork in a bespoke gatefold sleeve.Both albums out of print on vinyl for years.Includes download card.
More info:

dow, Sunday, 30 August 2020 03:02 (one month ago) link

Kuumba-Toudie Heath
This was Tootie Heath’s name at the time? I have heard of this project through some of the other guys involved like Herbie Hancock, still need to listen to it.

Two Little Hit Parades (James Redd and the Blecchs), Sunday, 30 August 2020 03:08 (one month ago) link

Dunno! Reminds me: now that my library has partially re-opened, better snake in there and check out that Heath brothers memoir/

Ennio Morricone---Peur Sur La Ville OST

Wewantsounds is delighted to announce the very special reissue of one of Ennio Morricone's most striking soundtracks composed for Henri Verneuils' 1975 film Peur Sur La Ville (Fear Over The City). This special edition includes the original score released in 1975 plus a second vinyl worth of bonuses which have never been out on vinyl. These includes two tracks making their official debut after 45 years.

Approved by Ennio Morricone and remastered from the original tapes with liner notes by fellow musicians AM and JB Dunckel (air). Gatefold sleeve designed by Eric Adrian.
2 LPs, 31 tracks.
More info:

dow, Sunday, 30 August 2020 03:12 (one month ago) link

Milton Nascimento---Ultimo Trem

First time on vinyl! Following the release of Milton Nascimento's Maria Maria, Far Out Recordings proudly presents Nascimento's 1980 follow up.With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, 'Ultimo Trem (Last train)'.This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast."The military government shut down the route and the whole region began to fade away," explains Milton."I love train rides" adds the composer, "But today there are almost no trains to Brazil.So when I go to the US and Europe, any time I can, I go by train.The longer the journey the better." Featuring much of the same all-star line-up as Maria Maria - including legendary Brazilian musicians Nana Vasconcelos, Joao Donato, Paulinho Jobim and members of Som Imaginario, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saidas E Bandeiras' and 'Ponte de Areia'. The title track, 'Ultimo Trem' - performed exquisitely by ZezE Mota with a choir and piano - is a mournful lament about the human consequences of the axed line.The ballet brought great media attention to the campaign against closure."Most of Fernando's lyrics have some political tone," says Milton, "This one helped the area a lot because the politicians grew concerned about the subjects." Fernando's and Milton's shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premiered in 1980.'A Viagem (The trip)', launched with a train's steam whistle, sees Milton's guitar moving to a train's rhythm.In contrast to the usual lyricism, 'Bicho Homen (Beastly man)' and 'Decreto (Degree)' are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers' renderings of Bach.'E Dai? (And so what?)', and 'Olho d'Agua (Water's Eye)' were both drawn from 'Clube Da Esquina'.'Olho d'Agua' is mellow and delicate and Milton's homage to the great voices of Brazil whilst 'E Dai? (And so what?)' is a stunning mosaic of voices.The unusual 'O Velho (The Old Man)' conjures up an image of an old shaman singing alone into the wind against the cries of nature.Perhaps the most affecting songs are Nascimento's 'Itamarandiba' and 'OraCao (Prayer)'.The latter is a cry for a change in the situation whilst 'Itamarandiba' ends with an upbeat, whirling Hammond organ and guitar timepiece.The closing track 'Ponta de Areia (Sand Edge)', was based on one of Fernando's newspaper stories and became one of Milton's most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire.It reappeared as a ghostly 45-seconds memory on the 'Milton e Gil' album, his millennial collaboration with Gilberto Gil. After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria.Set for its first ever vinyl release for this year's Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret. 2 LPs, many tracks.
More info:

dow, Sunday, 30 August 2020 03:18 (one month ago) link

Sir Joe Quarterman & Free Soul: s/t

Official Mr Bongo re-issue for Record Store Day 2020 with a gatefold cover.The self-tiled Sir Joe Quarterman & Free Soul album from 1973 was the only album recorded by the group.The success of the hit song and album enabled the band to share the stage with big-name acts such as James Brown and Earth Wind & Fire.The album track '(I've Got) So Much Trouble In My Mind' even became a regular feature on the legendary TV show, Soul Train.These triumphs also drew the attention of record company executives who wanted to sign Joe as a solo artist; an offer he refused as he was not willing to abandon the band.The group members for the recording were neighborhood musicians and school friends from the Washington D.C area - George "Jackie" Lee (Guitar), Gregory Hammonds (Bass), Charles Steptoe (Drums), Karrissa Freeman (Keyboards), Johnny Freeman (Trombone), Leon Rogers (Sax/Vocals) and Joe (Trumpet/Vocals).The simple cartoon-like almost pre-Basquiat style record cover artwork has become iconic in its own right, but this was not the original intention.Joe had prepared a quick illustration for a photographer to depict in a collage for the album art, however, the label ended up using his original sketches for the final cover.Whatever was in the water, things all came together and aligned at the right time, and a true soul-funk classic record was born. 9 tracks.
More info:

dow, Sunday, 30 August 2020 03:27 (one month ago) link

Still in stock at the moment, unlike some other Exclusives:
Soul Jazz Records Present Studio One Rockers
Record Store Day Exclusive

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day edition EXCLUSIVE coloured vinyl + download code.

