Rolling Reissues 2022

The Moldy Peaches - Origin Story: 1994-1999 [i[is a collection of songs, unreleased demos, live tracks, and poems from the early years of The Moldy Peaches, and outline the tale of how the band came to be. Liner notes written by Adam and Kimya detail the stories behind each track and rare photos included in the packaging help to illustrate the life and times of the duo when they were young. This is a very special release from Org Music coming out on February 25, 2022 and we'd love to help their origin story be told before they made their weird, adorable mark in the 00s.

Adam Green and Kimya Dawson originally crossed paths at an open mic night in Mount Kisco, New York in the early 90s. From there they went on to record a surplus of home recordings with various friends under the moniker The Moldy Peaches, and eventually became staples in the NYC anti-folk scene of the late 90’s/ early 2000’s. After releasing several albums that gained traction in the U.S. and UK, the group broke into the mainstream when their song “Anyone Else But You” appeared in the hit indie film “Juno” (2007). They've lived in haunted cult band fandom ever since.
RIYL: Modern Lovers, Aesop Rock, Lisa Germano, The B-52s, Fatlip, Mountain Goats, Regina Spektor, Nina Hagen, Jeffrey Lewis, They Might Be Giants, Jandek

“While the naive wisdom of childhood is eroded in most of us by responsibility and respectability, Adam Green and Kimya Dawson have not only clung to the surreal images and outspoken brashness of youth but distilled it into an artform. … sweetly crazy and completely memorable.” -The Guardian [/i]

That's from
estey at xopublicity.com

www.xopublicity.com

PORTLAND / DETROIT / SEATTLE / LOS ANGELES

@xopublicity (twitter, instagram, snapchat)

206.728.0457 office

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Studio One Dub
18th anniversary 3 New Special Editions
SOUL JAZZ RECORDS

2xLP (Limited Edition Coloured Vinyl) + Download Code£28.00
Expected 04 Mar
CD (Limited Edition Coloured CD)£12.00
Expected 04 MarPREORDER
Cassette Tape + Download Code£12.00
Expected 04 MarPREORDER
MP3 Release£9.99
Expected 04 MarPREORDER
SORRY VINYL NOW SOLD OUT!

Soul Jazz Records’ long out of print classic ‘Studio One Dub’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!

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

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

And thirdly there is a very limited unique new one-off pressing orange-cased cassette format (200 copies only)!

18 years on from its original release Studio One Dub remains super-hard hitting featuring classic + rare Dub tracks from Studio One, many available on vinyl for the first time in over thirty years.

Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks.

The album also comes with two rare interviews - one with Clement 'Sir Coxsone' Dodd about dub and dubplates and one with the sound engineer Sylvan Morris, talking about his groundbreaking period at Studio One and his many innovations that he evolved there.

In short, this is a 100% essential album!

REVIEWS:

"Almighty slab of dub featuring loads of rare and classic dub versions of Studio One's foundation tracks." Rough Trade

“Quite a treat awaiting here for the unsuspecting reggae faithful - as always with Soul jazz chock full of a bunch of big tunes - but here in version form lies some of the freshest rhythms and most radical revisions of some of the greatest Studio One music. The darkest and the absolute deepest in the series - naturally essential”. Boomkat

"Continuing the Studio 1 Series this album features classic and rare Dub tracks from Studio One, many available for the first time in over thirty years. Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks. In short, this is an essential album!" Wax Museum

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“Soul Jazz’s Studio One Dub collection, cannot help but to serve as loving tribute to Sir Coxsone Dodd. This giant of a man not only defined popular music for the isle of Jamaica, but for the world over, his innovations laying the foundations for hip-hop, dance and post-rock.”

“Dodd's dubs drew on such a fertile ground of classic Jamaican rhythms that he rarely missed. As such, it's difficult to find fault with the versions presented here and many of these cuts are ridiculously rare.”

“This burning set celebrates Dodd's extraordinary life by mashing time and space until it's joyfully suspended. What better tribute could there be?” Pitchfork
more info, audio:https://soundsoftheuniverse.com/sjr/product/studio-one-dub-studio-one-dub

Oops. catching up on email:

For the next four weeks this album is available NOW EXCLUSIVELY at the Life Between Islands: Caribbean-British Art 1950s-Now exhibition currently showing at Tate Britain.
You can also pre-order the album direct from us here to ship for release date 28 Jan 2022

NEW RELEASE Life Between Islands: Soundsystem Culture - Black Musical Expression In The UK 1973 - 2006 (Soul Jazz Records)3×LP£28.00
In stockADD TO BAG
2×CD£13.00
In stockADD TO BAG
MP3 Release£10.00
In stock

https://soundsoftheuniverse.com/img/Snd4ZGpoQ0tTRkpCeVdIWTBUeWJQZz09/sjr-lp507-life-between-islands-sleeve.jpeg

Soul Jazz Records new ‘Life Between Islands’ collection is released in conjuction with Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

Soul Jazz Records’ ‘Life Between Islands’ shows how these many styles are interconnected. The album comes as a heavyweight triple vinyl (+ download), deluxe double CD with slipcase and digital release. Lloyd Bradley (author of the classic book on reggae ‘Bass Culture’, and ‘Sounds Like London’), provides the excellent sleevenotes, which are also accompanied with exclusive and striking photography.

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"There is probably no better or more appropriate way to celebrate the Tate Britain’s exhibition, Between the Islands: Caribbean-British Art 1950s – Now, than with an accompanying compilation album. As with the art itself, music has all the possibilities to reflect its surroundings through an array of lenses limited only by the creator’s imagination. Hence this astutely conceived and compiled soundtrack is as beautiful and as varied as the art itself, offering stories of immigration and settlement that can exist without filters or outside interference, providing a vivid snapshot of one of the cornerstones of black British culture.” Lloyd Bradley

Life Between Islands: Caribbean-British Art 1950s-Now is at Tate Britain 1 Dec 2021 until 3 April 2022.

REVIEWS:

"It’s yet another example of Soul Jazz Records winning combination of historical insight and high quality, often exceptional music, the label spreading knowledge with nary a trace of academic dryness." Vinyl District
more info, audio:
https://soundsoftheuniverse.com/sjr/product/life-between-islands

Don't have to pay for this---okay?
Warning: now approaching Drag City copy

Maybe you've heard by now: Jim O'Rourke's got bad timing. For many of you, though, this news will be good timing - for BAD TIMING!

Why is it that American composers always end up at least once in their careers writing a quintessentially American composition? God only knows, but Bad Timing has gone down in the O’Rourke discography as that composition. And a god-damned one-of-a-kind classic of that genre, and other ones too! Known as an exceptional improvisational and experimental wunderkind for most of the 90s, a new phase of O'Rourke emerged in 1997 with Bad Timing. Reflecting on a Fahey-esque 6-string acoustic guitar fantasias, each of the three pieces here gradually expands with harmonic information and musical elements - piano, organ, electric guitar, brass, strings (everything, it seems except vocals--those would come later!) - all interwoven to chart the agony and ecstasy of a simple passage of star-crossed fate.

Bad Timing, Jim O'Rourke's masterwork from 1997(?!), is now available to digitally stream -- losslessly! -- for the very first time, on Apple Music. Never heard an LP in your life? Well, they're just great, we highly recommend them. Never heard a CD in your life?! Now you will hear what all the fuss was (and is) about, unreasonably replicated in a hi-fi, lossless experience your ears'll thank you for. But your brain may hate you, cause now it's gotta WORK. Such polarization in the world today! A good time for the bad timing of Bad Timing, in deed. Listen to 'Bad Timing' in lossless audio here
https://music.apple.com/us/album/bad-timing/1610065654?ign-itscg=30200&ign-itsct=toolbox_linkbuilder

product page for LP, CD, FLAC:
https://www.dragcity.com/products/bad-timing

Onda De Amor: Synthesized Brazilian Hits That Never Were 1984-94
Various Artists
SOUNDWAY

https://soundsoftheuniverse.com/img/eWFWWE5BR20rRlpzbTkzbUdzQlMwUT09/onda.jpg

The mighty Soundway Records present a new compilation, this time turning their attention to South America, specifically Brazil. This is a treasure trove of synth jams, pop, samba boogie, balearic and electro from 1980 & ‘90s Brazil - the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem. Another winner from the Soundway stable!

