Rolling Reissues 2021

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THE GATHERING: Transcending Records To Release Limited Vinyl And Cassette Editions Of Mandylion And Nighttime Birds; Preorders Available Now

dow, Wednesday, 16 December 2020 03:13 (eleven months ago) link

Transcending Records is pleased to issue the only North American vinyl pressings of Mandylion and Nighttime Birds from legendary Dutch metal/rock unit THE GATHERING.

Initially released via Century Media Records in 1995, Mandylion is THE GATHERING's third studio
offering and first to feature the now-iconic vocals of Anneke van Giersbergen. The album was recorded and mixed at Woodhouse Studios in Hagen, Germany under the guidance of Siggi Bemm and Waldemar Sorychta and has since become a cult classic.

Transcending's initial pressing of the record in March of 2020 sold out before it even arrived from the manufacturing plant. Don't miss out on the second pressing featuring two new color variants -- white with red/black splatter and gold marble -- limited to 200 copies each, as well as traditional black, limited to 100 copies. This release is exclusive to North America and will not be distributed in Europe. The band will have copies available for sale when the release is available. Mandylion will also get its first official cassette pressing in over two decades (limited to 100 copies)!

Additionally, Transcending will release a CD edition of Mandylion, limited to 300 copies, and shipping now. 100% of the profits of the CD will go directly to THE GATHERING.

Mandylion will be released on February 19th, 2021.
ighttime Birds is THE GATHERING's fourth full-length first released by Century Media Records in 1997. The album was again recorded at Woodhouse Studios with producer Siggi Bemm. Nighttime Birds was a logical follow up to Mandylion, breathing the same atmosphere. Wrote All Music Guide, "Anneke van Giersbergen's voice often recalls Björk and may range from a powerful, throaty wail to a sweetly tuneful caress that belies her deliberate, crunching musical accompaniment. As with Mandylion, THE GATHERING no longer really sounds like a traditional death metal band; the music is mostly melodic (yet tinged with sorrow), slow to mid-tempo progressive metal, with van Giersbergen's distinctive voice soaring above the band's nicely varied textures."

Transcending's limited vinyl edition of Nighttime Birds will be available in white with green/black splatter (200), white and green color-in-color (200), and traditional black (100). Like Mandylion, it will also receive the cassette treatment (limited to 100 copies).

Nighttime Birds will be released on February 19th, 2021.
Starting as a raw, death metal influenced band, and creating what later could be called gothic metal, THE GATHERING has been an extraordinary group since the early '90s. On their early more obscure albums, Always (1992) and Almost A Dance (1993), THE GATHERING were among the first acts to combine male grunts with female voices. As innovators of this unique style, they became a role model for the likes of Within Temptation, Evanescence, and Nightwish. Vocalist Anneke van Giersbergen, who joined the band in 1994, proved to be an unstoppable growing vocal talent with an infectious, emotional, and heart-warming voice. From their rough metal roots, to the atmospheric sounds of Mandylion and dreamy, profound songs on Nighttime Birds, to their later musical endeavors within the progressive/triprock field, the Dutch collective has always remained true to themselves while building up a continuously increasing fan base.

Links to pre-order etc.:

dow, Wednesday, 16 December 2020 03:20 (eleven months ago) link

Strut store lists a bunch of upcoming releases, with track lists, but no notes, will post any more info as it becomes available---meanwhile, you can pre-order these:

El Hal / The Feeling
Electric Jalaba
March 12, 2021

More info, audio:

dow, Thursday, 17 December 2020 19:23 (eleven months ago) link

January 29, 2021

More info, audio:

Several more here, but some may not be reissues:

dow, Thursday, 17 December 2020 19:30 (eleven months ago) link

Also, from Strut's picks for Best of 2020, some reissues I missed:

LÉVE LÉVE Sao Tomé & Principe sounds 70s​-​80s

he two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now.

dow, Thursday, 17 December 2020 19:40 (eleven months ago) link

Long Time Ago
by Azumah

Originally released in 1989, these original compositions are steeped in South African musical traditions yet infused with the singular visionary craft of Smiles Makama, the innovator and wizard from eSwatini (Swaziland). Mbiras, marimbas, percussions, musical bows and bewitching vocal harmonies sustain political and spiritual mantras for an ecstatic trip reminiscing of the best work of Nana Vasconcelos, Don Cherry, Malombo and Soweto based band BCUC.

Azumah was the coming together of a group of talented young dancer-musicians from Soweto (South Africa) with musician and instrument-maker Smiles Mandla Makama of eSwatini (formerly Swaziland). ‘Long Time Ago’ is the surprising and enticing, resultant album from 1985, recorded in the house of theatre stalwarts Des and Dawn Lindberg in Johannesburg.
Produced by David Marks (3rd Ear Music, Hidden Years Music Archive Project), Des Lindberg and Smiles Makama, this album takes us back to a priceless musical moment in the dark and wild eighties of apartheid South Africa. Smiles Makama is a gifted and visionary music-maker. He was born in South Africa but grew up in eSwatini, the small kingdom enveloped by South Africa and Mozambique on each side. He tells the story of the process leading to the... more

dow, Thursday, 17 December 2020 19:47 (eleven months ago) link

by Maalem Mahmoud Gania

...The resulting album, after the dizzying intensity of the opening song, offers more relaxed, laid back interpretations of the Gnawa ritual repertoire, and a deeper, more gentle sound than our previous Gania release, Colours of the Night. The album shines a light on Mahmoud's virtuoso guimbri playing and mastery of Gnawa songcraft, and is a standout amongst his many cassette releases.

The album comes with extensive sleeve notes written by Tim Abdellah Fuson, Berkeley scholar and curator of the excellent Moroccan Tape Stash blog.

dow, Thursday, 17 December 2020 19:54 (eleven months ago) link

Several more reissues (along w a few new releases, incl. Beatrice Dillon's v. excellent Workaround) are linked from this playlist:

dow, Thursday, 17 December 2020 19:57 (eleven months ago) link

Just pre-ordered these from Cherry Red. They come out February 26, so I'll have long since forgotten about them by the time they arrive, something I always enjoy.

Georgia Satellites, Ultimate Georgia Satellites 3CD set (all three of their Elektra albums, plus 18 B-sides and bonus tracks)

Toe Fat, Bad Side Of The Moon – An Anthology 1970-1972 (2CD set with both of their albums plus a non-LP single)

but also fuck you (unperson), Saturday, 19 December 2020 00:52 (eleven months ago) link

Philadelphia pianist Hasaan Ibn Ali was legendary for only appearing on one album, ever, despite being beloved among jazz musicians and some fans. That album, The Max Roach Trio Featuring the Legendary Hasaan, came out in 1965, and it's killer. A few months later, he recorded a session of his own for Atlantic featuring Odean Pope on sax, Art Davis on bass, and Kalil Madi on drums. It was shelved because Hasaan got arrested, and the tapes went up in the Atlantic warehouse fire of 1978, but now an acetate has been discovered, and Metaphysics: The Lost Atlantic Album will be released on LP and CD in March 2021. Pre-order it here.

but also fuck you (unperson), Sunday, 20 December 2020 13:52 (eleven months ago) link

Yeah I love that album, nice!

brimstead, Sunday, 20 December 2020 22:21 (eleven months ago) link

(the og one with max roach)

brimstead, Sunday, 20 December 2020 22:21 (eleven months ago) link

two weeks pass...

On-U Sound present comprehensive New Age Steppers reissue campaign
The seminal group fronted by Ari Up of The Slits (RIP)

Four studio LPs reissued alongside album of unreleased music, plus anthology boxset, all released 19th March 2021

A loose studio collective centred around the musical partnership of Adrian Sherwood and Ari Up from The Slits, New Age Steppers existed on-and-off from 1980 to 2012. Notable for bringing musicians from the post-punk and reggae scenes together, their records feature contributions from members of The Pop Group, The Raincoats, Flying Lizards, Roots Radics, Aswad and Creation Rebel.

This reissue campaign features:
Their first 3 classic studio albums back on vinyl for the first time since original release in the early 80s: New Age Steppers, Action Battlefield and Foundation Steppers

A first time vinyl pressing of the posthumous 2012 Love Forever album, with sleeve by Vaughan Oliver collaborator Chris Bigg of v23

A new LP of outtakes and rarities, Avant Gardening (in the On-U tradition of albums such as Return Of The Crocodile, Displaced Masters and Churchical Chant Of The Iyabinghi)

New sleevenotes for all LPs by Oli Warwick featuring interviews with Adrian Sherwood and other key players

A 5CD + 32 page book boxset anthology of all their work for the On-U Sound label, Stepping Into A New Age
New Age Steppers launched On-U as the first act to release both a single and album on the label, and it's fitting to have these brilliant records back out in the world, as the label celebrates its 40th anniversary in 20

but also fuck you (unperson), Thursday, 7 January 2021 15:21 (ten months ago) link

The Misunderstood: Children Of The Sun, The Complete Recordings 1965-1966
Misunderstood (The)

Released February 26, 2021.

CHILDREN OF THE SUN finally assembles The Misunderstood’s entire known output from 1965-1966 onto one package, suitably re-mastered by Alec Palao. With incisive sleeve-notes from Mike Stax (Ugly Things) and involvement with various original band members, and a handsome design from Andy Morten (Shindig!), this is truly the definitive document of a legendary underground band, assembled by those who love their music.

Your Price:

The Misunderstood: Children Of The Sun, The Complete Recordings 1965-1966 quantity
Categories: Grapefruit, Physical
the misunderstood

• The Misunderstood must rank as one of the greatest cult bands of the sixties psychedelia era. The band began forging their innovative sound in Riverside, California, where they were discovered by DJ John Peel (then working in the US as John Ravenscroft). Having cut a few recordings locally, the band relocated to the UK on Peel’s recommendation.