This new edition is a one-off pressing exclusively for Record Store Day

Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.

Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out
"Compilation of the year. A compilation of unbelievable quality. Awesome” DJ
"A who's who of Jamaican music” The Times
"An essential slice of musical history" Wire
15 tracks.
More info, audio:

dow, Sunday, 30 August 2020 03:34 (one month ago) link

Uriah Heep are releasing 50 Years in Rock, a giant box set with all 18 of their studio albums plus their 1973 live album, 4 compilation CDs curated by individual members, a book, a couple of Roger Dean art cards, and an LP of The Magician's Birthday (aka "the one with 'Easy Living' on it").

I really like Uriah Heep's early albums and their 21st century albums, but am largely ignorant of everything from roughly 1975-2000. I'm still not gonna buy this box set.

but also fuck you (unperson), Monday, 31 August 2020 14:38 (one month ago) link

NightFlightPlus streaming service has a new documentary about TV Party, also individual episodes---here's synopsis of doc:
n 1978, two revolutionary trends emerged in New York City, public access cable TV and punk rock. These two phenomena came together spectacularly in Glenn O'Brien's TV Party. Hipsters tuned in to follow the antics of the TV Party gang and such guests as Iggy Pop, David Bowie, P-Funk's George Clinton, The Clash's Mick Jones, Kid Creole, Klaus Nomi were featured; also live performances.

Synopsis of an ep:There were two TV Party Heavy Metal Shows: one taped at the Mudd Club, now lost, and this live studio sequel featuring a "Mock Penis Envy" backdrop by Jean-Michel Basquiat, and a guitar line up of Chris Stein, Lenny Ferrari, Patrick Geoffrois of the Contortions, plus Glenn, Basquiat, Snuky Tate and Walter Steding on guitar and vocals, and Bradley Field on electronic drums. As Glenn and Walter send up rock clichés and discuss the nature of electricity, the band churns out a harrowing electronic miasma. Highlights include an actual fight between Fab Five Freddy and Jean-Michel Basquiat over a guitar and Walter Steding destroying his "extra wide deluxe" guitar.

one more:he first 10% of this show sums up what we don't get on TV anymore. Technical difficulties. TV Party was live and improvised, and this meant casual disaster. This early episode gets off to an artistically agonizing start--the sound person is late, overdosing on drugs or both. Or it was the broken down equipment. Once the sound kicks in the show gets lively. Compton Maddux, a droll singer songwriter, is backed up by Debbie Harry and Glenn; the unique futurist countertenor Klaus Nomi does one of his post-modern arias; Adny Shernoff, of the Dictators, plays the Beach Boys' "Be True to Your School" backed up by pom pom girls Tish and Snooky, the Manic Panic designers. Downtown legend director Eric Mitchell announces the opening of the now famous New Cinema theater and shows a clip from his film "Kidnapped" with Arto Lindsay, Duncan Smith and Anya Phillips. Brit director David Silver and photographer Kate Simon do the "white people talk about reggae" segment. Blondie's Chris Stein and Debbie Harry and the Patti Smith Group's Richard Sohl drop in to smoke a reefer and take calls from all the crazies in cable land. Chris explains all this isn't chaos, it's art.
Before signing up, if you can stand to wait, can watch some TV Party, and the Debbie Harry/Amos Poe film Unmade Beds, via this:

dow, Saturday, 5 September 2020 02:45 (one month ago) link

Getting toward autumn, maybe tyme for these Drag City reissues:

The first Espers album (2004) is back in print and circulation and the world. As a trio with some featured guests Meg Baird, Greg Weeks and Brooke Sietinsons created delicate-yet-full-toned arrangements strewn with classical and traditional touches, acid leads and a melancholy, folkish air. Espers idealism was rooted in an ongoing flow of ideas that continue to this day, and their debut album retains their mystic air, early two decades later.

dow, Tuesday, 15 September 2020 20:03 (one month ago) link

Und also,

In the wake of their celebrated first album, Espers recruited a few more members in 2005 and set to making an album interpreting some of their favorite inspirational songs — not just traditional folk numbers, but songs by Nico, Michael Hurley, Durutti Column, Blue Öyster Cult and even Espers! After years out of print, The Weed Tree has grown back again.

dow, Tuesday, 15 September 2020 20:07 (one month ago) link

Anyone know when Matador’s reissue of Mary Timony’s first solo album is coming out?

beamish13, Saturday, 19 September 2020 15:02 (one month ago) link

xp Thanks for posting that, Austin – it does look cool.

Scam Likely (morrisp), Saturday, 19 September 2020 17:52 (one month ago) link

This is cool too, think I listened on YouTube---reposted from upthread cos deserves it:

Soul Jazz Records’ new Black Riot: Early Jungle, Rave and Hardcore is a brand new collection of heavyweight ragga-influenced hardcore jungle tracks from the early 1990s. Dark and heavy!

Featuring classic and seminal tracks from the likes of Levictus and Krome &Time, alongside a host of rare and little-known ragga & junglist hardcore tunes from the likes of Babylon Timewarp’s hypnotic Durban Poison, Rhythm for Reasons’ mad ‘The Smokers Rhythm’, The Freaky rave-y breakbeat sound of ‘Time and Age,’ Trip One’s super dark ‘Snowball’ and loads more!