More info, audio:
https://soundsoftheuniverse.com/product/onda-de-amor-synthesized-brazilian-hits-that-never-were-198494

The Scorpions & Saif Abu Bakr
Jazz, Jazz, Jazz
HABIBI FUNK

https://soundsoftheuniverse.com/img/eHN4VlI4OE1GZGZVVmJvNU5mNmtEdz09/jazz-jazz-jazz-the-scorpions-saif-abu-bakr.jpg

Habibi Funk reissue the highly sought after, Sudanese jazz LP from The Scorpions & Saif Abu Bakr, 'Jazz, Jazz, Jazz'. An OG goes for big money online, so don't miss the chance to grab yourself an official reissue, including come a booklet with photos, interviews, and liner notes.
More info, audio:
https://soundsoftheuniverse.com/product/jazz-jazz-jazz

Fame: Jon Savage's Secret History Of Post-Punk 1978-81 (2021 Re-Edition)
Various Artists
CAROLINE TRUE RECORDS

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New edition of this WICKED post-punk collection from the great Jon Savage complete with revised track-listing & artwork with extensive liner-notes, colour inner-sleeves.

Post-punk luminaries including Wire, Joy Division and the Prefects - not so 'secret' you may think, but consider the nascent lo-fi Subway Sect, the uncompromising other-worldly sounds of impLOG's 'Holland Tunnel Dive' and the hyper obscure experimentalism of File Under Pop and you're getting the idea. From Pere Ubu's dystopian madness to the motorik of Chrome, it's a snapshot of a brief era, excellently put together by Jon Savage writer (and co-editor of Soul Jazz's Punk 45 book, records etc).
More info, audio:
https://soundsoftheuniverse.com/product/jon-savage-fame-jon-savage-s-secret-history-of-post-punk-1978-81-2021-re-edition

Tony Allen & Afrobeat 2000
NEPA
COMET RECORDS

https://soundsoftheuniverse.com/img/cWdnOFhBb2F0U01nVXVxTFJzMTRFUT09/comet102-front.jpg

A absolute classic by the legendary Tony Allen, originally issued in 1984. Includes a track previously unreleased called 'Olokun'.
More info, audio:
https://soundsoftheuniverse.com/product/tony-allen-afrobeat-2000-nepa-2014-reissue

Sussan Deyhim & Richard Horowitz
Desert Equations: Azax Attra
CRAMMED DISCS

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When it frst appeared in 1986, the 'Desert Equations: Azax Attra' album was greeted with enthusiasm, awe and disbelief: nobody had done anything quite like that before, and this dizzying, inspired blend of Persian tradition, New York avantgarde and electronic music remains incomparable, powerful and mesmerising to this day.

More info, audio:
https://soundsoftheuniverse.com/product/desert-equations-azax-attra

From Numero:
V4 Visions: Of Love & Androids
In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

They call him country: A Sanford Clark Repress
Propelled by his 1956 Lee Hazlewood-produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own mind by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-'67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation. Clark’s booming baritone tells tales of bar fights, heartaches, and drinking ‘til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed-out guitar twang. Limited to 1,000 copies and pressed onto opaque blue vinyl, our repress is mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

Also from Numero:

A slice of Chicago's Puerto Rican history

La Solución’s final album found them moving into more politically charged territory. Mi Barrio se Quemó (My Neighborhood is Burning) attempted to address growing pains in Chicago’s Humboldt Park, where white flight was driving down property values and landowners turned to arson in their attempts to squeeze what value they could out of buildings left fallow. The cover for the 1976 album—drawn by lead singer Hector del Valle and his brother Tony— portrayed a match being struck to burn down a tenement building. Inset images included boarded-up businesses, neglected tenements, a smoking joint, and a needle in a junkie’s arm. The musical guest on these recordings was fittingly aggressive; Ebirac label owner Caribe tapped acclaimed Cuban percussionist Mongo Santamaria to bulwark the extraordinary “Mozambique.” Caribe bit his tongue as studio time—and corresponding dollars—ticked away during the hour it took Santamaria to bandage his hands before cutting what may have been the Ebirac label’s finest recorded moment.

Yet more from Numero:
Atena--Samba On Ice
...It was their hollowed-out and spidery reading of “The Boy from Ipanema” that brought them as close to San Francisco’s version of No Wave as the group would ever get, setting the chilly precedent for a style Isabelle Powaga now claims as her own take on Cold Wave. The Jobim/Getz/Gilberto classic’s heart of samba is boldly announced, but the beat is straight 808 electro, with frosty vocals subverting the blissed-out lyric with synthetic double-tracking. The cover--issued as a 7” under the name Antena and as Crepuscule’s TWI 073 in 1982--was backed by “Spiral Staircase,” though that track’s bracing, concussive synth drum stabs, ringing keys, and paranoid lyrics recall nothing of the flipside’s Tropicalia pedigree.

Released almost simultaneously was TWI 074, a 12” “single” that lead again with “Ipanema” on its “studio side.” Self-produced in Belgium, the songs on its “home side”—“Unable” and, in particular, “To Climb the Cliff”—establish the group’s signature sound and make sardonic use of Kraftwerk’s robot-pop innovations. Germany’s seminal electronic pop combo had, in 1975, released their Radio-Activity LP, featuring the track “Antenna” and offering Isabelle her future band’s perfect moniker, though she’d drop the third “n” and use the shortened title as the replacement for her own surname that survives to this day. “To Climb the Cliff” and “Unable” encapsulate Antena’s deceptively inviting sound. Both begin as delicately noisy patio evening parties and end on polite applause. But Isabelle Antena’s French-accented English lyrics subvert the music’s inclusive ambience. One song recounts a solitary cliffhanger’s difficult progress up a rock face; the other describes a teacher’s ineptitude. Set to the icy electro-samba Antena was in the process of perfecting for themselves, these tracks drained the Brazilian song styles of their time-worn tropical bliss. This instead was worldly, strange, seductive, and dusky machine music, a hybrid strain of sound still new under the sun.

...We’ve grouped the extant Antena recordings from that exceptional period by session, reviving artwork from the band’s debut 12". Side C brings together all four songs from the “Ipanema” singles, while side D couples “Seaside Week End” with the four Island demos. Both sides end on Antena’s additions to Crepuscule special products. Our replica pressing of Camino Del Sol's A and B sides preserves the original mini-album in close detail, including the intriguing cover art by brilliant in-house Crepuscule designer Benoit Hennebert. Its still-life of sunlit domestic emptiness fully captures the Antena aesthetic, hinting at a mysterious trio who sat together only long enough to sip at fruited cocktails before hearing Europe’s mechanized pop signals on the air, following them for a spell, and disappearing.

Camino Del Sol

Antena
Camino Del Sol
Antena
Camino Del Sol
NUM002
CD Digital LP
🡆
Camino Del Sol (Mini LP)

More Latin rock etc. from Numero, deep backstories etc: https://numerogroup.com/blogs/stories/alfonso-lovo-giant
https://numerogroup.com/blogs/stories/carlos-caribe-ruiz-and-his-orquestra-la-solucion

from Nonesuch:

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Tango: Zero Hour is incredible. How about these others?

Nonesuch Records will release a three-LP/three-CD box set of albums from the great Argentine composer, bandleader, and bandoneón player Astor Piazzolla—originally released by American Clavé Records in the 1980s and reissued by Nonesuch more than two decades ago—on May 6, 2022. Astor Piazzolla: The American Clavé Recordings, available to pre-order here, marks the first time this landmark trio of albums—Tango: Zero Hour, La Camorra: The Solitude of Passionate Provocation, and The Rough Dancer and the Cyclical Night (Tango Apasionado)—is being issued as a set, now remastered, and is the first time the albums have been available on vinyl since their initial release on American Clavé. The set’s liner notes include original and new notes by the albums’ producer and American Clavé founder Kip Hanrahan as well as an in-depth essay from journalist Fernando González, who translated and annotated Piazzolla’s memoirs and wrote liner notes for four of his albums. Originally scheduled for release in Piazzolla’s centenary year 2021, the set now inaugurates the beginning of the second century of Piazzolla’s lasting influence.