• In London, The Misunderstood signed to Fontana Records to cut what are consider six landmark tracks. Issued that December, ‘I Can Take You To The Sun’ remains a high watermark of the original psychedelia era and was backed by an explosive version of Bo Diddley’s ‘Who Do You Love’, but the band broke up soon afterwards when singer Rick Brown was drafted. A second single, the blistering psych rock of ‘Children Of The Sun’ (backed by the anti-war gem ‘I Unseen’) was belatedly issued in February 1969 when a new line-up of the band re-signed to the label.

• In 1982, Cherry Red released the landmark compilation LP, Before The Dream Faded, which not only unveiled two further Fontana recordings, the high octane ‘Find The Hidden Door’ and ‘My Mind’ but also collated seven archive tracks from the band’s Riverside days. Since then, additional recordings have surfaced on various retrospectives.

• CHILDREN OF THE SUN finally assembles The Misunderstood’s entire known output from 1965-1966 onto one package, suitably re-mastered by Alec Palao. With incisive sleeve-notes from Mike Stax (Ugly Things) and involvement with various original band members, and a handsome design from Andy Morten (Shindig!), this is truly the definitive document of a legendary underground band, assembled by those who love their music.

Track Listing:

7. I’M NOT TALKING (Unedited UK Vsn) *
8. I UNSEEN (IBC acetate)
9. MY MIND (IBC acetate)
14. I’M NOT TALKING (Gold Star Version)
15. CHILDREN OF THE SUN (IBC Acetate 2) *

Tracks 12, 13 first released as single, 1966
Tracks 2, 5 first released on Before The Dream Faded, 1982)
Track 14 first released on Golden Glass 12” EP, 1984
Tracks 8-11 first released on The Lost Acetates, 2004
Track 7: unedited version of 1966 recording first released on
Before The Dream Faded.

* previously unissued

1. SHE GOT ME (Version 1)
7. SHE GOT ME (Version 2)
8. WHY
13. I UNSEEN (Riverside version)

Tracks 2-4, 6 first released on Before The Dream Faded, 1982
Track 14 first released on Golden Glass 12” EP, 1984
Tracks 15-18 first released on The Legendary Gold Star Album/Golden Glass, 1997
Tracks 1, 5, 7-13 first released on The Lost Acetates, 2004

Stevolende, Thursday, 7 January 2021 20:18 (ten months ago) link

Great to get pretty much everything in one place. I think what isn't there is outside the timeline.
Have loved the band since I got the e.p. then the Before tHe Dream Faded lp when i was like 14 and they were just coming out.

Stevolende, Thursday, 7 January 2021 20:20 (ten months ago) link

Black Sabbath's Heaven and Hell and Mob Rules are being deluxe-ified on March 5 with tons of live stuff as bonus material.

2-CD Track Listing
Disc One: Original Album (2021 Remaster)
1. “Neon Knights”
2. “Children Of The Sea”
3. “Lady Evil”
4. “Heaven And Hell”
5. “Wishing Well”
6. “Die Young”
7. “Walk Away”
8. “Lonely Is The Word”

Disc Two: Bonus Tracks
1. “Children Of The Sea” – Live B-Side Of “Neon Knights” *
2. “Heaven And Hell” – Live B-Side Of “Die Young” *
3. “Lady Evil” – 7” Mono Edit (unreleased on CD)
Hartford Civic Center, Hartford, CT (August 10, 1980)
4. “Neon Knights” *
5. “Children Of The Sea” *
6. “Heaven And Hell” *
7. “Die Young” *
Hammersmith Odeon, London (Dec 31, 1981- Jan 2, 1982)
8. “E5150”
9. “Neon Knights”
10. “Children Of The Sea”
11. “Heaven And Hell”

2-CD Track Listing
Disc One: Original Album (2021 Remaster)
1. “Turn Up The Night”
2. “Voodoo”
3. “The Sign Of The Southern Cross”
4. “E5150”
5. “The Mob Rules”
6. “Country Girl”
7. “Slipping Away”
8. “Falling Off The Edge Of The World”
9. “Over And Over”

Bonus Tracks
10. “The Mob Rules” – Heavy Metal Soundtrack Version
11. “Die Young” – Live B-Side Of “Mob Rules” 7” *
12. “The Mob Rules” – New 2021 Mix **
Live At The Hammersmith Odeon London (31/12/81 - 2/1/82)
13. “Country Girl”
14. “Slipping Away”
15. “The Mob Rules”
16. “Voodoo”
Live At Portland Memorial Coliseum, Portland, OR, April 22, 1982
17. Intro **
18. “Neon Knights” **

Disc Two: Bonus Tracks
Live At Portland Memorial Coliseum, Portland, OR, April 22, 1982
1. “N.I.B.” **
2. “Children Of The Sea” **
3. “Voodoo” **
4. “Black Sabbath” **
5. “War Pigs” **
6. Drum Solo **
7. “Iron Man” **
8. “The Mob Rules” **
9. “Heaven And Hell” **
10. Guitar Solo **
11. “Sign Of The Southern Cross/Heaven And Hell” – Reprise **
12. “Paranoid” **
13. “Children Of The Grave” **

but also fuck you (unperson), Wednesday, 13 January 2021 15:21 (ten months ago) link

Currently on Night Flight Plus TV streaming, maybe later otherwise:
A Night with Lou Reed is an intimate visual record of Reed's legendary 1983 sold-out engagement at The Bottom Line in New York City. Fronting the most musically articulate band he had ever assembled--Reed and Robert Quine on guitar, Fernando Saunders on bass and Fred Maher on drums--Reed performs a treasure trove of his best hits. The energy and interplay on stage is so intense that it grabs the raw nerve of rock 'n' roll urgency.

The legendary and infamous New York Dolls at their best! Amazing rare live clips and interviews filmed by Bob Gruen and Nadya Beck in the 70s. Footage from early shows in NYC all the way to the TV studios, clubs and swimming pools of Los Angeles. Black and white film was never so colorful! Includes ripping versions of "Personality Crisis," "Who Are the Mystery Girls'" "Babylon" and more.

dow, Saturday, 16 January 2021 17:51 (ten months ago) link

See All Episodes
SOUL JAZZ RECORDS (09/01/2021)
Rachael Bird • January 9, 2021

Hear Stuart every Saturday morning with two hours of soul, jazz and world music. This show features tracks from The Clark Sisters, Groove Assassin and Saint Paul.
All shows stashed here:

dow, Saturday, 16 January 2021 17:55 (ten months ago) link

From The Allen Ginsberg Project:
Big news announced this week, the upcoming (April 2021) CD release by Omnivore Recordings of Howl at Reed College (from February, 1956, the first recorded reading).
Variety in its announcement notes the background:

“The tape went forgotten until 2007, when author John Suiter found it in a box at Reed’s Hauser Memorial Library while doing research on another poet who read at the college that day, Gary Snyder. Its discovery made the news after being verified the following year. But it was to still go unheard to the general public until a Hollywood-Oregon connection made its release inevitable.

Reed named Dr. Audrey Bilger its president in 2019. Bilger happens to be married to Cheryl Pawelski, the Grammy-winning co-founder of Omnivore Recordings, who had moved to Oregon herself upon Bilger’s appointment. Omnivore already had history with Ginsberg, having released The Complete Songs of Innocence and Experience in 2017 and The Last Word on First Blues in 2016. Using her existing connections with the Ginsberg estate, Pawelski sent the tape to Grammy Award-winning engineer Michael Graves to have it transferred, restored and mastered.”

Chris Lydgate in Reed Magazine tells more:

Its first public reading took place at San Francisco’s famous Six Gallery in October, 1955. Along with Ginsberg, the evening included readings by Gary Snyder, Philip Whalen, Philip Lamantia, and Michael McClure. Poet Kenneth Rexroth was the emcee; Jack Kerouac, Lawrence Ferlinghetti, and Neal Cassady were in the audience. Unfortunately, no one thought to record this historic moment. Ginsberg was recorded reading the poem at Berkeley a few months later in March, 1956, and for many years literary historians thought that recording was the first. But they were wrong. Earlier in 1956, Ginsberg and Snyder went hitchhiking through the Pacific Northwest, and arrived at Reed, where they decided to hold a poetry reading in the common room of the Anna Mann dormitory. On February 14, Ginsberg read the first section of “Howl,” still very much a work in progress. And this time, someone brought a tape recorder.”

dow, Saturday, 16 January 2021 17:59 (ten months ago) link

I like Byard Lancaster, esp. his album incl. Sonny Sharrock, It's Not Up To Us, released in 1968, on Vortex, baby. Much later w Ronald Shannon Jackson, Laswell, Arcana--he did a lot of other stuff too, certainly Philly-wise, like it says here:

"From A Love Supreme to The Sex Machine!" The personal musical
mantra of the late Philadelphia reedman Byard Lancaster informed an
open-minded and varied lifetime in jazz.
Strut presents one of Lancaster’s lesser known classics, ‘My Pure Joy’, recorded in 1992 for Black Fire. Lancaster had initially cut his musical teeth with the avant-garde on New York’s Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the ‘70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and “the Philly jazz sound, Germantown style.” He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city’s street musicians. Lancaster’s sessions for Black Fire were planned following a gig at Caverns Jazz Club in Washington DC. “Jimmy Gray of Black Fire and I originally met during the ‘riotous blisters’ of the late Sixties there,”
explained Lancaster. “We became the best of friends.” Backed by a band
of Philly musicians including percussionist Keno Speller and Baba Robert
Crowder (drummer for Olatunji and Art Blakey), the album also featured the Drummers From Ibadan led by Tunde Kuboye, another influential figure
dedicated to community jazz with whom Lancaster had bonded while
teaching in Lagos. The result was a free-flowing set of spirituality and
positivity, built around full band groove workouts, solo pieces and heavy
African roots. “We had big fun documenting this music,” remembered
Lancaster. The message of the album remains as relevant today as ever, “I
dedicate this album to all African Americans in the USA. To the youth, I ask ‘What does it profit a man to gain the whole world and lose his soul?’”
Originally delayed by three years because of cashflow issues within Black
Fire, ‘My Pure Joy’ eventually surfaced as one of the label’s final CD
releases in 1995 and has never before appeared on vinyl.
releases February 26, 2021

Will be available in mp3/wav, as stand-alone or incl. with Vinyl, CD

dow, Monday, 18 January 2021 00:31 (ten months ago) link

Beyond their highly sought after 1978 album Festa Para Um Novo Rei­ - home to the mystical jazz-funk classic ‘Vidigal’ and released on Philips’ iconic Musica Popular Brasileira Contemporanea series (MPBC) - little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings issue their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music.