Expect super heavy basslines, equally heavy twisted Amen drum loops, even heavier ragga vocals! Original jungle style - roots and culture - from the earliest days of drum and bass.

Included with the album is a free limited-edition graphic mini-novel “Black Riot: The Mysterons save Planet Earth from the Xatheroid Angels.” This is the third collaboration between Soul Jazz Records and writer/illustrator Paulo Parisi, the highly respected author of graphic books on Jean Michel Basquiat and John Coltrane.

This new graphic story continues the story of black electronic dance music – this time set around the birth of Jungle and continues onwards from Soul Jazz’s earlier ‘Invasion of the Killer Mysterons’ (Jamaican electronic Dub, co-compiled by Kevin Martin (The Bug)) and Mysterons Invade the Jackin’ Zone (about Chicago Acid & Experimental House).

More infor, audio:

dow, Saturday, 19 September 2020 20:20 (one month ago) link

I don't know if I need this, but I kinda want it...

Esoteric Recordings are pleased to announce the release of UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971, a newly remastered 7 CD boxed set featuring all of the albums and singles recorded by the legendary American acid / progressive rock band IRON BUTTERFLY recorded for Atlantic’s Atco label between 1967 and 1971 and additional recordings made at the Fillmore East in New York City in April 1968.

Iron Butterfly first came together in San Diego, California in 1966 with a line-up of Doug Ingle (vocals, organ), Danny Weis (guitar), Greg Willis (bass), Jack Pinney (drums) and Darryl DeLoach (vocals). After performing in the San Diego area the band relocated to Los Angeles in search of a recording contract, with Willis soon departing to be replaced by Jerry Penrod on bass. Jack Pinney also departed and was eventually replaced by Ron Bushy.

The band’s psychedelic and acid rock style was honed during regular appearances at LA venues such as the Whisky a Go Go and the Galaxy Club, which saw Iron Butterfly develop a loyal following and led to the band signing with Atlantic’s Atco label in 1967. In October that year the band recorded their debut album, HEAVY, but the group would endure further line-up changes prior to its release as Jerry Penrod, Danny Weis and Darryl DeLoach departed soon after recording sessions were completed. Faced with the possibility of the album remaining unreleased, Ingle and Bushy recruited 17 year old guitarist Erik Brann and bassist Lee Dorman to the band.

HEAVY was released in January 1968, entering the US Billboard charts and eventually earning gold disc status. The album IN-A-GADDA-DA-VIDA, issued in June 1968, would break the band into star status. Dominated by the side long title track featuring the instrumental dexterity of the new line-up, it was a masterpiece of acid rock and reached a height of number 4 in the US charts and went on to sell a million copies. An edited version of the title track was issued as a single and reached the US top thirty.

The band’s third album, BALL, was released in January 1969 and was even more successful, reaching number 3 in the US and spawning the hit singles Soul Experience and In the Time of Our Lives. The band undertook a punishing touring schedule and a series on concerts were recorded in May 1969, finally to be issued as LIVE in April 1970. Erik Brann departed the band in December 1969 and was replaced by guitarist and vocalist Mike Pinera and additional guitarist Larry Reinhardt.

This line-up would record the album METAMORPHOSIS in May 1970 which saw the band take a heavier direction. The dominant track on the record was the excellent thirteen minute Butterfly Bleu which saw one of the earliest uses of a “talk box” on a guitar solo. Following a tour with YES in early 1971, Doug Ingle announced his departure from the band. After releasing a final single, Silly Sally in April 1971. Iron Butterfly disbanded. Although they would reform in the mid-1970s and continue to perform and record sporadically afterwards, their recorded work for Atco Records remains their main legacy.

UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971 features all of the albums issued on Atco, all newly re-mastered from the original master tapes, and additionally includes the rare mono mixes of the albums HEAVY and LIVE, (the only true separate mono mixes of their albums), both previously unreleased on CD, along with two CDs of recordings made at the Fillmore East in New York City on the 26th and 27th April 1968. It also includes all of the band’s US non-album singles and single edits and a lavishly illustrated booklet with a new essay featuring interviews with Ron Bushy and Mike Pinera and a poster.

but also fuck you (unperson), Monday, 21 September 2020 12:05 (one month ago) link

Erik Brann's approach to vocalizing later seemed like a foretaste of Hetfield's, but maybe better, prob. not worse. Never thought of them as prog, but haven't heard all thee albums---must check xpostMetamorphosis, with Larry "El Rhino" Reinhardt, who I hope also played with Wino, did play w Captain Beyond. Mike Pinera!
Mike Pinera and his group Blues Image were co-founders and house band at Thee Image, a Miami Beach concert venue they opened and co-headlined on weekends, playing with such groups as Cream, Grateful Dead, The Yardbirds, The Animals, Frank Zappa and many more. [1] Blues Image soon signed with Atlantic Records where they scored the major hit "Ride Captain Ride" which Pinera co-wrote and sang
[while he was with Butterly]... he and Lee Dorman produced the band Black Oak Arkansas, which went platinum. In 1972 Pinera and Jimi Hendrix's drummer Mitch Mitchell formed the band Ramatam on Atlantic Records and was produced by the legendary Tom Dowd, who was quoted as saying this album was one of his all time favorites.
In 1973 Pinera helped formed The New Cactus Band. They recorded the album Son of Cactus on Atlantic Records...He was the lead guitarist for Alice Cooper from 1980 to 1982. He is currently performing with his solo band and The Classic Rock All Stars.