González says in his 2021 note: “In May 1986, Astor Piazzolla, the creator of New Tango, entered the studio in Manhattan with his Quintet to record Zero Hour. It would turn out to be the first of three consequential recordings that would finally establish him in the United States and strengthen his standing around the world.”

Though Piazzolla was known as the progenitor of “nuevo tango,” Hanrahan says in his new liner note, “I’m not sure whether Astor really liked or loved or hated the tango. I think he loved the music his father surrounded the family with as the sound of what they’d left behind in Argentina … It was the audible identity that made them different from the Italian and Jewish families that lived around them on the Lower East Side of New York, where Astor grew up.

“When I listen to Astor, I’m not really listening to the tango re-imagined and saved by a brilliant composer, I’m listening to the music of a turbulent, complex, restless, brilliant man rearranging the vocabulary of his father’s dreams.”

Tango: Zero Hour was recorded in New York with Piazzolla and his classic New Tango Quintet, which worked with Piazzolla from 1978 to 1988 and included Fernando Suárez Paz (violin), Pablo Ziegler (piano), Horacio Malvicino, Sr. (guitar), and Héctor Console (bass). González says of Tango: Zero Hour: “These are demanding pieces, yet the individual playing remains consistently precise and intense throughout. As an ensemble, Piazzolla and his New Tango Quintet sound focused, loose and forceful. They are in total control of the music and prove it by casually changing direction, moods, and dynamics on a dime. Piazzolla immediately recognized that the quintet had accomplished something special, believing it to be ‘the greatest record I’ve made in my entire life. We gave our souls to [it].’” Tango Zero Hour was originally released by American Clavé in 1986.

First released in 1989, La Camorra was recorded in New York in May 1988, also with the New Tango Quintet. González writes: “La Camorra not only delivers a late masterpiece, the three-part title piece, but it also serves as a marker completing two significant chapters in Piazzolla’s life and musical career. Set up as three separate but related pieces, La Camorra is more than a summation. It suggests Piazzolla reflecting on tango, now lovingly, conjuring old players and styles, now angrily fighting with tango history, demanding his place in it.

“In Zero Hour style, Piazzolla completes the program with versions of pieces he had already recorded, polished to a gleam. The Quintet is again in excellent form. Featuring a substantial new work and impeccable performances of four repertoire pieces, La Camorra is a high water mark in Piazzolla’s discography. It was also Piazzolla’s last recording with the New Tango Quintet.”

The Rough Dancer and the Cyclical Night, also originally released in 1989, was recorded in New York in September 1987, with an ensemble that included Fernando Suárez Paz (violin), Pablo Zinger (piano), Paquito D’Rivera (alto sax, clarinet), Andy González (bass), and Rodolfo Alchourrón (electric guitar).

González says, “The Rough Dancer and the Cyclical Night (Tango Apasionado), recorded by Piazzolla without the Quintet, occupies a unique place in his discography. It is based on the music Piazzolla composed for Tango Apasionado, a dance and theater piece created by Graciela Daniele based on stories by Argentine short-story writer, poet, and essayist Jorge Luis Borges. But what truly sets The Rough Dancer apart in Piazzolla’s discography is how it was created. Up to this point, the studio for Piazzolla had been, for the most part, a means to document the music he was producing. But [at this point], Piazzolla was intrigued by the idea of using the studio as a creative tool, perhaps even for composing and arranging.”

Astor Piazzolla’s nuevo tango, which incorporates classical forms and jazz elements into the traditional tango, was so controversial at its advent that Piazzolla had his life threatened on numerous occasions and was even exiled from his country. The traditional tango, born out of the bordellos of Buenos Aires in the way that jazz began in New Orleans, had been haunted by its origins for decades. Piazzolla, with his innovative style and desire to legitimize the tango and bring it to a serious musical audience, changed the face of the music forever.

When Tango: Zero Hour was first released, Piazzolla was at the peak of his powers. The Village Voice called Piazzolla “a modern master” while the New York Times said, “To hear Mr. Piazzolla’s tangos as musical marvels is beside the point. As edgy lines and long-breathed tunes defy and embrace one another, the tangos suggest that even in the modern world, romance survives.”

Nonesuch’s Piazzolla catalog features a number of other significant recordings, including Piazzolla’s Concierto para bandoneón and Tres tangos, released in 1988, and his last recording, Five Tango Sensations, which was commissioned by the Kronos Quartet and released in 1991. In addition, Piazzolla’s first composition for Kronos, Four, For Tango, appears on their 1988 release Winter Was Hard. The music of Piazzolla is also featured on three Nonesuch recordings by the violinist Gidon Kremer: Hommage à Piazzolla, El Tango, Eight Seasons, and Tracing Astor; these also were released as a box set, entitled Hommage à Piazzolla: The Complete Astor Piazzolla Recordings.

https://www.nonesuch.com/sites/g/files/g2000005811/f/styles/artist_banner__1180_x_480_/public/201610/astor-piazzolla-header.jpg?itok=yRaGh5Eh

from Vinyl Factory newsletter:

Encapsulating the best of Yasuaki Shimizu’s electronic experimentalism and originally recorded during one of his creative zeniths during the ’80s, the existence of his Kiren album was previously the stuff of lore. (The album was said to exist, yet had never received a release.) Serendipity in the form of Shimizu unearthing the album from his archives allowed the record to lovingly receive its first release courtesy of Palto Flats. Its vinyl offering also includes detailed liner notes by Chee Shimizu about its context and history. Kiren is a sonic gem of freewheeling creativity infused with his signature sax – a unique and vital insight into the musical mind of maestro Shimizu. – GH

There’s been a sharp increase in demand for Japanese city pop the last few years, pushing up prices even for questionable records that fall under this genre. Luckily we’re seeing more affordable reissues such as Eri Ohno’s classic Good Question remastered from the original tapes and released on limited run by Mondo Groove. It opens with the title track, a short blast of blistering boogie-funk – and proceeds to wind through pop ballads, sultry jazz, and even some fusion reminiscent of her fellow Columbia label-mate Herbie Hancock. – AW

Nashenas
Life Is a Heavy Burden: Ghazals & Poetry From Afghanistan
(Strut)
As a writer, harmonium player and vocalist, Dr Mohammad Sadiq Fitrat’s poetically inspired work as Nashenas was a weekly feature of Radio Kabul’s transmissions in the 1950s and ’60s. With these recordings only ever being released as singles in Iran, this collection gathers these rarities as a whole, showing Nashenas’ unique approach to Ghazal poetic tradition, cinematic storytelling and overarching themes of love and loss. Having had his music suppressed or destroyed by Taliban law, these early works have endured and form a valuable insight into the oeuvre of one of Afghan music’s oldest living voices. — JH

Roberta Vandervort & Sally Townes
Roberta Vandervort & Sally Townes
(Forager Records)

Forager Records brings together the works of two exceptional private press singers from the late ’70s in one stunning compilation. Roberta Vandervort and Sally Townes sit in parallel sonic planes, from their respective surroundings in downtown LA to the vast landscapes of Dallas, bringing touches of breezy funk, mystic folk rock, and seductive jazz. The two artists never crossed paths in real life, but this inventive pairing paints a shared picture of worlds – bridging the passion in their voices and their shared convictions on love, life, and living on their own terms. – EH

Paprika Soul / Soft Sugar
Come With Me / Métro / Swampin
(Heels & Souls Recordings)

This week Heels & Souls Recordings release their third ever reissue, collecting tunes from Paprika Soul / Soft Sugar. Paprika Soul was formed of Andrew Spiller and Alan Barnes, while the closely linked Soft Sugar consisted of Andrew Hughes and Barnes. Moving from the Balearic goodness of opening tune ‘Come With Me’, the EP ventures into dreamy breaks on ‘Métro’, before closing off with a previously unreleased version of transcendental house tune ‘Swampin’. Expect these tracks to be played far and wide during the coming warmer months. – LR

All of those reissues, and some first-timers, have links to streams here:https://thevinylfactory.com/features/10-best-new-vinyl-releases-this-week-25th-february/

Didn't realize I'd started this thread twice---now I'm putting on posts from other RR (will request delete of it when through, to avoid further confusion, sorry)

Starting at the beginning of other RR:
With something new dropping every Monday, Wednesday, and Friday, it can be a challenge keeping up with all the projects we're unearthing.