More info, audio:

dow, Tuesday, 19 January 2021 23:30 (ten months ago) link

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 1 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.

The album is released to coincide with the massive new deluxe large format book Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90, published in November, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records), and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba – and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.

The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album have never been heard outside of Cuba.

Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.


*Please note the vinyl sticker of this album says "+download code" but it's a mistake! There is no download with this particular album. Sorry for this error!
3-LP, 2-CD. More info, audio:

dow, Wednesday, 20 January 2021 19:43 (ten months ago) link

Here's the book, looks great:

dow, Wednesday, 20 January 2021 19:44 (ten months ago) link

This press sheet says the album is Out Today, may mean UK---Amazon US says Feb. 12 (they'll have both the vinyl and CD sets, supposedly).

dow, Wednesday, 20 January 2021 19:49 (ten months ago) link

Catching up w this: Where to Begin with Touch and Go Records on Bandcamp

dow, Thursday, 21 January 2021 23:37 (ten months ago) link


Continuing the 50th celebrations and following December’s special multi-format release of Lola Versus Powerman and the Moneygoround, Part One, The Kinks return again with the unveiling of The Moneygoround one-man show live stream - available to watch as a one time broadcast HERE at The Kinks’ YouTube channel on January 29th at 8PM (GMT). Subscribe to the channel now to set a reminder.

Ray commented: “The Moneygoround' is a one-man show documenting a character facing the challenging circumstances of making an album under extreme pressure. This play, similar to a psychodrama, follows the ups and downs of the character as he plays out events in his life. He confronts the dark forces surrounding him after falling into an emotional and financial "hole" eventually he is saved by a song after confiding in his friend, Lola."

The 45-minute play is co-written by Ray and Paul Sirett, who worked with him on "Come Dancing" and the BBC Radio 4 play "Arthur."

This unique audio-visual production has been intimately filmed with the Actor Ben Norris as the leading Character - The presentation will also feature video content inserts of archive footage. The whole show will also include the "Any Time 2020" lyric video, the "Lola" Unboxing Video, and the "Lola" lyric video.

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.

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.

The special multi-format release of Lola Versus Powerman and the Moneygoround, Part One is out now as a lovingly produced Deluxe Box Set, 1LP, Deluxe 2CD, 1CD, and digitally - order here.

The Moneygoround is a show not to be missed!

dow, Friday, 22 January 2021 01:27 (ten months ago) link


CLASSIC and rare Brazilian album from 1973 including the KILLER bossa dance cut Ain't No Sunshine plus tunes by Edu Lobo, Jobim and Sivuca himself. One of the best Brazil/bossa/jazz dance albums ever! Post- Sergio Mendes, Tropicalia, seriously uplifting and beautiful stuff!
More info, audio:

dow, Friday, 22 January 2021 21:31 (ten months ago) link

T2: It’ll All Work Out In Boomland, 3CD Digipak

Released March 26, 2021.


Esoteric Recordings are pleased to announce the release of a re-mastered and expanded 3CD digipack edition of the cult 1970 album by Progressive Rock power trio T2. Formed in 1970 by PETER DUNTON, a former drummer with GUN, and former members of BULLDOG BREED, guitarist and backing vocalist KEITH CROSS and BERNARD JINKS (bass, backing vocals), T2 officially released one classic studio album during their short career, It’ll All Work Out in Boomland, issued by Decca Records in July 1970. Taking the template established by acts such as THE WHO, CREAM and JEFF BECK GROUP, the maturity of the music belies the young age of the band. Featuring only four tracks, the album’s highlights included No More White Horses, perhaps the piece-de-resistance of the album, an amazingly powerful song with a wonderful horn arrangement, building to a powerful feedback-laden climax and the twenty-minute long Morning.

The album earned much praise upon its release and the band’s live performances hailed the teenager KEITH CROSS as “the new Eric Clapton”, much against his wishes. Despite this, issues with their record company, combined with a general dissatisfaction led to Cross departing the band after the trio had recorded a series of excellent tracks for a potential second album that failed to materialise after the band were dropped by Decca. By 1971 Bernard Jinks had also departed and Peter Dunton formed a new line-up of the band featuring guitarist ANDREW BOWN and bassist JOHN WEIR. This new line-up performed on the UK concert circuit and also recorded a series of fine tracks in the search of a new recording contract. Alas, by the end of 1972 T2 disbanded.

By the new millennium It’ll All Work Out in Boomland had been re-appraised and had attracted a cult following among aficionados of Progressive and Underground rock of the early 1970s, even leading to several tracks being sampled by DJs on Dance tracks. This Esoteric Recordings edition has been newly re-mastered from the original Decca master tapes and has been expanded by a further two CDs featuring their later recordings made in 1970 and 1971-1972. T2’s sole Decca album is presented here as a recognised classic of the era. Open your ears to Boomland!

Track Listing:


2. J.L.T.

T2 – 1970 SESSIONS

4. CD
7. T2

1971 – 1972

9. PDQ

Stevolende, Saturday, 23 January 2021 11:09 (ten months ago) link


brimstead, Saturday, 23 January 2021 18:17 (ten months ago) link

Sacred Reich's The American Way, Surf Nicaragua, and Ignorance are all being reissued by Metal Blade on CD and LP on February 12.

but also fuck you (unperson), Monday, 25 January 2021 18:32 (ten months ago) link

Reissue of 'Spring', the classic 1968 debut album by pianist Ibrahim Khalil Shihab!

This edition of Shihab’s stunning debut is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab.
More info, audio:

dow, Friday, 29 January 2021 00:55 (ten months ago) link

Kirk Lightsey and Rudolph Johnson with the All Stars

Never released outside South Africa, and out of print even there since its original release in 1974, Outernational Sounds reissue one of the most sought-after international jazz exclusives ever to appear on South Africa’s famous Gallo imprint – the funky, spiritual and outward bound Habiba. Features Black Jazz records legend, Rudolph Johnson!
More info, audio:

dow, Friday, 29 January 2021 01:00 (ten months ago) link

Broxburn Funk

Firecracker release this archive material from cult UK techno producer, being, who released some sought-after releases on Andrew Weatherall's Emissions Audio Output sub-label, Special Emissions and also collaborated with Detroit's Claude Young.
More info, audio:

dow, Friday, 29 January 2021 01:07 (ten months ago) link

LP in stock, CD out of stock
Nahawa Doumbia

Awesome Tapes From Africa release 'Kanawa' by Malian singer Nahawa Doumbia, recorded in Bamako with a full ensemble produced by longtime collaborator N'gou Bagayoko.

More info, audio:

dow, Friday, 29 January 2021 01:14 (ten months ago) link

Andrew Weatherall: A Jockey Slut Tribute

DON'T MISS OUT on this ESSENTIAL book! An extensive, informative book on main man Andy Weatherall from those who knew him best including ... Bobby Gillespie, Danny Rampling, David Holmes, Keith Tenniswood, Terry Farley and many more!


Andrew Weatherall was the acid house generation’s most inspiring DJ and producer, renowned for his work on Primal Scream’s epoch-defining ‘Screamadelica’ and his own bands Sabres Of Paradise and Two Lone Swordsmen. As a DJ he was peerless and unpredictable, helming club nights that played techno, rockabilly or music that “never knowingly exceeded 122 bpm.”

Weatherall featured in seminal dance music magazine Jockey Slut many times during its lifetime. All his interviews from the publication are included within this tribute to The Guv’nor. Further articles cover the tenure of his professional life from the mid-80s to 2020. They include his beginnings at the influential Boy’s Own fanzine, his DJ sets at landmark nights Shoom and Sabresonic, and the plethora of ventures he still had running including the Woodleigh Research Project, A Love From Outer Space and festival Convenanza.

Jockey Slut magazine ran from 1993 - 2004. The influential club culture publication was started by John Burgess and Paul Benney as a self published Manchester based fanzine. It became a monthly when it moved to London in 1999. Jockey Slut was notable for being more music-centric, left-field and irreverent than other dance music magazines. It also bagged some real exclusives during its tenure giving first ever interviews to The Chemical Brothers, Daft Punk and The Avalanches.

Included in the 160 page, perfect bound book edited by founding Jockey Slut editor John Burgess is:

- All Andrew Weatherall's Jockey Slut interviews collated (1993-2004) including Weatherall Gets His Tats Out, I’m A Classic Underachiever, Two Lone Swordsmen and An Audience With... and more.
- Further new features and classic articles from Luke Una, Richard Norris, Kris Needs, Joe Muggs, Jim Butler, Mandi James, Lee Brackstone and more.
- Brand new 10,000+ word oral history of Andrew Weatherall’s early years from Shoom & Screamadelica to Sabres of Paradise featuring interviews with Bobby Gillespie, Ed Simons, Danny Rampling, Justin Robertson, Andrew Innes, David Holmes, Keith Tenniswood, Anna Haigh, Terry Farley and more.
- Retrospective of Andrew Weatherall’s club nights Sabresonic, Bloodsugar, Double Gone Chapel, Wrong Meeting, A Love From Outer Space by John Burgess.
All proceeds from the book will go to the charities that were important to Andrew Weatherall: Amnesty International, Multiple Sclerosis Society, Thrombosis UK, Crisis.

More info:

dow, Friday, 29 January 2021 01:19 (ten months ago) link


CLASSIC Wolfgang Voigt production from 1997 reissued via Kompakt! 'Zauberberg' laid the foundations for the GAS sound - a noxious blend of dragging orchestral arrangement with the weight of dread-heavy dub.

More info, audio:

dow, Friday, 29 January 2021 02:31 (ten months ago) link


Following the 1997 release of ZAUBERBERG, Wolfgang Voigt’s ambient GAS project returned with KÖNIGSFORST, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

KÖNIGSFORST brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by distant, muffled kick drums as deeply detuned classical music loops incessantly swirl with no direction.