Much more here, with links---did not know he did an album for Capricorn, wonder what that's like?

dow, Tuesday, 22 September 2020 00:22 (one month ago) link

Bassist Lee Dorman also went to Captain Beyond after Metamorphosis

dow, Tuesday, 22 September 2020 00:27 (one month ago) link

Xgau (from 1972 Zep concert review "A Power Plant," archived on his site):The idea for Led Zeppelin's name, as well as perhaps half of its musical concept, relates to Iron Butterfly, which, on the strength of its classic "In-a-Gadda-da-Vida," remained the premier American heavy rock band until the advent of Grand Funk Railroad. Always heard that the name came from Keith Moon, and some of the musical concept, when he and Beck and Page and JP Jones and Nicky Hopkins cut "Beck's Bolero," but maybe mega-successful early sound of IB was an influence too.

dow, Tuesday, 22 September 2020 00:45 (one month ago) link

Never trust Christgau on anything relating to heaviness.

but also fuck you (unperson), Tuesday, 22 September 2020 01:02 (one month ago) link

Yeah, that's almost complete bullshit on Xgau's part.

I have that Ramatam album. It's pretty good post-Hendrix rock. They had a female guitar player who was rumored to be trans; however the reasoning I've seen on that was sketchy to say the least.

"...And the Gods Socially Distanced" (C. Grisso/McCain), Tuesday, 22 September 2020 02:25 (one month ago) link

There's a remastered Gun Club Miami coming. Apparently from tapes given to the JLP family estate by Chris Stein.
Not sure how imminent but been told this from somebody involved over last few days.

Stevolende, Tuesday, 22 September 2020 07:04 (one month ago) link

Does anyone have any experience with Vinyl Me Please reissues? They are coming out with Jorge Ben's Africa Brasil that I am interested in.

Quiet Storm Thorgerson (PBKR), Tuesday, 22 September 2020 12:41 (one month ago) link

Feedback on discogs is mainly positive. No reissue, but I bought a translucent green copy Yaeji's What We Drew recently (didn't particularly look for this version, I just wanted a copy and this was the one they had at my record store) that sounds absolutely fine.

willem, Tuesday, 22 September 2020 13:27 (one month ago) link

UFO's Strangers In The Night is being blown up into an 8CD box set containing the original double live album (which I could swear fit on a single CD) plus six complete concerts, as follows:

CD1: Original album
1. Natural Thing
2. Out In The Street
3. Only You Can Rock Me
4. Doctor Doctor
5. Mother Mary
6. This Kid's
7. Love To Love

CD2: Original album
8. Lights Out
9. Rock Bottom
10. Too Hot To Handle
11. I'm A Loser
12. Let It Roll
13. Shoot Shoot

CD3: Chicago, Illinois 13/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle
13. Shoot Shoot

CD4: Kenosha, Wisconsin 14/10/78
1. Hot 'N' Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle

CD5: Youngstown, Ohio 15/10/1978
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out On The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. Lights Out
12. Rock Bottom
13. Too Hot To Handle
14. Shoot Shoot


CD6: Cleveland, Ohio 16/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

CD7: Columbus, Ohio 17/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Too Hot To Handle
9. I'm A Loser
10. On With The Action
11. Doctor Doctor
12. Lights Out
13. Rock Bottom
14. Shoot Shoot

CD8: Louisville, Kentucky 18/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

I love UFO's early to mid 70s Chrysalis albums, but I don't know if I need six full concerts with barely varying set lists.

but also fuck you (unperson), Friday, 25 September 2020 01:27 (one month ago) link

From Riot Act Media, Sept. 25:

The first international archival release from Azerbaijan’s gitara psych pioneer Rüstəm Quliyev arrives today on Bongo Joe

"Rüstəm Quliyev’s blazing, psychedelic guitar music sprang from one of the most tumultuous and transformative periods in Azerbaijan’s history, capturing both the spirit and the contradictions of its time. In the years since, Quliyev has become the emblem of Azerbaijan’s gitara music—a unique subculture that developed around the electric guitar. And while his life was cut short by lung cancer in 2005, his legacy endures. 'He was really special,' says Vasif Javadli, Quliyev’s nephew. 'Many people try and follow Rüstəm’s way, but no one can replace him. And no one can play like him."
- Bandcamp Daily - "The Psychedelic Sound of Rüstəm Quliyev, King of Azerbaijani Guitar" by Megan Iacobini de Fazio

Rüstəm Quliyev was born in 1969 in the village of Kosalar, Nagorno Karabakh. At the age of seven he had already mastered the tar before moving on to play the saz. He first encountered guitar during his military service for the USSR in Russia and quickly made a name for himself as a guitarist after returning to Azerbaijan. During the early 1990s, after years of intense fighting, he had to flee his home due to the conflict in Karabakh and settled in the capital city Baku. There his guitar playing took on a new character. He played at weddings, made TV appearances, and recorded numerous cassettes with small local labels.