Keep up with the best to emerge from Numero HQ with our Numero '22 playlist, highlighting new tracks almost daily (on Spotify, Apple, Deezer) https://smarturl.it/numero22
...Check the below for a round up of 2021 releases.

What's left in stock can enjoy a '22% discount to kick off the first week of 2022 in good vibes added to the cart automatically.https://numerogroup.com/collections/2021-wrap-up

― dow, Tuesday, January 4, 2022 1:12 PM (two months ago) bookmarkflaglink

Some picks of my interest from sale stock:
The third installment of Numero’s ode to lowrider souldies, Rust Side Story compiles highly sought after sweet soul singles from the Buck Eye State. Prepare for a low and slow ride from Youngstown to Dayton, Cleveland to Columbus, Toledo to Cincinnati, all soundtracked with silky falsettos and dreamy harmonies.https://numerogroup.com/products/rust-side-story-vol-24

Numero Group and Rush Hour present: the V4 Visions label sampler, 1990-1994. A five-song overview of the pioneering UK street soul label that lived at the confluence of lovers rock, deep house, swingbeat, and jungle. In anticipation of the forthcoming 2xLP label-spanning compilation, the sampler is perfect for the spinners at home or in the club.

Limited edition on Transparent Teal vinyl, exclusively available domestically through Numero. Limited Edition through Rush Hour in Europe with Clear and Black vinyl variants.https://numerogroup.com/products/v4-visions-label-sampler

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

“He was kind of a loner,” Jan Parkinson said of his younger brother Paul, singer and guitarist of Kansas City’s Bulbous Creation. Born and raised on the west side of the Missouri River in Prairie Village, Kansas, Paul used his semi-isolated surroundings as fuel for his fantastical lyrics. A series of informal bands were formed in high school with his childhood friend Jim “Bugs” Wine and revolving cast of drummers. The band was put on ice in 1966 for Wine’s enlistment, and he spent the next three years stationed in Korea, Germany, and Fort Riley, Kansas, where he spent his downtime honing his bass chops to a fine point. Discharged honorably into the heady climate of the ’60s final year, Wine waded into the potent stream of freedom and higher consciousness that was flowing in every city. He got an apartment in KC with another childhood friend whose hair was gathering around the collar and a job in avionics. It was here he reconnected with Paul Parkinson.

Wine had already been looking into putting a band together. A personal ad in the K.C. Star put him in contact with guitarist Alan Lewis, who had a monstrous talent and a familiarity with Black Sabbath and Uriah Heep. Lewis and Wine gelled immediately, but lacked the introspective nature of true songwriters. Wine invited the wordsmith Parkinson to apply his lyrics and melodic ideas to their heavy foundation. On the drum stool was Chuck Horstmann. For no identifiable reason, Lewis thought the term “Bulbous” applied to their sound, and wanted to name the band thus. His mates balked, but applying the slightly cosmic “Creation” to it at least let it roll off the tongue. Their all-originals set list made them a difficult booking, and profits did not materialize.

In 1971, the quartet poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. Bulbous Creation wouldn’t stay together long enough to save up for a custom pressing. The deeply individualistic Parkinson left to perform his songs as he thought appropriate, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Horstmann followed suit. Wine and Lewis soldiered on, adding a few components and then shortening their name to the more sensible Creation on the path to a more progressive sound. The Bulbous Creation LP might’ve been doomed to oblivion but for the efforts of Rich Haupt, who issued the seven-song LP in 1995 on his Rockadelic imprint. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, proof enough that someone, somewhere, was listening.
https://numerogroup.com/products/bulbous-creation-you-wont-remember-dying

A seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara’s sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, 4 X A Dream is both balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neoimpressionist vibes haunt and entrance. Quite possibly the most unique LP you’ll ever add to your collection.
https://numerogroup.com/products/masumi-hara-4-x-a-dream

― dow, Tuesday, January 4, 2022 1:28 PM

More from Numero 2021 Wrap-Up in-stock sale picks (this first one is on same page, though not out yet):

The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones.

On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic, Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.

Da Abtomatic Meisterzinger Mambo Chic LP out 1/28/22.
https://numerogroup.com/products/charlie-megira-da-abtomatic-miesterzinger-mambo-chic

Lodged between a heartbreak and a smoke break, Kathy Heideman’s Move With Love wandered off I-5 somewhere just south of Hungry Valley State Vehicular Recreation Area and broke down. At its dusty roadside, cheap truck-stop java flows over plaintive coffeehouse tunes concerning “Bob” and “Need.” Her session hand’s lanky, echo-laden guitar might’ve twanged a bit strong for the typical sandal-shoed hitchhiker, who’d have fell harder for Dylanesque grandeur on “The Earth Won’t Hold Me.” More Bakersfield than Laurel Canyon, and set to walking in 1976 by the one-off Dia imprint in a plain-Jane, black-on-white sleeve, Heideman’s lone LP suffered the geographical misfortune of having ripened in the pre-silicon orchards of San Jose, California, far from more marketable realms—Emmylou’s backyard, say, or Joni Mitchell’s summery lawn. Heideman herself faded out thereafter, packing her shaken, singular voice into a rustic suitcase, moseying on, and leaping into the moving sun. https://numerogroup.com/products/kathy-heideman-move-with-love

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. Remastered from the original analog tapes and pressed on heavyweight vinyl for the discerning noise-nik.
The 2xLP is back in print on limited edition "Scarlette" color vinyl, packaged in a tip-on gatefold jacket pressed at Record Technology Inc., and we are hoping to get these shipped early January.https://numerogroup.com/products/unwound-leaves-turn-inside-you

2021 Repress features Gold Vinyl.

In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities’ insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife's cousin: a 16-year-old guitar prodigy named Prince Rogers Nelson.

Known colloquially as “The Cookhouse 5” these recordings showcase Prince’s instantly recognizable guitar playing, seasoning to perfection 94 East’s short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One’s expressive playing style, already evident in his teenage years. https://numerogroup.com/products/94-east-the-cookhouse-5

Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these 17 Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing. Collected here are the fruits of Cuca’s documentary approach to record making, capturing the voices and stories of a culture and glacier in abatement.https://numerogroup.com/products/driftless-dreamers-in-cuca-country

A post-modern mixtape of 12 micro-genres created by The Numero Group. Bending the rules of the compilation with a selection of songs bound by their soaring spirit and adventurous approach, REACH is inspirational living for algorithmic times. Available as a limited edition LP (500 copies) with broadsheet liner notes poster or much cheaper compact cassette (200 copies). The only LP guaranteed to save your life during humanity’s apocalyptic demise.https://numerogroup.com/products/reach

― dow, Tuesday, January 4, 2022

Just a couple more from Numero sale stock (maybe I shouldn't have put so many in the same posts, sorry)

Art-house kosmische from the battered basements of pre-9/11 New York. Polyrhythmic screamo for underemployed Gen-Xers and trust fund weed dealers alike. La Mia Vita Violenta, Blonde Redhead’s 1995 sophomore effort, in print as a definitive single LP for the first time since… ever.