More info, audio:

dow, Friday, 29 January 2021 02:36 (ten months ago) link


Classic material from Wolfgang Voigt's GAS project that originally surfaced on the cult Mille Plateaux label in 2000. An opiated haze that nods to Wagner with ambient techno and drone touches - one to get utterly lost in!

More info, audio:

dow, Friday, 29 January 2021 02:41 (ten months ago) link

New LP
Limited red vinyl edition
Out of stock

Ghost Dog: The Way Of The Samurai (Music From The Motion Picture)

Classic RZA score to Jim Jarmusch's meditative tale of honour and code of conduct starring Forest Whitaker and the great Henry Silva. Features appearances by Wu Tang Clan.

More info, audio:

dow, Friday, 29 January 2021 02:47 (ten months ago) link

In stock
In stock
In stock
100% Dynamite (New Edition)
Ska, Soul, Rocksteady & Funk in Jamaica


This is the new digitally remastered expanded edition of Soul Jazz Records’ biggest ever selling reggae release, 100% Dynamite: Ska, Soul, Rocksteady and Funk in Jamaica.

If you didn't get it the first time now's your chance to find out where it all began - all killer no filler!. If you did and wore it out get it now with bonus tracks and free download code!

Since the album’s original release nearly twenty years ago, 100% Dynamite has become a cornerstone of funky reggae music: Eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.

100% Dynamite features come serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw’s ‘Woman of the Ghetto’, Aretha Franklin’s ‘Rocksteady’, Syl Johnson’s ‘Is It Because I’m Black’, William DeVaughan’s seminal ‘Be Thankful’ and more.

100% Dynamite also features revolutionary tunes such as Johnny Osbourne’s ‘We Need Love, Sound Dimension’s ‘Drum Song’ and Lloyd Robinson’s ‘Cuss Cuss’, songs that helped define a unique sound for Jamaican music in the sixties and seventies.

These influences went both ways – check Brentford All Stars massive ‘Greedy G’, the basis for Boogie Down Productions’ ‘Jack of Spades’, or Willie Williams’ ‘Armagideon Time’ later covered by The Clash.

This new expanded edition features seminal tracks from the greatest Jamaican producers – Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.

The album is available as CD, heavyweight double vinyl (+download), plus digital.

More info, audio:

dow, Friday, 29 January 2021 02:55 (ten months ago) link

No idear about this, except the hype shouts up my alley,*and* album gets extra points for ugly cover:

American Gypsy
Angel Eyes (1974)

This record is so heavy! An absolute bomb! 'Inside Out' is an AWESOME tune! - one of the heaviest bass lines of all-time, super tough Fender Rhodes keys and vocalist Steve Clisby sounds more like Gil Scott-Heron than well Gil Scott-Heron!

'Golden Ring' is like Jon Lucien meets Terry Callier before dropping in and out of wild jazz dance sections. 'Stuck on You' is an UNBELIEVABLY uplifting soulful tune!

This album is one of the most in-demand rare groove releases ever from a group that most people have never heard off.

Pre-order special limited edition GOLD coloured vinyl
More info, audio:

dow, Friday, 29 January 2021 19:13 (ten months ago) link

The Original Sound Of Mali (Ltd. Blue Vinyl Edition)
Various Artists


Killer comp showcasing the rich history of musical innovation from Mali - arguably the most sophiscated form of African music. Vik Sohonie & Dave Buttle have put together a collection of tracks from across the country steeped in Malian culture, and, in particular, the immense hypnotic beauty of Malian music. Featuring Malian musical legends such as Sory Bamba, Rail Band, Mory Kante and Salif Keita, as well as lesser known gems from Idrissa Soumaoro et L’Eclipse de L’Ija.

More info, audio:

dow, Friday, 29 January 2021 20:07 (ten months ago) link

LP out of stock
CD in stock
Antoinette Konan
Antoinette Konan

Reissue of Antoinette Konan's self-titled, electro-Baoulé blaster from 1986! This eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. This album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire).

More info, audio:

dow, Friday, 29 January 2021 20:17 (ten months ago) link

‘Let’s Take It To The Stage’ is basically an album of offcuts but it always sounded really coherent to me...probably my favourite

X-Prince Protégé (sonnyboy), Friday, 29 January 2021 21:59 (ten months ago) link

^^ sorry wrong thread

X-Prince Protégé (sonnyboy), Friday, 29 January 2021 22:00 (ten months ago) link

I agree, though!

dow, Saturday, 30 January 2021 01:31 (ten months ago) link

Mr Bongo has a tracklisting for a cd of that Original Sound of Mali but I couldn't find a cd copy on their site.
Has that come and gone already or something?

Stevolende, Saturday, 30 January 2021 07:22 (ten months ago) link

I just now checked that soundoftheuniverse store link in the post: CD still in stock.

dow, Saturday, 30 January 2021 17:14 (ten months ago) link

couldn't find it there when I looked. Looks like it is actually an older release getting a special coloured vinyl release. looks like it actually came out in 2017 from discogs. Looked ion there and they had cd copies but didn't see them on either MR Bongo the release label's page or that Sounds of the universe. maybe search engine needed another specific cos I just got taken to the 2 different vinyl versions

Stevolende, Saturday, 30 January 2021 17:36 (ten months ago) link

I'm still seeing it here:

dow, Saturday, 30 January 2021 17:40 (ten months ago) link

sorry, prematurely posted so here's the bumf from the Cherry Red/Eclectic website





Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the 1971 self-titled album by THE WOODS BAND.

The Woods Band comprised TERRY WOODS (Vocals, Mandola, Concertina, Electric, Acoustic & Bass Guitar), GAY WOODS

(Vocals, Concertina, Autoharp, Dulcimer, Bodhran), ED DEANE (Electric, Acoustic & Bass Guitars, Keyboards) and PAT NASH (Drums and Vocals). Husband and wife Terry and Gay Woods had been members of the first line-up of Steeleye Span (also featuring ex-Fairport Convention member Ashley Hutchings, Tim Hart and Maddy Prior). The Woods’ departed that group shortly after the release of their debut album to form their own band.

After working with various musicians (including briefly the former King Crimson members Mike Giles and Ian McDonald), The Woods Band finally settled on a stable line-up when Ed Deane and Pat Nash joined the fold. In 1971 the Woods Band signed to the newly established Greenwich Gramophone Company (a “Progressive” imprint of song writer Les Reed’s Chapter 1 Records) and recorded their only album at Morgan Studios in September that year. Produced by former Colosseum bassist Tony Reeves, THE WOODS BAND featured both traditional and original material and utilised both traditional and electric instrumentation and took on more of a rock influence than the early Steeleye Span. Upon its release, the album was well received and The Woods Band undertook a series of concerts with their fellow label mates Samurai and Open Road and began to develop a cult following.

However, Greenwich Gramophone ceased operations in 1972 and this left the band without a recording contract and the Woods Band ended, leaving Terry and Gay Woods to continue recording and working as a duo. Terry Woods was later a member of The Pogues. This Esoteric Recordings edition has been newly re-mastered and features an illustrated booklet with a new essay.

Track Listing:

4. LAMENT & JIG (inc. Valencia Lament & Apples in Winter)
8. OVER THE BAR (inc. The Road to Athy)

Stevolende, Wednesday, 8 September 2021 14:34 (two months ago) link

Speaking of Cherry Red, I've already pre-ordered this Steppenwolf box set:

Steppenwolf: Magic Carpet Ride – The Dunhill / ABC Years 1967-1971, 8CD Box Set

Released October 29, 2021.

but also fuck you (unperson), Wednesday, 8 September 2021 15:12 (two months ago) link

Ltd. Ed---already sold out (for now?), both formats, but worth a read:

Boxset contents: 'Faust', 'So Far', 'The Faust Tapes', 'Faust IV', 'Punkt' (1974 album that has never been released), 'Momentaufnahme I' (unreleased studio tracks), 'Momentaufnahme II' (unreleased studio tracks), and two 7" (both on CD8)

"There is no group more mythical than Faust." Julian Cope (Krautrocksampler)

A band's fame can be measured in the sum of myths, legends and stories which are conjured up in their wake. In which case, Faust have been playing in the Champions League for quite some time. Few bands have been as innovative, influential or as irrepressible as FAUST - the way they revolutionized the history of music in the space of just four years puts them right up there with The Velvet Underground. What began in a Hamburg (Sternschanze) bunker in 1970 would send shockwaves around the world. Here's how Stephen Morris (Joy Division/New Order) remembers it: "The first Krautrock record which made a lasting impression on me was the debut album by Faust. The transparent disc looked spectacular and the music was mindblowing, not songs as such, it was something absolutely unique, the polar opposite of everything the Rolling Stones, Beatles and the like were doing. It was right up my street."

This box is the first virtually complete collection of FAUST works from the years 1971-1974. In addition to the debut album, it includes the 1972 album So Far, the legendary 1973 Virgin UK release The Faust Tapes ("Some chose to play frisbee with the LP, others said it changed their lives" as Jean-Hervé Peron noted), Faust IV and, for the first time ever, the mythical, so-called "Munich album" Punkt, which Faust recorded at Giorgio Moroder's Musicland Studios in 1974. For one reason or another, this last album never saw the light of day - until now. The bonus albums Momentaufnahme I and Momentaufnahme II also feature unreleased material, simultaneously affording us a fascinating glimpse of Faust's creativity in their Wümme studio phase. Two 7-inch singles round off the Faust 1971-1974 compendium: Lieber Herr Deutschland is the demo recording they sent to Polydor in 1971, remarkably triggering a contract offer from the label who had something of a conservative reputation at the time. The track later resurfaced as the B-side to their single Baby, a song which had been rejected by the aforementioned label. The second 7-inch single in the box is a rerelease of So Far, the first FAUST single on Polydor, originally issued in 1972.