Rüstəm’s guitar playing not only drew on the rich traditional music of Azerbaijan but his thirst and passion for music also meant that he incorporated styles from across the globe into his repertoire: from Bollywood disco tunes and Afghan pop songs to Iranian street melodies and Spanish flamenco. He crafted a unique sound within an already idiosyncratic subculture of Azerbaijani electric guitar music. Sadly, his career was brought to a sudden end in 2005 after a short battle with lung cancer. His music, however, lives on remaining popular throughout the country.

This release of archival recordings, produced in collaboration with Rüstəm Quliyev’s family and Moutains of Tongues, marks the first international release of this guitar legend's music.
Selections from the archives of Rüstəm Quliyev
Recorded between 1999-2004 in Azerbaijan
Research & Liner notes by Ben Wheeler and Stefan Williamson Fa
Analog Mastering by Tim Stollenwerk
Artwork by Félicité Landrivon
Artistic Supervision by Cyril Yeterian
Vinyl Cut by Adi Flück
Special Thanks to Vasif Javadli and the Quliyev Family, Ben
Wheeler and Stefan Williamson Fa at Mountain of Tongues


dow, Monday, 28 September 2020 21:53 (one month ago) link

Soon to drop on Soul Jazz:

Deutsche Elektronische Musik 4
Experimental German Rock and Electronic Music 1971-83

3×LP + Download Code SJRLP459 £26.00
Expected 16 OctPREORDER
2×CD SJRCD459 £13.00
Expected 16 Oct
This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘A near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

This latest edition features many of the classic German electronic and Krautrock groups from the 1970s & 80s – including Can, Amon Duul II, Harmonia, Conrad Schnitzler, Agitiation Free, Roedelius – as well as a host of lesser known artists such as Dzyan, Klauss Weiss, Gruppe Between and many more.

Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fan-base included the great Moondog!) and their superb ‘Nearby Shiras,’ taken from their super-rare spiritual/psychedelic private press concept album Crawling to Lhasa, from 1972.

Deutsche Elektronische 4 includes a wealth of German electronic experimental artists – the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother), avant-garde guru Conrad Schnitzler as well as lesser known synthetic artists such as Klauss Weiss, Deutsche Wertarbeit, E.M.A.K. (Electronische Musik Aus Koln), Gunter Schickert and others.

Finally, the album also features an array of heavy and progressive German cosmic rock groups – Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

Deutsche Elektronische 4 comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’, and ‘Krautrock: Cosmic Rock and its Legacy’.

This album comes as a heavyweight triple vinyl edition with full colour inner sleeves, as well as a deluxe double CD edition with outsize booklet and slipcase. Both formats include full liner notes and extensive rare photography.

More info, audio:

dow, Tuesday, 6 October 2020 18:38 (three weeks ago) link

yeah, just saw that on the boomkat mailout. didn't they say 3 would be the last? no complaints here though.

koogs, Friday, 16 October 2020 17:28 (one week ago) link

(boomkat are saying 30th october now)

koogs, Friday, 16 October 2020 17:29 (one week ago) link

I missed volume 2 of the Deutsche Elektronische Musik series somehow and now it seems like it's the only really difficult one to find at a reasonable price, on CD or LP

3 is my favorite, though

Paul Ponzi, Friday, 16 October 2020 18:13 (one week ago) link

Lola Versus Powerman and The Moneygoround Part One

50th Anniversary, Multi-Format, Album Re-issues

Out December 18 on BMG

Available to Order Now:

New Track "The Follower - Any Time 2020"

Lola Versus Powerman and the Moneygoround, Part One, commonly abbreviated to Lola Versus Powerman, or just Lola, is the eighth studio album by The Kinks, recorded and released in 1970. A concept album ahead of its time, it’s a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. One of the all time classic Kinks albums.

Let the 50th anniversary celebrations begin, as The Kinks unveil special multi-format release plans for the album as a lovingly produced Deluxe Box Set, 1LP, Deluxe 2CD, 1CD and digitally - to be released on December 18 via BMG.

Limited Edition, Deluxe 10” Slipcased book pack (containing 60 page book, 3 X CDs, 2 X 7” singles, 4 X color prints)
1LP Gatefold
2CD Hardback Book
1CD Softpack
HD Digital
D2C Limited Edition Exclusives (free with boxset orders): 7” Single, Enamel pin badge

Although it appeared during a transitional period for The Kinks, Lola Versus Powerman was a success both critically and commercially for the group, charting in the Top 40 in America and helping restore them in the public eye, making it a "comeback" album. It contained two hit singles: "Lola", which reached the #9 US, #2 UK and Germany - becoming the Kinks' biggest success since "Sunny Afternoon" in 1966 - and "Apeman", which peaked at #5 in the UK and Germany.

Ray says: “The album is a celebration of artistic freedom (including my own) and the right for anyone to be gender free if one wishes. The secret is to be a good and trusting person and friend.”