“These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ‘60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.” —Arto Lindsay
https://numerogroup.com/products/blonde-redhead-la-mia-vita-violenta

This recorded autobiography of Catherine Howe, age 20, briefly appeared in 1971. Too young for memoirs, most artists have barely established any sort of musical competence by the age of legal adulthood, let alone compositions matching the maturity and complexity of Howe’s. What A Beautiful Place, however, is a prodigious effort wrought from the melancholy ruminations of post-adolescence. The album’s twelve songs unfold like a classic bildungsroman, beginning in the smoke-stained industrial county of Yorkshire, transformed by the electrified creative landscape of mid-century London, and retiring to the warm pastoral bliss of the county of Dorset on England’s southern coast. Produced by noted jazz pianist Bobby Scott, the LP—oft-mistaken for a concept album—was available for only a month in the summer of 1971, disappearing after Reflection Records’ shuttering in 1971. https://numerogroup.com/products/catherine-howe-what-a-beautiful-place-50th-anniversary-edition

― dow, Tuesday, January 4, 2022

FRANK ZAPPA’S LEGENDARY 1971 FILLMORE EAST RUN IN NYC AND SHOCKING FINAL RAINBOW THEATRE GIG IN LONDON WITH THE MOTHERS GETS PROPER 50TH ANNIVERSARY COMMEMORATION WITH DEFINITIVE EIGHT-DISC BOXED SET, THE MOTHERS 1971
ASTONISHING AMOUNT OF UNRELEASED LIVE MATERIAL UNEARTHED FROM THE VAULT CONTAINS EVERY NOTE PLAYED OVER FOUR SHOWS ACROSS TWO NIGHTS THAT CLOSED FILLMORE EAST, INCLUDING FAMED JOHN LENNON AND YOKO ONO ENCORE; PLUS FULL FINAL SHOW AT RAINBOW THEATRE IN LONDON NEWLY MIXED BY EDDIE KRAMER, BONUS HYBRID HARRISBURG AND SCRANTON, PA CONCERT AND MORE

COMPLETE COLLECTION ALSO AVAILABLE DIGITALLY IN STANDARD AND HI-RES AUDIO

EXPANDED FILLMORE EAST – 1971 50th ANNIVERSARY EDITION FEATURING NEW REMASTER OF ORIGINAL ALBUM ALONG WITH BONUS TRACKS AND PERIOD-PERFECT MIXES BY ZAPPA, NOT FOUND ON THE BOXED SET, AND RAINBOW THEATRE CONCERT, TO BE RELEASED CONCURRENTLY AS 3LP SETS

AVAILABLE MARCH 18 VIA ZAPPA RECORDS/UMe

― joni mitchell jarre (anagram), Thursday, January 13, 2022

https://soundsoftheuniverse.com/img/TEJ6RHFaWnhvWHlwL28vRExiVlMzUT09/ethiopian-soul-and-groove.jpg
Ethiopian Soul And Groove - Ethiopian Urban Modern Music Vol. 1
Various Artists
HEAVENLY SWEETNESS

Brilliant compilation of rare Ethiopian music from the 1970s! Has Mulatu Astake left you hungry for more? Then this is the record for you!

Nine brilliant dancefloor tracks from obscure 1970s musicians and singers!
More info, audio:
https://soundsoftheuniverse.com/product/ethiopian-soul-and-groove-ethiopian-urban-modern-music-volume-1

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/VjVUVHFxMUtDU1NyRW50VWdrMzRXUT09/mine-kosuke-mine-quintet.jpg

Kosuke Mine Quintet
Mine
LE TRES JAZZ CLUB

Essential Japanese jazz rarity!

Sublime debut album from The Kosuke Mine Quintet, released in 1970 on the legendary Three blind mice label. The record comprises of 4 long pieces of dense, spiritual jazz. A welcome reissue from Le Tres Jazz Club. Recommended!
More info, audio:
https://soundsoftheuniverse.com/product/kosuke-mine-quintet-mine

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/akhFejlZYzBPVnRGOGVTcXdlU3pSUT09/101689-300.jpg

Sun Ra
Disco 3000
ART YARD

Legendary session recorded in Milan in 1978, this quartet recording gives John Gilmore, Michael Ray and Luqman Ali the space to improvise and solo more extensively than with the full Arkestra. The result is an astounding synergy of individual virtuosity and group interplay, but it's the man himself who arguably steals the show with the rhythmic atmospherics of "Dance Of The Cosmo Aliens".
More info, audio:
https://soundsoftheuniverse.com/product/sun-ra-disco-3000

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/bnY0QVEzRFp5MmsvbzM4NlVsamtNQT09/latin-underground-revolution-vol-3-ansonia-records-rare-groove-mambo-boogaloo-descarga-salsa-from-nyc-1960-1976-various-artists.jpg
Latin Underground Revolution, Vol. 3: Ansonia Records Rare Groove: Mambo, Boogaloo, Descarga & Salsa from NYC, 1960-1976
Various Artists
ROCAFORT RECORDS

More info, audio:
https://soundsoftheuniverse.com/product/latin-underground-revolution-vol-3-ansonia-records-rare-groove-mambo-boogaloo-descarga-salsa-from-nyc-19601976

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/NE9RMWFrZ3BYMzFVbjNLRitFSXdTdz09/endless-summer-gatefold-vinyl-edition-fennesz.jpg

Fennesz
Endless Summer (Expanded Edition)
EDITIONS MEGO

Expanded reissue of Fennesz's groundbreaking, electronic/experimental guitar classic from 2001. Features 'Ohne Sonne' and '47 Blues' previously only available on the Japenese CD versions, as well as an new extended version of 'Happy Audio' exclusive to this release.
More info, audio:
https://soundsoftheuniverse.com/product/fennesz-endless-summer

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/RGlXZjNPbHNYeTgwd1B0TWwyMW1HUT09/0027066062-10.jpg

The D-Vine Spirituals Records Story Vol. 1
Various Artists
BIBLE & TIRE RECORDING CO.

In 1970, while the United States was recovering from the tumultuous unrest of the sixties and Southern segregationist George Wallace was between bids for the presidency, a young black preacher and an aging hillbilly bandleader struck up a friendship in a coffee shop in downtown Memphis. For the next decade and a half, record producer Juan D. Shipp and studio engineer Clyde Leoppard embarked on a musical journey that produced some of the most stirring sacred soul music ever laid to tape. Behold the story of Shipp's D-Vine Spirituals record label, told here for the very first time since its 45 RPM glory days.
More info:
https://soundsoftheuniverse.com/product/the-dvine-spirituals-records-story-vol-1
Second volume:
https://soundsoftheuniverse.com/product/the-dvine-spirituals-records-story-volume-2

― dow, Friday, January 14, 2022

https://soundsoftheuniverse.com/img/cmV1VDJBQTFWeHJ4Z2NsVFFTbXNBUT09/oc-roundtrip-cover-3000x3000.jpg

Ornette Coleman
Round Trip: Ornette Coleman on Blue Note (Tone Poet Edition)
BLUE NOTE
6×LP Box set £230.00
Expected 28 Jan

Iconoclastic saxophonist and composer Ornette Coleman shook the jazz world when he arrived at the Five Spot Café in New York City in 1959 and began his run of seminal albums on Atlantic that laid the foundation for the free jazz movement to come. After a period of disillusionment during which he withdrew from public music making, Coleman re-emerged on Blue Note in 1966 and began writing an intriguing new chapter of his legendary career.

The boxset Round Trip: Ornette Coleman On Blue Note presents all-analog 180g Tone Poet Vinyl Editions of all six albums featuring Coleman that were recorded for Blue Note Records, including his five albums as a leader—the two-volume At The ‘Golden Circle’ Stockholm (1965), The Empty Foxhole (1966), New York Is Now! (1968), and Love Call (1968)—as well as his lone sideman appearance on New And Old Gospel (1967) by fellow saxophonist Jackie McLean. The boxset includes a booklet featuring rare photos and an enlightening essay by critic Thomas Conrad.

The Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180g audiophile vinyl reissues packaged in deluxe Stoughton Printing “Old Style” Gatefold Tip-On Jackets.
(unperson says no bonus tracks)
More info:
https://soundsoftheuniverse.com/product/round-trip-ornette-coleman-on-blue-note

― dow, Friday, January 14, 2022

In here to mention the project Norske albumklassikere på CD (Norwegian Album Classics on CD), in case it is of interest to anyone here: At the start of 2021, a couple of guys with a record label began a series of crowdfunding projects with the aim of releasing CDs of Norwegian albums never before released in that format (or at best with very limited CD releases). This unsurprisingly mostly means stuff from the 1980s and earlier.

At any time, there are about 20 projects up, each running for 30 days with a target of NOK 30000, (about USD 3400 / GBP 2500 / EUR 3000), corresponding to ~150 people buying a CD at NOK ~200. If the target is reached, a remastering is done and a run of copies is made (I think in the 300-500 range), and the issue is added to the catalogue. If it is not reached, the money is refunded.

The interest turned out to be considerable; during 2021, something north of 200 projects were successful (and only a low-double-digit number unsuccessful, if I understand things right). I expect a lot of the releases are of interest primarily to Norwegians (and many probably for nostalgic reasons as much as anything), but certainly not exclusively. I think I've heard that contributing to the crowdfunding is problematic from abroad(?), but buying from the catalogue should work, I believe(?). There are naturally a few months' lag between addition to the catalogue and actual production and distribution, btw.