It is by no means overstating the case to assert that FAUST created and christened a genre (the name would prove emotive) in one fell swoop (track 1 on Faust IV). This box is no more and no less than the holy grail of Krautrock. Even 50 years (or perhaps all the more so) after they took their first musical steps in a bunker near Hamburg's Sternschanze station, Faust still sound revolutionary, timeless, irrepressible and, above all, unique.

Mastered from the original tapes, Faust 1971-1974 is available as a limited edition vinyl set (2,000 copies) and CD (1,000 copies).

Release Date
08 October 2021

7×LP Box set (2.2kg) £170.00

dow, Friday, 10 September 2021 23:58 (two months ago) link

ImportCDs is offering pre-orders for $80.

but also fuck you (unperson), Saturday, 11 September 2021 00:15 (two months ago) link

I was wondering how much of the non 1st 4 lp material was retitled duplicates of material released elsewhere as Munich & Elsewhere , 71 Minutes, Peel Sessions, Bonus disc of IV (2006 remaster). If i have Wumme do I need this beyond it being a fresh transfer of source tapes plus a bit of bonus which I probably didn't have in current form.
Found the thread on Steve Hoffman and it looks like they haven't reused the material from the Reccommended compilations 71 Minutes and Munich and Elsewhere beyond 2 tracks from the latter which have been remastered from the source multitracks apparently.
Still, think I'm too broke to grab the box so hope some of this stuff is released separately

Stevolende, Sunday, 12 September 2021 08:29 (two months ago) link

a photo of the box contents for both vinyl and cd

Stevolende, Sunday, 12 September 2021 08:44 (two months ago) link

JUst found out that the Faust Tapes set from the forthcoming box is already up on Spotify. Not sure if an MP3 is a good guage of what a lossless media is like but it is there.

Stevolende, Sunday, 12 September 2021 09:13 (two months ago) link

one month passes...





Lane’s work immortalises important themes of human experience, holding awkward and difficult feelings up to the light, to see them in all their imperfect beauty and wonder.” – The Quietus

Mute today announces details of the 20th anniversary reissue of Anita Lane’s second studio album, Sex O’Clock, set for release – for the first time on vinyl – December 10.

Initially released in 2001, work began with Anita Lane on the reissue before her untimely passing earlier this year at the age of 61. The album has long been considered under-appreciated with The Quietus recently asserting that Lane’s exploration of sexuality was way ahead of its time.

The album – honest, funny and often melancholic – features stand out tracks “The Next Man That I See,” “Do the Kamasutra” and an acidic cover of Gil Scott-Heron’s “Home Is Where the Hatred Is.” Recorded with long time musical partner Mick Harvey, the album was the final release in a solo career that began in 1988 with the release of the Dirty Sings EP.

Emerging from Melbourne’s post-rock scene, Anita Lane was one of the co-founders of Nick Cave & the Bad Seeds, co-writing “From Her To Eternity,” the title track of their debut album, and “Stranger than Kindness” from Your Funeral… My Trial. Arriving in London in 1980 with The Birthday Party, she’s credited with co-writing several of their tracks – “A Dead Song,” “Dead Joe” and “Kiss Me Black” – before re-locating to Berlin. There followed a series of collaborations that included work with Einstürzende Neubauten, Chrislo Haas, Gudrun Gut and Die Haut. Also of note are a memorable cover of “These Boots Were Made for Walking” with Barry Adamson and vocals for Mick Harvey’s first two Serge Gainsbourg albums, Intoxicated Man and Pink Elephants.

After her unexpected passing in April 2021, tributes were paid from around the world from a host of artists with Nick Cave remembering Lane as “the smartest and most talented of all of us, by far.”

1. Home Is Where the Hatred Is
2. The Next Man That I See
3. Do That Thing
4. I Hate Myself
5. A Light Possession
6. I Love You, I Am No More
7. Like Caesar Needs a Brutus
8. Do the Kamasutra
9. The Petrol Wife
10. Bella Ciao

Further reading:
Rolling Stone's Tribute:
Scotland Herald's Tribute:

dow, Tuesday, 19 October 2021 01:34 (one month ago) link

For more info, see

dow, Tuesday, 19 October 2021 01:37 (one month ago) link

Will also be on CD

dow, Tuesday, 19 October 2021 01:38 (one month ago) link

From Sounds Of The Universe:

Ritmo Fantasia: Balearic Spanish Synth-Pop, Boogie and House (1982-1992)

The 21 track selection curated by Trujillo, a Venezuelan producer, DJ and record collector based in Berlin, explores the forgotten corners of the 1980s and early 90s Spanish music scene. Veering through early bleep and hip house, electro, boogie, Iberian pop and much more, it has broad appeal to both Balearic heads and diggers alike. Serendipitously, the cover art for the compilation is an original work by Yves Uro, a figurehead of Ibiza's party scene from the 70s and 80s and whose visionary poster artwork became representative of the White Isle.

Release Date
26 November 2021

3×LP £25.00
More Info & Audio

dow, Tuesday, 19 October 2021 01:43 (one month ago) link

Cuba: Music and Revolution Vol.2 Compiled by Gilles Peterson and Stuart Baker
Culture Clash In Havana Cuba - Experiments In Latin Music 1975-85 Vol. 2


...exactly the same vein as the much-acclaimed Vol. 1 - exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music every made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records), featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson and Stuart Baker's record boxes!

The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album have never been heard outside of Cuba.


Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.


REVIEWS of CUBA: Music and Revolution vol. 1:

"We already have a strong contender for 'compilation of the year'. Put together by devout crate-diggers and Cuban music enthusiasts Gilles Peterson and Stuart Baker (founder of Soul Jazz Records)" JUNO

"It's abundantly clear that these compilers are at the very top of their game. Everything here was previously unheard outside of Cuba, making this a feast for the curious" Vinyl District

"Priceless comp that goes far beyond Buena Vista!" UNCUT
More info, audio (excerpts of all tracks)

dow, Tuesday, 19 October 2021 01:50 (one month ago) link

XXp Anita Lane emerged from the Melbourne post-rock scene? Not the punk scene? I think she came to recognition from her relationship with and subsequent work with Nick Cave who I think she met at art school in the late 70s. Is that a typo for post-punk then? I just think there's like 20 years or something between the 2.

Stevolende, Tuesday, 19 October 2021 06:01 (one month ago) link

two weeks pass...

Out Now

909s & Sunshine: The Numero Guide to UK Rave. House, Garage, Breakbeat, Acid, Hardcore [1989-1997]

Numero goes straight to spotify, which keeps freezing on tracklist, but it's all on there and other services, looking good to this non-expert

dow, Thursday, 4 November 2021 16:42 (three weeks ago) link

is there a physical release or is this just a playlist?

brotherlovesdub, Thursday, 4 November 2021 16:57 (three weeks ago) link

Good question---may just be a playlist, considering the way it goes straight from Numero (who sent me an email hyping it) to Spotify (also on Apple etc). Sorry, I just assumed there was more.

dow, Friday, 5 November 2021 00:30 (three weeks ago) link

Smog Veil Clearing The Air #179
November 2021

starting now until 12/31 only
55% off ALL releases on our site!

Well folks, it is time to sail on. Smog Veil has had an amazing run, we've released records by our favorite Northeast Ohio underground rock and rollers. We've appreciated all our fans have done for us. But, after 30 years we've decided, let's go out while the getting is good and while we're happy with what we accomplished.

We couldn't have made it this far if it wasn't for the fans, our team, and the amazing musicians that you've listened to on record and on stage. We hope over the years we kept your toes tapping!

So, this is the near to last goodbye. We'll send another newsletter next month, but let the warehouse clearing begin!

While supplies last, everything on the Smog Veil web site* is now 55% off!

Act quick, sales limited to supplies on hand and prior sales excluded! SALE STARTS NOW AND ENDS on December 31, 2021.






We have less than 200 Peter Laughner box sets left in our warehouse and as there will be one and one only pressing. This will be the very last chance to grab these at an amazing price as all box sets will be sold by the end of the year.

OK--so the FINAL tour dates. Adele Bertei has announced a series of readings, accompanied by special guests at various stops, including Lucy Sante, and Mike Decapite. Here's the dates, mark your calendar:

w/Lucy Sante, Mike DeCapite
11/11 — L.A., Skylight Books
11/13 — San Francisco, The MakeOut Room

*To see all remaining stock of CLE (incl. Chris Butler solo, his album w Ralph Carney. Mr. Stress, Laughner box [vinyl only, CD sold out], Adele's book about him & related, Peter and The Wolves, etc. etc.---check here:

dow, Friday, 5 November 2021 03:13 (three weeks ago) link

Dang hadn't realised i'd completely missed the Peter laughner cd set.

Stevolende, Friday, 5 November 2021 09:05 (three weeks ago) link

Smog Veil says it's still out there "in the Wild," at several Ohio stores, prob online somewhere, like eBay at least. Some PL things on Spotify etc., and Amazon still has digital editions of The Day the Earth Met the Rocket from the Tombs and Rock It Down, with various line-ups.
It was one of those legit boxes, that, by the time it finally came out, I had so much of it on boots and licensed (?) bits that I couldn't bring myself to buy it (though if I'd been more confident about my income...) Wasn't that thrilled by all the acoustic bedroom stuff on Take The Guitar Player For A Ride; I like him a lot better in bands (looks like at least some of that collection is YouTube).

dow, Friday, 5 November 2021 17:55 (three weeks ago) link

Rock It Down has same "cover" (though digital) as box, might be a sampler.

dow, Friday, 5 November 2021 17:59 (three weeks ago) link

Nor sure when I would have the dosh to buy a copy but did hope there might be a point when I could. I do like the band stuff.
Hadn't taken in the no repress bit. Or at least don't remember it now til I saw the comment under the vinyl version.

Stevolende, Saturday, 6 November 2021 08:07 (three weeks ago) link

no idea but think there are ilx fans? Better than usual Numero house style hype, somehow:

Duster CDs Are Back
San Jose’s sonic cure-all for the Y2K hangover that never materialized, Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond. Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.