Ahead of its time, the track "Lola" was written by Ray Davies in early 1970 and recorded at Morgan Studios in London. The track supposedly tells the romantic tale between a young man and a transgender person whom he meets in a club in Soho, inspired by an alleged encounter by the band’s manager. Released with Village Green Preservation Society outtake "Berkeley Mews" in the UK and the Dave Davies-penned "Mindless Child of Motherhood" in the US, the iconic hook has been sung around the world for decades.

The Lola Versus Powerman and the Moneygoround, Part One release plans follow the recent successful #LolaDay, celebrating 50 years of the seminal hit single. Fans were able to ‘Lolafy’ their individual photos with 10 new custom-made stickers available via The Kinks website. Throughout the day some of the finest acts such as The Amazons released their interpretations of the track via The Kinks’ channels, and various exciting Kinks archive audio, video and printed material was shared with fans.

The ‘Lolafy’ site has been updated from today to include four new stickers of the band members, Dave, Mick, Pete and Ray.

The 50th Anniversary box set campaign launches with a brand new Ray Davies’ remix / medley of the Kinks track "Any Time" (titled "The Follower - Any Time 2020 Feat: Anytime by The Kinks").

Originally written by Ray as a possible B-side for "Apeman", "Any Time" includes previously unreleased versions and excerpts of several Kinks tracks from the Lola album as well as added spoken word and sound effects. It is a concept piece about which Ray states “The isolation caused by Coronavirus can give people time to re-evaluate the world and re-assess their lives. Music can comfort the lonely, transcend time and it’s not the future or the past, yesterday, today or tomorrow. It’s anytime”. He adds, “I saw a way of making this unreleased 1970s track connect to an audience in 2020. I also saw a way of showing that music can time-travel, that memory is instantaneous and therefore can join us in the ‘now’. I put this together as something surreal then realized that it was really happening. The song has found its place - after its 50th Birthday!”

Available to Pre-order here:



Rigid, matte laminated, open one end card slipcase, with foil and metallic special cover effects, containing: 60 page hardback book with notes, band quotes, Ray Davies ‘1970 Diary’, rare photos / memorabilia; 3CDs in card wallets containing the remastered original album and bonus audio including many unreleased tracks: front and back pocket pages containing 2 reproduced original international 7” picture sleeve singles ("Lola" & "Apeman") and 4 x printed 5” sq rare band photocards.

CDs x 3

Stereo original album newly remastered from original master tapes, singles (stereo and mono mixes), B-sides, alternate original mixes.

Exclusive to the boxset: new medleys with Ray & Dave Davies in intimate conversation in Ray’s kitchen, plus nine new Ray Davies remixes and out-takes from the original session tapes, previously unreleased session and live tapes, instrumental and acoustic versions, previously unreleased demos and BBC material. Track lists curated and produced by Ray Davies.

7” Singles x 2

"Lola / Berkeley Mews" Italian picture sleeve.
"Apeman" / "Rats" Portuguese picture sleeve, (with alternate version of "Apeman")

Reproduced original artwork, remastered audio, black vinyl.


Deluxe 60 page, 10” square, gloss-art hardback book with extensive notes by renowned Kinks expert Andy Neill, interviews / new band quotes (from Ray Davies, Dave Davies, Mick Avory and John Dalton and John Gosling), rare photos and memorabilia. Includes full, detailed tracklist information and historical background.


4 x 5” sq, light card, gloss-art photos:

Newly remastered original album (Stereo), original gatefold sleeve, heavyweight vinyl, booklet with notes, new band quotes, rare photos and memorabilia. Officially available for the first time since 1983.


Newly remastered original album (Stereo), deluxe hardback book 2CD, booklet with notes, new band quotes, rare photos and memorabilia.


Newly remastered original album + key bonus tracks from the box set. Digi-pack,
booklet with notes, new band quotes, rare photos and memorabilia.


Newly remastered original album (Stereo) plus other key tracks from the box set, including the IGs / e-singles


"Lola / Berkeley Mews" original Danish picture sleeve 7” single: Remastered, reproduced original artwork, clear vinyl
Bespoke round metal & enamel pin badge featuring album cover art.
# # #

Jim Merlis
Big Hassle Media
jim at

dow, Thursday, 22 October 2020 01:34 (six days ago) link

Put this on Tompkins Square a while back, just got reminder, worth putting here:

Robbie Basho - Song of the Avatars : The Lost Master Tapes - 5CD set Available December 4th, 2020

All tracks previously unreleased



Robbie Basho (1940-1986) is widely regarded as one of the progenitors of what's commonly known today as American Primitive guitar. Growing up in Maryland alongside neo-traditional guitar explorers John Fahey and Max Ochs, Basho's path would take a decidedly different turn, bringing Hindi, Indian, Japanese and Native American musical traditions into his work. His albums for Takoma and Vanguard have left an indelible trail of influence across generations of musicians, from William Ackerman and Pete Townshend to Ben Chasny and William Tyler.

Liam Barker first became aware of Basho having purchased Tompkins Square's reissue of Venus in Cancer, released in 2006. This led him on an incredible fact-finding expedition, unraveling the many layers of mystery surrounding Basho's life and death, all deftly compiled and depicted in his documentary film, Voice of the Eagle : The Enigma of Robbie Basho.