Links (mostly in Norwegian):
Home page with catalogue
Currently crowdfunded projects
Facebook group
Discogs page (updated up to #178 of 216 as of now)

(For the record: I have nothing to do with this myself.)

― anatol_merklich, Wednesday, January 19, 2022

Didn't Sunbeam do an Oriental Sunshine several years ago? Just seen that lp on the Home page link.

― Stevolende, Wednesday, January 19, 2022

In addition to the Blue Note Ornette box, Craft Recordings is reissuing his first two albums, Something Else!!!! and Tomorrow is the Question!, as a 2LP or 2CD set in March.

https://www.youtube.com/watch?v=ACBYq-VWre8

― but also fuck you (unperson), Wednesday, January 19, 2022

Didn't Sunbeam do an Oriental Sunshine several years ago? Just seen that lp on the Home page link.

― anatol_merklich, Tuesday, January 25, 2022

https://mcusercontent.com/a5ba45cdc0b267a9b6457e3cd/images/d59bf679-3173-593b-c9e0-dde8989381e0.jpeg

Norma Tanega’s I’m the Sky: Studio and Demo Recordings, 1964–1971 is a comprehensive survey of the pioneering folk artist’s two commercially released studio albums, an unreleased album, and a trove of unheard demos.

Before playing a pivotal part in folk music’s cultural crossover in the ‘60s, Tanega was a curious little girl born at the very end of the ‘30s to a multicultural Navy family in Long Beach, California. Her parents often brought her to Los Angeles for piano lessons, and eventually Tanega earned an MFA at Claremont College, where she studied classical composers like Aaron Copeland and George Gershwin. Amidst her academic pursuits, Tanega learned to play acoustic guitar and autoharp by following Joan Baez records and hanging out at the Folk Music Center, a music store and performance space in Claremont that exists to this day.

After college, Tanega landed in Greenwich Village in 1963, and became active in the coffee house scene and early protests against the Vietnam War. Working summers as a camp counselor in the Catskill Mountains, the up-and-coming producer and arranger Herb Bernstein caught Tanega perform at the camp, and introduced her to songwriter Bob Crewe. The trio found their first collaborative success in 1966 when Tanega’s “Walkin’ My Cat Named Dog” rocketed to #22 on the American and British charts (#3 in Canada). Her debut full-length of the same name followed that year, which saw her perform on Dick Clark’s American Bandstand and Where The Action Is, and tour North America with artists including Gene Pitney and Bobby Goldsboro.

That same year, Tanega traveled to England to tour in support of Walkin’ My Cat Named Dog. During rehearsals for the British music television show Ready Steady Go!, Tanega met Dusty Springfield. The pair became fast friends, then partners in a committed long-distance relationship. Tanega moved to London to be with Springfield, for whom she also went on to write and co-write a number of songs.

While in London, in 1969 Tanega recorded Snow Cycles, a second album that would never see the light of day, and I Don’t Think it Will Hurt if You Smile, eventually released with little fanfare in 1971. As heard on the first half of I’m the Sky, the same whimsical and joy-filled spirit guides all three of Tanega’s studio albums, and provides a colorful stage for her idiosyncratic meter and songwriting. Tanega’s lyrics touch on love and adoration to introspection and melancholy, while her music offers an eclectic take on popular folk-rock and psychedelic sound of the late ‘60s.

The second half of I’m the Sky opens a rare and intimate window into Tanega’s songwriting process with a collection of demos discovered in Tanega’s Claremont home. Unfettered by instrumentation save for a single guitar on most songs, Tanega’s voice soars across the mid-range and above the six string reverberations, openly musing on life and love. More than merely sketches, the demos capture an essence of Tanega’s songcraft, and a tangible translation of the emotional range which sets her work apart from the banality in certain folk music of the era.

In 1972, Tanega returned to Claremont and shifted focus to her visual arts, teaching ESL, and participating in her surrounding community of LGBTQ experimental artists. She kept recording and performing music with a number of local groups as well. While Tanega, who passed away in 2019 at the age of 80, is essential to California’s legacy of folk and experimental music, she’s also essential to the canon of folk-rock writ large. Tanega left behind an exceptional catalog of music encapsulated in part on I’m the Sky, but, more than anything, she left an enduring expression of what it is to be free.

https://intl.shop.mexicansummer.com/release/288340-norma-tanega-im-the-sky-studio-and-demo-recordings-19641971

― bulb after bulb, Wednesday, February 23, 2022

Karen Dalton's In My Own Time (50th Anniversary Edition)is out now, remastered with bonus tracks: all streaming here, with the KD backstory and overview: https://karendalton.bandcamp.com/album/in-my-own-time-50th-anniversary-edition

https://f4.bcbits.com/img/a3292896630_10.jpg

Today, David Byrne’s Luaka Bop label announces a reissue of the Staples Jr. Singers’ sole album, When Do We Get Paid, originally released in 1975, out May 6th. In conjunction, they share the album’s title track and a short film.

An incredibly rare recording, only a handful of copies of the original record have survived the last 40 years. At the time of its release, the Staples Jr. Singers were just teenagers, and they sold the copies they pressed themselves at shows and on their front lawn to neighbors. All of their soul-inflected gospel songs carried timely, subtle social messages that responded to what they saw in the South...
Like many gospel groups at the time, the Staples Jr. Singers were a family band: Annie Brown Caldwell was 11, A.R.C. Brown was 12, and Edward Brown was only 13 in 1971 when they started playing school talent shows, local churches, and front yards near their hometown of Aberdeen, Mississippi, on the banks of the Tombigbee River. As was common practice among gospel acts, they named themselves after their idols: the Staple Singers. As their reputation grew, they started traveling across the Delta and the Bible Belt, piling into their family van on weekends to perform as many as three shows in a single day. Back then, the South was desegregated on paper but not always in practice, and the Staples Jr. Singers weren’t always sure what kind of welcome they would receive—whether a new audience would embrace them, whether local restaurants would serve them.
...The Staples Jr. Singers got their big break in 1975, when a traveling gospel singer Joe Orr introduced them to a man who ran a now long gone recording studio in Tupelo—like a figure from a parable, he only went by the name of Big John. By then, 10-year-old Ronnel Brown (1964-2011) had joined the band—he was finally big enough to hold the bass on his own.

The family drew inspiration straight from their lives. “It was kind of like some of the things that my parents were going through,” said the vocalist and youngest living member, 61-year-old Annie Brown Caldwell. “They didn’t have much, but the little they had, they tried to take care of the family. My daddy used to work, come home and make sure that we had food, clothes on our back, and a place over our head. So, those songs had the meaning of some of the things that we were going through.”

While the Staples Jr. Singers have all gone on to write an entire catalog of gospel music since the era of When Do We Get Paid, for the original members of the band, the incantatory funk of this music still holds the power to help make a way out of dark and troubled times.

This project from Luaka Bop originates from their critically acclaimed compilation World Spirituality Classics 2: The Time for Peace Is Now - Gospel Music About Us (2019), which includes the Staples Jr. Singers’ single “We’ve Got a Race to Run” (Best New Music by Pitchfork (8.5), and listed among the best reissues of the year by NPR and Uncut). The compilation also resulted in the 2020 Vinyl Factory documentary, “The Time For Peace Is Now,” featuring Annie Brown Caldwell.