Grab your copy of Capsule Losing Contact before they disappear into the void for good. More info etc.

dow, Monday, 8 November 2021 02:02 (three weeks ago) link

Merge reissuing The Magnetic Fields’ The House of Tomorrow for its 30th anniversary in 2022
Posted 11/9/21
On January 28, 2022, Merge will reissue The House of Tomorrow, one of the earliest releases from The Magnetic Fields. Never before released as a 12-inch, the b-side of this 30th anniversary remastered edition of The House of Tomorrow features an etching of Buckminster Fuller’s visionary D.I.Y. Dymaxion House floor plan. The vinyl is available on opaque spring green as well as basic black, but don’t press bandleader Stephin Merritt to discuss the color’s charms, please. “My favorite shade of green is brown.”
When Susan Anway, who sang on early albums Distant Plastic Trees and The Wayward Bus, left the group, Stephin stepped up to the microphone. “This was my first time singing on record,” he recalls. He sought to sound simple, subtle, and unobtrusive, à la the Japanese concept of shibusa. “But now, listening back, I hear a little too much vocal influence from the Jesus and Mary Chain. (I really should move to Scotland. I belong there.)”

A departure from the largely electronic setup of the first two albums, the arrangements and production of The House of Tomorrow show an increase in Merritt recording using live instruments played by himself and his band members. Despite this, Stephin resisted the typical “rock and roll” sound: “I wanted to have rock instrumentation, plus cello (so ELO without keyboards), but everyone was tracked separately so there was no question of sounding like we were playing together,” explains Stephin. Instead, he chose to highlight the artifice. Voilà! “The drums are like Tusk only more so, the cello sounds like a synth, and the guitars might as well be programmed.”

The House of Tomorrow rose in stature upon re-release on compact disc in 1996, with a new addition, “Alien Being” (previously relegated to the flip of the “Long Vermont Roads” single), boosting its modest track list from four songs to five. The limits of technology had stymied plans the first time: “You can’t fit five two-and-a-half–minute songs on a 7” record, even at 33rpm.”

From World’s Fairs and Disneyland to Tex Avery and Hanna-Barbera cartoons, visions of the home of the future have long been popular. Although this new vinyl edition of The House of Tomorrow includes an etching of Buckminster Fuller’s visionary D.I.Y. Dymaxion House, Stephin laments the sluggish pace of architectural innovation. What is his dream home? “I want to live in Barbarella’s spaceship, with my neighbors being the Jetsons, floating defiantly over Edinburgh Castle.”

The Magnetic Fields wrap up their City Winery residency this month. Stay updated on the band’s official website,

The Magnetic Fields on tour:
Nov 11 Atlanta, GA – City Winery
Nov 12 Atlanta, GA – City Winery
Nov 14 Nashville, TN – City Winery
Nov 16 Chicago, IL – City Winery
Nov 17 Chicago, IL – City Winery
Nov 18 Chicago, IL – City Winery
Nov 19 Chicago, IL – City Winery

More info etc.:

dow, Tuesday, 9 November 2021 18:04 (three weeks ago) link

Scrap Metal series of rare/unreleased 80s Heavy Metal singles shares Hazardous Waste track; Brown Acid curators RidingEasy Records & Permanent Records' new series

"Nine face-melting, gut-busting tracks that run the gamut from New Wave of British Heavy Metal to thrash to glam metal." -- Ultimate Classic Rock

The curators of the popular Brown Acid compilation series of long-lost vintage 60s-70s proto-metal singles share the last pre-release track today from the first edition of a new series titled Scrap Metal. Following chronologically where Brown Acid leaves off, Scrap Metal scours the world for long-lost, rare and unreleased Heavy Metal from the late-70s through late-80s. Hear/share Hazardous Waste's "Danger Zone" via YouTube or Linktree.

Decibel Magazine recently hosted The Beast's 1983 punk-metal hybrid "Enemy Ace" HERE. (Direct YouTube.) Album opener Rapid Tears' anthem "Headbang" premiered previously via Metal Injection HERE (And YouTube.) "69 in a 55", a 1983 track from Bay Area band Air Raid launched via Ultimate Classic Rock HERE (and YouTube.)

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal: Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.

We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.

Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.

About Scrap Metal: Vol. 1:

Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.

Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!…tonight…night.”

Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2-song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.

Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.

Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.

The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.

Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.

The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”

Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.

Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

Scrap Metal: Vol. 1 will be available everywhere on LP, CD and download on November 12th, 2021 via RidingEasy Records. Pre-orders are available for digital at Bandcamp, physical pre-orders at RidingEasy Records. Lotta links in original page:

dow, Tuesday, 9 November 2021 18:14 (three weeks ago) link

I bought a few of those Brown Acid comps and while they're fun to play in the background or in the car I really can't tell any of the bands apart, at least not beyond the limited categories of 1) Sabbath worship, 2) Hendrix worship 3) Deep Purple worship

Paul Ponzi, Tuesday, 9 November 2021 19:24 (three weeks ago) link

I've been enjoying this Phuong Tam record. It's a retrospective of "the groundbreaking Saigon teenager who became one of the first singers to perform and record rock and roll in 1960s Vietnam."

reggae mike love (polyphonic), Wednesday, 10 November 2021 01:14 (two weeks ago) link

Cool, thanks!

xpost Yeah, but/and these latest descriptions do appeal to me, who has neither background nor car, so I might try this Brown Acid after all, if it's ever streaming somewhere freely.

Meanwhile, the vinyl spew continues across the land ov ears:
KRS629 - First Songs - 2LP - Marbled Lime Green Vinyl
Record/Vinyl + Digital Album

2021 repress of "First Songs", a 2LP set of 24 recordings* from the legendary punk bands Kleenex and LiLiPUT. "First Songs" combines all the pre-1982 material, all 3 Kleenex singles, the first 2 LiLiPUT 7"’s and all the originally unreleased material prior to LiLiPUT’s debut LP.

*Download includes all 46 songs from the "LiLiPUT" release.

co-release with Mississippi Records

“You can't dispute LiLiPUT's status as pioneers of feminist art-punk. Along with fellow travelers like the Slits and the Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang of Four and Wire-- propulsive bass, skittering pop rhythms, slashing guitars-- and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccuped in three languages and made- up dadaistic slang. More than 20 years on, it still sounds fresh.” - Lisa Gidley

Includes unlimited streaming of Kleenex / LiLiPUT via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Buy Record/Vinyl $25 USD or more
ships out within 7 days

Aaand, per KRS unfailing generosity, whole thing is streamable here, with all the other tracks on their awes 2001 CD comp:
Ditto this live comp, which I didn't know about at the time, or would have listed on Rolling Reissues 2010, if there was one (or even so):
About the Live CD/DVD:
If you've watched any live YouTube footage of Kleenex/Liliput then you know how amazing they were as a live band. If not you're in luck as this CD/DVD set is a testament to their greatness. The CD features two full live sets: Kleenex live in Biel in 1979 and Liliput live in Zurich in 1983, and they include some never before released songs. This is the sound of a world-class band in their prime. The DVD includes the much rumored about document of their European tour in 1982, Roadmovie, as well as live performances of the band on Swiss TV.

Live Recordings, TV-Clips & Roadmovie contains previously unreleased tracks (Lust, Take A Taste of My Mind, Geierwally, Pink Hit, Where Do You Find the Time) and previously unreleased video footage including television studio quality sound and video, and a super-8 film created during Liliput tour, 1982. Also, on May 18, 2010, Kill Rock Stars will be re-releasing Liliput as a four LP set! KRS originally released the record as a double CD back in 2001.
The Ballad of Kleenex/Liliput
The fact that punk rock could capture the imaginations of young people around Europe and America in the late '70's was embodied in the five-year output of Switzerland's Kleenex (later renamed Liliput). The music meant empowerment for many people to take chances and not worry about consequences. This was especially so for women like guitarist Marlene Marder and bassist Klaudia Schiff, the two constants/mainstays of the group

When punk groups began springing up in Zurich, it was a very small scene with a handful of bands that all knew each other, not many places to play and virtually no support from radio stations or the press there. Marder (originally a saxophonist) had played with a group called the Nasal Boys. Two experimental film-makers, Schiff and drummer Lislot Ha had been bouncing around the idea of forming group before hooking up with the appropriately-named vocalist Regula Sing and a male guitarist who had much more ambitious musician plans. Marder liked what she heard from the band and was glad to step in to replace him. Indeed, the group's aim was to have fun, more than to become rich and famous. Armed with a repertoire of four-songs and three chords, Kleenex wowed the local crowds with their simple, child-like rock ditties, filled with joyful chants and nonsense words in the tradition of Little Richard's "Tutti Frutti" but musically more in the noisy, exuberant spirit of their British comrades the Sex Pistols.

Kleenex had local friends who decided to start up a label (Sunrise) where the band put out their first (self-financed) EP in 1978, which included the same four songs from their live sets ("Beri-Beri," "Ain't You," "Hedi's Head," "Nice"). The response was such that the first pressing sold out in weeks. A copy of the EP managed to get to John Peel, the famous English DJ, who fell in love with it and played it over and over for his radio listeners. Rough Trade got wind of their strange, wonderful music and signed the group to a record contract. Their first single ("Ain't You" and "Hedi's Head" from the EP) made a splash with the UK press and led the label to organize a group of dates around Europe with label-mates Scritti Politti and Red Krayola. Not even a year after their formation, the group was already an international sensation even though, at the time, they still held various clerical jobs back in Zurich.

Coming to England, they were unimaginatively dubbed the 'Swiss Slits' by the press and made their next single ("You"/"U", 1979) with Krayola leader/Rough Trade producer Mayo Thompson. Soon, they were off headlining an English 'package tourí with local favorites like the Raincoats, Swell Maps, Subway Sect and Spizz Energi.

After the tour ended in late '79, Sing left the group to be replaced by Chrigle Freund, a recent high school dropout, much younger than the rest of the group. With the loss of their original singer and threats to destroy all their records by the tissue company, which they took their name from, the group rechristened itself as Liliput in 1980, soon adding saxist Angie Barrack to their ranks. This five-piece line up recorded their next single 'Die Matrosen/Split' with its famous nonsense cheers/shouts ('Hotch-potch, Hugger-mugger, Bow-wow, Hara-kiri!'), making a splash on the UK indie/alternative charts.