During the research process, Barker came across a large cache of unheard Basho tapes recorded throughout his career, ranging roughly from 1965-1985. By arrangement with Basho's Estate and the original custodians of the tapes, Tompkins Square is set to release Song of the Avatars : The Lost Master Tapes, a 5CD set of previously unreleased material, on December 4th, 2020. The set includes notes by Barker, Henry Kaiser, Steffen Basho-Junghans, Glenn Jones and Richard Osborn, as well as many unseen photographs. The box set package featuring gold foil inlay, poster and extensive booklet, was designed by Barbara Bersche, known for her work on the 2009 Grammy-nominated Alan Lomax in Haiti box, as well as the new Dust-To-Digital Harry Smith B-Sides box.

TSQ 5715 - Robbie Basho / Song of the Avatars : The Lost Master Tapes - 5CD set

Tompkins Square is distributed by INgrooves/Universal and Revolver in NA, Cargo UK for Europe

Tompkins Square 15th Anniversary playlist

dow, Friday, 23 October 2020 23:47 (five days ago) link

New Decembrists vinyl editions, more info and streams here:

dow, Saturday, 24 October 2020 01:49 (four days ago) link

from via Downbeat email:

Ray Barreto, Barreto Power---

Featuring ALL-ANALOG mastering by Kevin Gray
at Cohearant Audio, this 50th Anniversary reissue marks the first
return to vinyl since its original 19T0 release.

GRAMMY-winning Nuyorican bandleader and
conguero Ray Barretto was an incomparable force
in Latin and jazz music. He was a long-time
member of the Fania All-Stars, and played conga
in recording sessions for major artists including
the Rolling Stones and the Bee Gees. Barretto
appeared on albums with jazz giants such as
Gene Ammons, Red Garland and Sonny Stitt,
and recorded regularly with Kenny Burrell,
Dizzy Gillespie and Wes Montgomery.

dow, Monday, 26 October 2020 19:39 (two days ago) link

Synthesizer Evolution: From Analogue to Digital (and Back)
by Oli Freke
Book (350g)£18.00
Expected 25 NovPREORDER
Synthesizer Evolution: From Analogue to Digital (and Back) celebrates their impact on music and culture by providing a comprehensive and meticulously researched directory of every major synthesizer, drum machine and sampler made between 1963 and 1995. Each featured instrument is illustrated by hand and shown alongside its vital statistics and some fascinatingly quirky facts.

From its invention in the early 1960s to the digital revolution of the 1980s right up until the point that analogue circuits could be modelled using software in the mid-1990s, this book tells the story of synthesizers from analogue to digital – and back again.

Tracing that history and showing off their visual beauty with art-book quality illustrations, this a must for any self-respecting synth fan. The book has 128 pages, is 23cm x 17.4cm in size and printed on high quality 130gsm matt art paper.

Author Oli Freke says: “This book has grown out of a life-long obsession with synthesizers and electronic music, and it’s fantastic to be able to share this with my fellow synth obsessives and music fans who celebrate the synth’s role in modern music.”
Ships in Mid-November

More info, cover, pages:

dow, Monday, 26 October 2020 19:46 (two days ago) link

(i work with oli freke)

koogs, Monday, 26 October 2020 20:50 (two days ago) link

is this book good?

dow, Monday, 26 October 2020 21:17 (two days ago) link

i have no idea. he's in the same department as me, different team, but i've not seen any of them for 7 months, except via zoom.

he's been selling the poster version of the book, with all the illustrations, for some time but i guess this has writeups of the individual synths as well (based on the 3 pages on that link)

koogs, Monday, 26 October 2020 21:54 (two days ago) link

Your link's missing the final letter btw

koogs, Monday, 26 October 2020 21:56 (two days ago) link

Sorry, thanks!
Related docudrama:

(aka The Shock of the Future)

The story of the forgotten female pioneers of electronic music

Coming to DVD and Digital Formats on November 10th


"This day-in-the-life portrait of a struggling electronic musician circa 1978 is never happier than when it gets to fix a loving, lingering gaze on the drum machines, synths, sequencers and reel-to-reel tapes that crowd its heroine's apartment."
- Variety
On November 10th, Cleopatra Entertainment will release Marc Collin's directed electronic music drama LE CHOC DU FUTUR (The Shock Of The Future), which premiered at the 2020 SXSW Film Festival. The DVD release also includes an exclusive interview with Collin, a slide show, and other bonus features.

LE CHOC DU FUTUR takes place in the Paris of 1978, when old formulas do not charm listeners anymore, creating the need for new music to arise in its place. In an extremely male-dominated industry, Ana (Alma Jodorowsky) uses her electronic gadgets to make herself heard, creating a new sound that will mark the decades to come: the music of the future.

Mixmag, the world's biggest dance music and clubbing destination, says "As electronic music ages and develops, more moves are being made to look into the cultural history that initially bred it. This film aims to shine a light on the under-appreciated and somewhat forgotten female pioneers of electronic music."