Today, the family is still performing regularly at local churches and events—all four generations (and counting!) are overflowing with musical talent—but always under other band names. However, for the first time in 40 years, and for the first time ever outside the Mississippi Delta, they will be performing again as the Staples Jr. Singers. It may be one of the best performances that you’ll see all year.

https://www.youtube.com/watch?v=WepnZkF7eIU

https://juniorsingers.com/

https://www.instagram.com/junior.singers/

sam at pitchperfectpr.com

https://folkways-media.si.edu/images/album_covers/SF700/SFW40253.jpg

In 1976 the Entourage Music and Theatre Ensemble reached a creative zenith. The nomadic troupe had just released The Neptune Collection, its iconic second album for Moses Asch’s Folkways Records, and decided to present the music to audiences across the rust belt in its most miasmic, elemental form. Extended stretches of full-group improvisation mingled with folk-tune like melodies during these performances, which featured multiple dancers spontaneously interpreting the music, at times in elaborate costume. Like contemporaries Popol Vuh, Sandy Bull, and Don Cherry, Entourage fused jazz and strains of traditional music from around the world to form a singular, kaleidoscopic vision of musical liberation. The Mermaid’s Purse: Live at Chatham College 1976 is the most complete, best-preserved audio recording of these performances, featuring music from across the Entourage catalog. It is being released for the first time 45 years after its recording, and features liner notes by lone surviving member Wall Matthews.

https://folkways.si.edu/entourage-music-and-theatre-ensemble/the-mermaids-purse?mc_cid=90e60a2434&mc_eid=b45ecb38a9

For more Entourage, and related Walls Matthews music, see
S/D: Tompkins Square Records

FOUNTAINAVM TO RELEASE NEVER BEFORE HEARD SONGS FROM LLOYD MILLER'S PERSONAL ARCHIVES ON ORIENTATIONS - 1960-2021 - LP OUT 06.03.22

https://gm1.ggpht.com/fSE1U-qUOEiGRBsqL9gVdZ1Gl3lxWZxnN7_lQc-PWYbE2JvUdS5x0W_q5PGJ2uSm9Nr6myGjcrEy2PuY-f2WrWRQtqIcWAJiB2qFzvL6TC6VCioXAmz-WDk7-pkxiNX3mVwww57ldpcyeIIFETfeH5UrbMwed1kHf9q7pxVTpSiIc44klbcF4lKRuhASbk0Zz_fsDbltikrnl05A-P5WUcLXJzvOW883dmUKljg8f-hT-bHipkGHf2_UM-gQcY-erb_PwisMmAwSvPBB1PBmTEo9dG4fC6VCNoxdQVF5Uw9SqoTq-PP07-e62geWhq6nieo1I2mZaBnqRcgEO3eWMbyOSw8_F4uwCIED4o_7GAhjiPkE45im9iJl1YUO8mF_F4rj6kjgJLzfENLdyIqBxsmFb7Ir9JisQV5n4RhUIdDfS-VXRrPYu6oU1bUyl_X5Of7RhJIpSp-yZi1myVdCWQEvMWQEMBw-HrW0siXhazUt3ekXa29eONskYAm1iALqCltNc8G-dJx7tevfzEO9-JxBL4w8kMMSAziPMpVuGwYyH4ksfX3Qh-NbdMeKi9d-tLBoYjobIWtm4m0qn9MbN1lb296NioZ8PNvxQnYznDfDl2j30AAJ-hpVs1CI9DhaupMfr6cNMaLoWUVOLmYfwBUoWzX6B5xn0BMZNRq3M5sW96gGqNFbVgwg-t8BdiOY6eeDrksWeLa2i0hS25FYtW_5uNS_I2TyjetzOiIpYcMOjsX-lHV_F_jEE4NZyqBXJpDWsk6Kvzm5KZg=s0-l75-ft-l75-ft

Genre ~ Spiritual Jazz, Near Eastern, Classical
RIYL ~ Sun Ra, A Hawk and a Hacksaw, Secret Museum of Mankind, Alice Coltrane, Yusef Lateef, Ahmed Abdul-Malik, Heliocentrics, Moondog

Hello -

We are really excited to share with you this collection of recordings from the incredibly prolific and equally enigmatic artist Lloyd Miller whose life and studies in Near and Middle Eastern music spans generations. Unearthered from Miller's own library and painstakingly transfered from tape by FOUNTAINavm founder Adam Michael Terry, this collection of unreleased songs span from 1960 - 2021 and track Miller's journeys through the Middle and Near East where Miller lived as an educator and Iranian Prime Time televesion host.

Following two incredbly well received albums - one with the Heliocentrics and one as a trio that was released by FOUNTAINavm in 2020 - we are thrilled to give you a sneak peak into Lloyd Miller's work and life. I'l be following up regarding coverage of the first single "Pacific Breeze". So do get back with me if you are interested in premiering or covering that single. Otherwise, any coverage of this album or larger features on Miller's work would be happily received. Feel free to follow up with me at ryan at clandestinepr.com or just respond to this email.

While modern life is increasingly characterized by constant global communication and exchange, some things still feel very far away––and very improbable.

Take, for example, the story of Lloyd Miller, an American musician and intellectual who after living in Europe throughout his twenties, found his way to Tehran in the late 1960s on a Fulbright scholarship and became the host of a primetime Iranian television variety show. If this seems improbable, Miller’s mastery of over 100 instruments and half a dozen languages may appear downright outrageous. But Lloyd Miller’s ouervre amounts to more than an unlikely story, and his artistic brilliance is on full display on Orientations, a career-spanning double LP of unreleased recordings from this master of global music traditions and Heliocentrics collaborator.

The exploratory, orientalist modes of Orientations will find easy devotion among fans of Ahmed Abdul-Malik, Sun Ra, and the pantheon of similarly oriented spiritual jazz stalwarts. Miller’s fascination with such modes runs deep. As a polyglot and expatriate artist who traveled the world and embedded himself in the cultures of the Middle East and Asia, Lloyd Miller manifests in such frankly unbelievable ways throughout history, and with such magical effervescence, that his musical presence is uncanny; his effect is extraordinary and literally haunting.

Orientations provides a dazzling survey of this uncanny presence, over 22 recordings that span from 1960 to 2021. This material––all of which was sourced from Miller’s master tapes and sole existing personal recordings and appears here on vinyl for the first time––documents everything from performances on Iranian TV to recent collaborations with students at Brigham Young University. Listeners may think of The Secret Museum of Mankind Ethnic Music Classics, Alice Coltrane and Yusef Lateef, as Miller interweaves oud, santur, and hand drums with saxophones and occasional analogue synthesizer. In some cases, these threads interweave across time, as on “Orientation #1 (Kheneccordion),” a reinterpreted Laotian melody arranged for accordion and recorded originally in 1963, retouched in 2021 with floating flourishes from a Roland JUNO synthesizer. “Bending space and time,” the liner notes read, “Lloyd engages in a meta conversation with his younger self.”

This meta conversation stretches out over the entire collection. The very order of the songs seems to tell a story, not unlike the way Jorge Luis Borges’ A Personal Anthology unfolds as a cohesive narrative. A few key moments of amusing dialogue haunt the conversation as well, as on a 1963 rehearsal recording of a rhapsodic modal jazz take on an Indian traditional. Upon abruptly releasing his fellow American jazz musicians from a trance, Miller says, with enthusiasm, “It sounds pretty hip!” And indeed it does.

- Mark Trecka, 2022

Other Music doc to be released as deluxe edition Blu-ray on April 26, pre-order available now, via Vinegar Syndrome / Factory 25

"One of the world's greatest record stores gets a fitting eulogy.”
-John DeFore, The Hollywood Reporter

https://i1.createsend1.com/ei/j/0D/98C/39A/024544/csfinal/IMG_9084-9900000000079e3c.jpg

https://www.youtube.com/watch?v=YsAL994yPhk

***SCREENERS AVAILABLE UPON REQUEST***

Other Music, a documentary about the legendary NYC record store that closed in 2016 will be released as a deluxe edition Blu-ray on April 26, released by Factory 25 through a distribution partnership with Vinegar Syndrome, you can pre-order it now.