Despite their success, Ha and Barrack left the group, reducing them to a trio. Their next single, 1981's politically-motivated 'Eisiger Wind' (with its Hugo Ball parody sleeve) caught the attention of noted American rock critics Robert Christgau and Greil Marcus, who praised the innovative trio. By the time the single was released, the band was in the middle of another personnel crisis with Freund now leaving the group. Marder and Schiff closed ranks and assembled a new band with singer Astrid Spirit, drummer Beat Schlatter and saxist Christoph Herzog. After a successful German tour, the later two left the band (though Schlatter continued to help on drums) and the group was a trio again.

After four years, the group finally released a full-length album ('Liliput') for Rough Trade in 1982, leading into another tour. After another single ('The Jatz'/'You Did It', 1983), Marder and Schiff were tired, not having fun anymore and ready to quit. Spirit rallied them to do another record with an advance from Rough Trade Germany. Their second album (Some Songs, which Marder thinks is some of their best work), with various guests helping out and Spirit now playing violin, turned out to be their swan song. Spirit decided that she wanted to raise a family instead of being in a band, spelling the end of the group in late '83. Marder had her own record shop, worked at a jazz club and had a band in the late '80's called Danger Mice. Schiff returned to painting, which she had done for many flyers and sleeves for the band.

Ten years later, Marder (now working for the World Wildlife Federation) and the same people behind the original Kleenex releases put out the 2-CD LiLiPut retrospective on the local Off Course label, including all of the material that the band had released. Though it received rave reviews (including a 'A' from Christgau and a spot on his year-end top 10 list), it was soon out-of-print. Collectors were paying hundreds of dollars in auctions for this material.

released March 23, 2010

dow, Wednesday, 10 November 2021 01:15 (two weeks ago) link

(Other previously unmentioned-by-me KRS oldies on bandcamp: all of Essential Logic's fab gear Fanfare In The Garden and a monster Delta 5 comp I haven't checked yet.)

dow, Wednesday, 10 November 2021 01:19 (two weeks ago) link

Seconding the Phuong Tam record. (and that Delta 5 comp!)

Elvis Telecom, Wednesday, 10 November 2021 09:51 (two weeks ago) link

Speaking of bounteous bandcamps, omg Analog Africa
---top row incl. 2021 releases, incl. this:

Yaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was filled with music spots but surprisingly there were no infrastructure to immortalise those musical riches. The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their first few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it.

At the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist himself..and what happened next? With no distribution nor recording companies around this was a legitimate question. More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.

But who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad difficulties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnificent tunes.

The songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.
released September 3, 2021
--and going back to the earliest Analog Africa comps I've ever heard/heard of/seen---

dow, Wednesday, 10 November 2021 18:49 (two weeks ago) link

Three Earthless albums are being reissued in January via Nuclear Blast — Sonic Prayer, Rhythms From a Cosmic Sky, and From the Ages, all previously on Tee Pee. They've got a new album, Night Parade of One Hundred Demons, coming out a week later. I pre-ordered the whole batch.

but also fuck you (unperson), Wednesday, 10 November 2021 23:17 (two weeks ago) link

Don't know where to put this, as this is a collection and not a straight reissue, but the new Joel Vandroogenbroeck comp on Drag City, out today, is fantastic

Paul Ponzi, Friday, 12 November 2021 19:41 (two weeks ago) link

oh yeah, forgot to post:


Looking at history the wrong way round through the telescope, objects may appear closer than they actually were! Yeah, life's a Rashomon even in reverse. Sometimes you have to take the long view - or in this case, the Far View, which compiles tracks from Joel Vandroogenbroeck’s legendary Coloursound library music series — a uniquely trippy catalog of sonic vignettes, freshly remastered from the original analog reels and long overdue for their day in the library music sun!

The late Joel Vandroogenbroeck was among that rare breed of musician who defy all categorization, using music conventions to explore the far reaches of human and cosmic consciousness. After traveling through the realms of jazz, rock, traditional and experimental music in 1950s, 60s and 70s, notably with Brainticket thoughout the 70s, Joel found new outlets for his expansive vision with Swiss library music label Coloursound in the 1980s. Far View draws tracks from those releases, whose fusion formed a unique entry in the genre of library music. For the uninitiated, this is just one way to begin a musical trip through Vandroogenbroeck’s undersung career.

Joel Vandroogenbroeck passed away in December 2019, while work was being done assembling this collection. Curated by David Hollander, whose Unusual Sounds album and book of the same name extensively explore the library music world, Far View draws from ten of Joel’s Coloursound albums with lovely cohesion. Featuring brilliantly remastered sound, liner notes from Hollander and album art designed by Robert Beatty, Far View is a special entry point to Joel Vandroogenbroek’s mind-bending body of work — sonic soma to expand your consciousness and vibrate with the cosmos.

dow, Friday, 12 November 2021 20:09 (two weeks ago) link

What's a good definition for library music? Seems to vary by context ov reference, which may be the point---still, just in case I refer to it, or should---

dow, Friday, 12 November 2021 20:12 (two weeks ago) link

Yeah, I can never pin down exactly what it is, except that it seems to always run the gamut from psych funk to fuzak to ambient and even rock, occasionally. I think as a genre name it's useless because it seems like it covers anything that was recorded for a specific - but initially unknown - purpose, but I know there are some people here who are experts on this stuff and I am decidedly not so I will cede the floor

Vandroogenbroeck's Coloursound series is remarkably consistent for music that is, by its very nature, eclectic. But I think the tracks on the LP are well-chosen and it flows together beautifully

Paul Ponzi, Friday, 12 November 2021 20:17 (two weeks ago) link

Library music is music created for and licensed to an organization that provides these recordings to film and TV producers for use in their works. It's used when a production doesn't have a composer of original music or isn't using commercially available recordings, for budgetary or other reasons. The library recordings are not available commercially, but are provided to producers categorized by genre or musical description. The process has probably changed in the post-physical media era.

Halfway there but for you, Friday, 12 November 2021 21:04 (two weeks ago) link

Holy shit, Dead Magick is finally getting a reissue on Fuzz Club. Gonna sell out faaaaaaaaaast

war mice (hardcore dilettante), Saturday, 13 November 2021 07:12 (two weeks ago) link


Box Set Details


Rigid Lift-Off Box w/Lift Ribbon
3 x 180 Gram Vinyl LPs
46-Page LP-Sized Perfect Bound Booklet w/Never-BeforeSeen Photos & Orignal Essays
29 Remastered Tracks


2 x CD / 4-Panel Digipack
40-Page Booklet w/Never-Before-Seen Photos & Original Essays
30 Remastered Tracks


1. Too Many Creeps !
2. Snakes Crawl !
3. You Taste Like the Tropics !
4. Punch Drunk !
5. Cold Turkey [Live in London] !
6. Things That Go Boom in the Night !
7. Das Ah Riot !
8. Cowboys in Africa !
9. Rituals !
10. You Can’t Be Funky !
11. Moonlite !
12. Dum Dum !
13. Stand Up and Fight !
14. Page 18 !
15. Color Green !#$
16. Mr. Lovesong [Alternate Version] !#$
17. World @
18. Motörhead !
19. Pretty Thing !
20. You Don’t Know Me !
21. Heart Attack !
22. Ocean !
23. Nails !#
24. True Blue
25. Red Heavy
26. Out Again
27. There Is a Hum
28. Seven Years
29. Sucker Is Born
30. Run Run Run [Live in San Francisco] @+
31. Cutting Floor @+


This can be preordered at their Bandcamp page:

Loud guitars shit all over "Bette Davis Eyes" (NYCNative), Saturday, 13 November 2021 15:39 (two weeks ago) link
Lots of organ. No guitar. The Mam’selles, Sharon Walker, Janice and Pat Plinzke will triple your pleasure as they present you possibly the must unique band to record in Nashville’s historic Woodland Sound Studios. These three versatile girls pack a power house of diversified talent. All the girls can switch instruments from drums to Cordovox, Bass, all three are talented pianists, and Sharon is second to none on trumpet, as you will hear for yourself.

JacobSanders, Saturday, 13 November 2021 17:34 (two weeks ago) link

Trost Records has been reissuing a bunch of Peter Brötzmann's albums for the Okka Disk label. The latest one to reappear is The Wels Concert, featuring Maleem Mahmoud Gania on guimbri and vocals and Hamid Drake on frame drum, tablas, and drums. Digital only for now, but maybe a CD later?

but also fuck you (unperson), Monday, 15 November 2021 16:19 (two weeks ago) link

From Numero duh---adjust yr. shades, jades:
Basement Beehive - The Girl Group Underground

Who do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double CD are 56 (28 on the 2LP) foiled escape attempts, now free to soar in girl group heaven.
We hear who these girls, these young women are, who they become behind that mic. Voice big, authoritative, divining sure devotion, dejection, and longing. The joy cuts through the rawness. Some of these women, that is all we know of them; all we know is their voice. Not a name. Were they a group, a fantasy, did they go on to other glory, were they receptionists in the studio or some cousin from around the way?

That’s what fascinates me about these Beehive girls, what I imagine most. What was this moment to them, this minute or three we hear them on here. For some we know it was a transformative moment, a first, this space and place, this point in time where they reached out for something with their big voice and the world met them. For some of them it was sheer ambition, others it took goading, others we encounter here at a moment that feels like the dawning of an obvious fate before they swept up the charts or became a voice we would hear sampled for decades. So did because they liked to sing with their friends. You could do it anywhere.

What we encounter in these girls and their life stories is the mutability of young womanhood. We get a survey of the prospects and possibilities of teenage girl life. We see all the impossible doors that had to open again and again for them to even have something small, and as importantly we see what a superhuman feat it was to surmount all the sureness of these sealed girlfates. The young married mothers went on the road and stayed, I wonder what were the circumstances that availed that, when the same circumstances stopped another girl’s career cold. To be your own person as well care for your family, your husband, and then babies of your own was not a thing that was easily reconciled then. Until the mid-’70s, for young women to pursue a careers was still unconventional. You might do secretarial work or study until you got married. If you worked after you were married it might be at your husband’s discretion. It’s hard to imagine the teen-geniuses you heard in this box of Beehives all living grim lives, but merely suggest we consider the baseline state of girl existence then, the premium put on keeping one’s girlhood respectable and modest, as well as the racialized expectations that enclosed their lives.