"Driven by a great turn from Alma Jodorowsky, it celebrates the creation and possibilities of music through a distinctly female filter.
- Empire

"A beguiling central performance and a near-numinous belief in the transformative power of music are the highlights of this modest yet perfectly formed French-language drama about the origins of synthesizer pop."
- The Times (UK)

"Explores the thrilling possibilities of electronic music in a drama with a timely feminist slant."
- The Guardian

Relieved it's not an untimely Feminist slant.
Hmm, Cleopatra can have some pretty cheesy offerings, but maybe---links to trailer, press contact etc. in here:

dow, Tuesday, 27 October 2020 21:07 (yesterday) link

Fourteen years ago, four young Atlanta women picked up instruments without any prior musical experience or lofty aspirations and decided that they were going to start a band so that they could play a friend’s party. The house-show led to more shows around town, and the fiery live sets of this feisty new band known as The Coathangers begat a self-titled album. Recorded during a single graveyard shift at a local studio and mixed the following night, The Coathangers was a raw, rowdy, and revelrous affair. What it lacked in polish it made up for in its undeniable energy and charisma. “We didn’t think anyone was going to listen to it,” says vocalist/guitarist Julia Kugel. “We knew our friends in Atlanta would get it, but we didn’t think it was going to go anywhere. We were just excited to make a record.” Little did Kugel or her bandmates—vocalist/drummer Stephanie Luke, bassist/vocalist Meredith Franco, and keyboardist Candice Jones—know that their scrappy house show-anthems would catch on, prompting years of international tours, a slew of excellent LPs and singles, and, eventually, a deluxe re-mastered version of their boisterous, long out-of-print debut, The Coathangers.

The first thing the listener hears when the needle drops on The Coathangers is a sample of a man’s voice asking “Why this record? Why should you listen to a full-scale discussion of the magic of thinking big?” Given the band’s modest initial aspirations, the soundbite was obviously tongue-in-cheek, and yet given the triumphs and accolades bestowed upon the band in the thirteen years since the album’s initial release, there is something a little prescient in that opening statement. Revisiting the album in hindsight, it’s surprising to hear both how little has changed and how much The Coathangers have grown. On the one hand, the band has always been multi-faceted, able to switch from their rousing rockers like album opener “Tonya Harding” to caustic no-wave scorchers like “Don’t Touch My Shit!” to Americana-tinged pop songs like “Buckhead Betty.” This diversity stems from having multiple songwriters in the band who each brought their own tastes and styles to the group. “It’s cool too to see how genre-fluid we‘ve always been,” Kugel says. “We got labeled as punk, and that was cool because that set us up as being against something, going against the grain. But it’s always been a weird dynamic of different tastes, and it still ultimately comes across as a bunch of girls having fun.”
Fun is key. While the mash-up of approaches continues to be a part of the band’s repertoire, there is a reckless abandon and irreverence to The Coathangers that was dialed back on subsequent albums. That brings us back to the initial question posed on the album: why this record? If The Coathangers have evolved into more nuanced sounds and sophisticated lyrical commentary, why dust off and revisit the fledgling anthems of their youth? The answer is simple. We live in difficult times, and there is a spontaneity and carefree spirit on The Coathangers that is as invigorating and inspiring now as it was thirteen years ago. The band may have merely been a vehicle for having a good time, but in the process of making music they also made a space for friendship and laughter, created an environment for people to be free and independent, and helped foster a sense of community in the Atlanta music scene.

“We were just brash and making fun of things,” Kugel says. “We weren’t thinking about lyrics. We weren’t thinking about the industry. There was no thought about ‘making it’ or how people were gonna perceive it.” Consequently, the album was treated more as a private conversation between friends, full of various in-jokes and frivolities that reflected the group’s insular audience and casual approach. “With this band I’ve felt like we have to speak for all woman-kind and as the records went on it became more and more at the forefront, but with the first record it was more like ‘ugh, these fuckin’ haters!’ It’s stuff we thought was hilarious and that felt really good to say because we felt safe. We didn’t think anyone was going to listen to it.” This was The Coathangers at their most spontaneous and unfiltered. From the deliciously fractured kiss-off garage rocker “Shut the Fuck Up” to the jubilantly nasty “Nestle in My Boobies,” there’s a wild, untamed heart at the center of every track on the album. It’s a record that celebrates being young, independent, and full of life.
Ultimately, the eponymous debut album by The Coathangers is a whirlwind ride of a band at the most frenzied, celebratory, and free moment of their existence. As a standalone record, it’s a brash and bawdy rocker sure to please anyone who likes their rock n’ roll sweaty and messy. As a piece in the band’s legacy, it’s an exhilarating reminder of the band’s youthful carefree beginnings. Suicide Squeeze Records is proud to offer up the deluxe version of The Coathangers to the world on December 4th, 2020. This latest version of the album includes the bonus tracks “Wife Eyes” from the Hard Candy EP and the title track from the Never Wanted You EP. The Coathangers will be available on vinyl featuring expanded artwork with an initial pressing of 1000 copies (500 on Confetti Crush Splatter Vinyl, 500 on Neon Strawberry Banana Pinwheel Vinyl). The album will also be available on digital formats.

dow, Wednesday, 28 October 2020 00:53 (thirteen hours ago) link

(one for the striking covers thread)

koogs, Wednesday, 28 October 2020 12:55 (one hour ago) link

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