Girl groups specialized magic was the energized projection of chastity—they stood starkly against all the reckless resolutions and temptation inherent to rock n’ roll. Young women were often essentially passed from their father to their husband, who were tasked with their protection and keep. How far your dreams extended outside your head were pursuant to parental permission, their attitudes and relationships with music, how far your singing strayed from church singing. Marriage and babies were a predetermination, the regular route; straying from it was a sign of a moral corruption, selfishness, or infirmity.

What circumstances had to align for the girls who got further? A husband who loved their voice? A husband in a band? Did her hope float on his ambition? A husband who saw the little bit of ends she was making and deemed the effort worthwhile? A brother who needed a singer for his songs? A mom or sister at home who could take that baby while she toured? A mom at home who lived to see her daughter thrive? A father who did not fret about what applause and stage lights might draw his daughter into?

Did these girls threaten and cajole? Did they bargain? Did they plot? Did they do it anyway? What were the stakes and the trade-offs and the risks? And what of the girls with their dreams deferred, muted by marriage and babies and band break-ups? Did those dreams live out in church choirs and lullabies? What becomes a dream in a time when the fullness of your talents, your desire, the mere existence of your ambition is not yet permissible—how do you live? How do you stake this for yourself? What of yourself do you mute? What ways do you origami-fold your dreams into being?

Girl dreams need a thousand contingencies.

Girl dreams need a thousand contingencies because they had to pass through other people’s expectations. What good girls do. What’s the wrong idea you could give someone about who you are in a song. What is good enough. What is godly enough. Girls are the guardians, but not the gatekeepers, of their own dreams. These girls dreams were liable to be crushed soon as their leapt from their throats.

For decades we have cited the looming Svengalis, high hair, the tender camp of chaste tragedies of the songs, these tenth grade loves and wedding-bell fantasia made brilliant by the eager young voices that carried it; But how much consideration have we ever given of their girls own cunning and their artistry? The premium work being one of authenticity, and authenticity always seemed to mean it has to be yours, it had to come from you, your experience. Not crafted in another room and applied as a loose pop science in a studio. But what about these girls, their groups was this not as real? How to accord them what is due to them, for what imagination they capture these songs? Who do these women, these artists, become in our minds and in music history when we believe what they are expressing is their own thought and feeling?

Girl groups were considered unsellable, unmarketable, and a fad. Managers and many record labels believed they were a gimmick, despite evidence to the contrary. Though the Chantels were the first girl group to prove they had the longevity of more than one hit, and the Bobbettes before them made it to the Top 10 and #1 on the R&B charts simultaneously, with their own composition “Mr. Lee,” yet these precedents didn’t become standards, or accord teen girls their own genius. The Svengalis around girl groups were often the ones that insisted that they perform and record gimmick songs and novelty answer backs; and yet teenage girls were supposed to trust these men’s expertise. Ageism, racism, and sexism of the era often combined to keep these young women from being able to advocate for their own talents.

Careers were run by managers and label men who believed that the role of girls was relegated to fandom; to scream for Frankie Lyman, to scream for their Beatle, to scream for Dion. Their conception was that girls wouldn’t sell to other girls, no matter the image. They did not account for what girls see, they can be; girls as iconic to other girls is the very origin of this thing, but they also provide a sense of permission. Sometimes loving Frankie Lyman is not enough, and you want those screams for yourself. Girls were supposed to be the frenzy, not cause it.

We claim and reclaim these girls post-facto; in 2018 an awakened reconciliation for these talents, talents that were considered interchangeable to the point of disposability then, is progress. We read the stories again and again of names not even being right and try to root them out and, better still, know them. Even here, we have mystery girls, their identities lost to history (Will they ever hear their voices? What would it be to find yourself here decades later?) Often the only verifiable truth of the thing is the tape; the only history is what’s audible, what they conjure in those notes.

What these girls gave in situations where there was no credit, little or no money, a finite chance. What they gave so fully are their voices and their talents, claiming this chance to harmonize along with their sisters, cousins, friends, classmates. To give it everything despite knowing what would likely elude them: credited by name, a chance to pursue opportunity with the same doggedness as the men in their backing band, dynamic material that reflected their lived experiences, the ability to make music the substance of their lives, their hope. Is that not the very definition of true artistry? To abandon the outcome and sing the song for the sheer sake of giving life to the thing? They sing because it’s all they can do. You don't know that.
More info:

dow, Monday, 15 November 2021 18:49 (two weeks ago) link

Should have excerpted that, sorry. Their conception was that girls wouldn’t sell to other girls, no matter the image. Not necessarily: in their joint autobio, Lieber & Stoller emphasize that their Girl Group peak era colleague George Goldman, a middle-aged gambling addict in bespoke Loodon suits, was prized in the biz for having musical taste and ears of a 14-year-old girl (at oldest).

dow, Monday, 15 November 2021 18:58 (two weeks ago) link

*London* suits, sorry George (prob was, they hadda flee partnership when his gambling debts led to goodfellas using conference rooms etc., also partnership)

dow, Monday, 15 November 2021 19:01 (two weeks ago) link
Live in Brighton 1975 is the second installment of the CAN Live album series. On this particular release, which unfolds over seven sections, listeners are invited to join an interstellar journey: from a rare and evocative Michael Karoli vocal on “Brighton 75 Drei,” to Jaki Liebezeit’s incredible drum lead emerging through a fog of audience noise to take centre stage on “Brighton 75 Vier,” before the final track lands us in an incredible “Vitamin C” jam for “Brighton 75 Sieben.
CD, LP, Digital---more info:

dow, Tuesday, 16 November 2021 02:56 (two weeks ago) link

Orders ship from US
digital album releases December 3, 2021
item ships out on or around December 2, 2021

dow, Tuesday, 16 November 2021 02:58 (two weeks ago) link

Telex – This Is Telex
(released April 30)

Telex formed at a time when electronic pop was regarded as novelty, with suspicion, as a harbinger for future dystopia and alienation. This is Telex features singles from across the Belgian synthpop pioneers' career. The collection of newly mixed and remastered tracks includes their best-known work, “Moskow Diskow,” alongside unreleased covers of The Beatles’ “Dear Prudence” and Sonny & Cher’s “The Beat Goes On.”

"Delightful...a fine introduction to Telex’s quirky spirit and breezy sound." – PITCHFORK
Stream it here:

dow, Tuesday, 16 November 2021 03:10 (two weeks ago) link

May have to get this, on CD prob--- all formats"expected 03 Dec.":

Soul Jazz Records’ classic ‘Studio One Groups’ collection is being re-released in three new one-off limited-edition coloured pressing 15th anniversary format editions!

Firstly a heavyweight special limited edition one-pressing only red 2xLP vinyl + download.

Secondly, there is also a new special limited-edition one-off pressing edition red-pressed CD enclosed in jewel case and slipcase.

And thirdly there is a very limited unique new one-off pressing unique super high-quality RTM tape red cassette format (200 copies only)!
(Fourthly: MP3.)

15 years on from its original release, Studio One Groups remains one of the toughest of all Soul Jazz/Studio One releases and features some of the biggest groups in the history of Reggae music including Bob Marley and The Wailers, Toots and the Maytals and The Heptones who all began their careers at 13 Brentford Road, under the guidance of the great producer and label owner Clement ‘Sir Coxsone’ Dodd.

Featuring many, many classic and killer tunes from The Wailing Souls, Carlton and His Shoes, The Gladiators, The Ethiopians, The Mad Lads and more. Studio One Groups brings together numerous classic artists alongside a number of rarities and delves into Studio One’s musical output in its prime in the 1960s and 70s featuring Ska, Roots, Rocksteady, Dub and more. Clement Dodd’s role in launching and nurturing Reggae groups and singers is unsurpassed and Studio One’s success was due to Dodd’s ability to see talent, surround himself with it and nurture artists.

Launching Bob Marley and The Wailers career at Studio One also meant housing Marley in a flat in the studio compound, as well as employing Marley in an A&R role, checking out the latest American soul and jazz 45s that came out for Studio One artists to cover. In similar fashion Leroy Sibbles, lead vocalist with the Heptones, became the key in-house bass player after being taught from scratch by Jackie Mittoo.

Studio One Groups were at the heart of the label’s success. The sweet three-part harmonies, so close to the heart of Jamaican music, can be heard throughout every stylistic change of Reggae music – Ska, Rocksteady, Roots and beyond - all of which are featured here in all their vocalised glory.

The album comes with excellent informative sleevenotes by the author and Studio One discographer Rob Chapman, and exclusive photography including the stunning colour picture of Bob Marley and the Wailers on the front of the release.


‘The Soul Jazz label once again proves how smart they are with excellent Studio One Groups, an almost overwhelming set of killer cuts from bands and singing groups affiliated with Clement Coxsone Dodd’s ‘University of Reggae.’ There’s an amazing, deep history to be explored and even when you focus on just the groups, one disc isn’t enough to tell the whole story, but this collection functions as both a killer mixtape and exciting introduction for novices.’ All Music

‘Featuring Bob Marley and the Wailers, Toots and the Maytals, the Heptones - just three of reggae’s greatest groups who all started at Clement Dodd’s Studio One records’ Rough Trade
More info, audio:

dow, Tuesday, 16 November 2021 18:56 (two weeks ago) link

^^ Indespensible for lots of reasons but most of all the 12" version of the Silvertones' Cheating and Lying.

Vanishing Point (Chinaski), Wednesday, 17 November 2021 21:37 (one week ago) link

was hoping this would get a reissue!

(link appears broken, FYI - likely temporary)

Paul Ponzi, Wednesday, 17 November 2021 21:48 (one week ago) link

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