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

Bonus features on the Blu-ray include:

• Extras reel with deleted scenes featuring Jason Schwartzman, Daniel Kessler from Interpol, William Basinski and performances by Gary Wilson, Revl9n, Bill Callahan and Handsome Boy Modeling School
• Commentary by Puloma Basu, Rob Hatch-Miller, Duane Harriott, Josh Madell and Chris Vanderloo
• Trailer
• 38 page booklet featuring an Oral History of Other Music feat. interviews with Sharon Van Etten, Robert Pollard, Alan Licht, Jon Wurster, Mark Robinson, Beans, Sadie Dupuis, David Grubbs, etc., an essay by Tom Scharpling and the 100 albums to check out after you watch the documentary
• English SDH subtitles

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

***THE DIRECTORS & SELECT INTERVIEW SUBJECTS ARE AVAILABLE FOR PRESS***

Other Music
Directed and produced by Puloma Basu and Rob Hatch-Miller

Featuring: Tunde Adebimpe (TV On the Radio), William Basinski (composer), Panda Bear, Avey Tare & Geologist (Animal Collective), Matt Berninger (The National), Stuart Braithwaite (Mogwai), James Chance (The Contortions), Brian Chase (Yeah Yeah Yeahs), Benicio Del Toro (actor), Janeane Garofalo (comedian), Martin Gore (Depeche Mode), Daniel Kessler (Interpol), Ezra Koenig (Vampire Weekend), Mac McCaughan (Superchunk), Stephin Merritt (Magnetic Fields), Keigo Oyamada (Cornelius), JD Samson (Le Tigre), Jason Schwartzman (actor), Regina Spektor (singer/sonwriter), Dean Wareham (Galaxie 500/Luna) and more...
________________________________

About FACTORY 25:
FACTORY 25 is a Brooklyn-based independent film + music label founded in 2009 by Matt
Grady. FACTORY 25 releases films theatrically, digitally, physically, and curates provocative
limited edition DVD/vinyl combination packages. Specializing in indie niche projects, FACTORY 25 is committed to delivering films and music in perfect analog or digital quality. In addition to Other Music, indie film label Factory 25 released the critically-acclaimed Ham on Rye, Werewolf; Sylvio; The Great Pretender; Kid Thing; For the Plasma; MA Almost There; Little Feet; Ape; Bloomin Mud Shuffle; Jobriath A.D.; Sex and Broadcasting: A Film About WFMU; All the Light in the Sky; Sun Don't Shine; Marvin, Seth and Stanley; The Sheik and I; The Color Wheel; Green; Francine; The Oregonian; Richard's Wedding; Fake It So Real; Bad Fever; Convento; Frownland; Shit Year; You Won't Miss Me; Brock Enright: Good Times Will Never Be the Same; New York Export: Opus Jazz; Rio Breaks; New Jerusalem; Beetle Queen Conquers Tokyo; Until The Light Takes Us; Wah Do Dem; Kids of Today; Two Gates of Sleep; Family Jams; and Make-Out With Violence; Better Than Something: Jay Reatard; Homemakers; The Other Side of Sleep; Buttons; and Pavilion.

Drag City News---comes out June 10:

ANTHONY TAKES FLIGHT ONCE MOORE

40-plus years since its original release, the pop-punk-new wave inventions of Anthony Moore’s Flying Doesn’t Help are freshly remastered, blasting the sparkling, angular sounds into today with perfect vitality.

After spending the early years of the 1970s making experimental music first as a solo artist, then with Slapp Happy and Henry Cow, Anthony Moore's 1976’s OUT sessions had reinvigorated his youthful love of pop radio's naïve melodies, the undeniable rush of a song. England was roiled as violently as it had been in counter-cultural days a decade earlier; the UK pop charts breathlessly reflected this changing spectrum with a radically democratic view. This was an ideal environment for Anthony to explore, as he puts it, the “deep connection between minimalism, repetition, working with tape and celluloid and forming the modules of a three minute pop song.”

Building on the pop/experimental axis that distinguished OUT, and further informed by raw sensibilities exploding everywhere, Flying Doesn’t Help blasts out of the speakers with its own blend of sophistication and aggression. The first single, “Judy Get Down”, received Single of the Week honors from the NME (with review penned by a certain Brian Eno). It deserved it - three minutes and one second of pure pop perfection, 1979-style! This song has everything: hand claps, bass bombs, stereo-spread clouds of twinkling guitars and keyboards, special FX on the mixing desk, and sugar-sweet chorus backing vocals - the stuff hits are made of!

Rather than recreate the original release of Flying Doesn’t Help, this reissue instead embraces the changed environment of the current time and place: instead of no credits, now they are complete, with Anthony’s full name restored and the artwork subtly “relocated” to reflect new relationships. All of which brings the forward-looking sounds of Flying Doesn’t Help into the indie-informed 21st century syntax where it belongs.

Advance track: "Judy Get Down"
https://ffm.to/flyingdoesnthelp

Zappa/Erie Limited Edition 6CD Box Set
Ships on June 3, 2022
Three complete shows from the Vault based on appearances made in and around the Vaultmeister’s hometown of Erie, PA: Edinboro College and Gannon University ’74 with Erie County Fieldhouse ’76. Also includes bonus tracks from the same tours. Three separate band line-ups, newly mixed from the original 4-Track tapes by Craig Parker Adams and mastered by John Polito at Audio Mechanics. Historical essays by Dan Schell & Joe Travers. Available on 6CD Box Set with exclusive poster.

LIMITED TO 4 UNITS PER FAN

Those were the days, my friend!

On April 8, the four-time Grammy-winning and diamond-certified rock legends AEROSMITH will release "Aerosmith - 1971: The Road Starts Hear" (UMe), a rare and previously unheard rehearsal from 1971, on CD and digital.

More KD:

https://thevinylfactory.com/wp-content/uploads/2022/04/karen-dalton.jpg

Karen Dalton’s live recordings released for the first time
A new collection of American folk singer and guitarist Karen Dalton’s archival live performances — called Shuckin’ Sugar — is being released via Delmore Recording Society, this April on Record Store Day 2022.

The 12-track album features a collection of her previously unreleased live performances with her then-husband and guitarist Richard Tucker, as well as her solo compositions.

Shuckin’ Sugar was recorded between 1963 to 1964.

The album is accompanied by archival photos, newspaper clippings, artwork by Dalton, and an essay by journalist and author Kris Needs.

Shuckin’ Sugar follows the 50th anniversary reissue of her In My Own Time album, in March.

Head here for more info in advance of Shuckin’ Sugar’s 23rd April release; check out the artwork and tracklist below.

https://thevinylfactory.com/news/karen-dalton-live-recordings-vinyl-release/

https://thevinylfactory.com/wp-content/uploads/2022/04/dalton.jpeg

I've never heard any version of it, but I remember reading that the previous re-release of Flying Doesn't Help was remixed or fiddled with in some way from the original. I wonder what version is coming out on Drag City.

Maybe not, but then again, I'd never heard of it! Newsworthy anyway, and I'll look for it on CD etc.

the description above does it justice, it's very immersive (which is why chopping it up into 20-minute chunks does not appeal to me)

Yeah, I'll look for it online; thanks for the tip.

Anthony Braxton's News From the '70s is now on Bandcamp:

https://felmayrecordsjazzusa.bandcamp.com/album/news-from-the-70s-soo-duo-quartet

It features six tracks from between 1971 and 1976: a mixture of solo, duo, and quartet pieces. Most important from my POV is a duo between Braxton and Dave Holland (playing cello) that was part of the 1972 Town Hall concert but didn't fit on the double LP made from that show. But if you're a fan and (like me) think that era was kind of the peak of his work, the whole thing is a must-have.

Great news, thanks! Never heard this:

The Clouds

DFA reissues beloved cult classic from the early 2000s

First-ever vinyl release remastered and cut at 45 RPM by Bob Weston (LCD Soundsystem, Nirvana)
Super limited edition LP housed in a craft stock gatefold with a tipped in fold-out featuring lyrics, liner notes, and photos.

n 2003, The Coleman Center, an Alabama non-profit arts organization, welcomed Stuart Hyatt as an artist-musician in residence. The center, which encourages and supports projects that engage and reflect the unique surrounding community, invited Hyatt to explore local music.

Four weeks later, he emerged with The Clouds.

Hyatt, reckoning with the notion of mortality, had written and recorded songs with a variety of local citizens, social groups, and schoolchildren.

The result is a record that is plainly, if not stylistically, Americana – a patchwork of voices sown together by some simple songs about the one thing we all experience.

The original release was super DIY – Hyatt’s grandparents helped him assemble the packaging, which also somehow managed to score a Grammy nomination in the category. A copy of the CD somehow wound up in the DFA offices, where it was shared and beloved but still sat until 2020, when we decided it may finally be worth trying to re-release on vinyl.

That process took two years and an insane attention to detail, but the final product is part and parcel with the original project – a unique document of a once-in-a-lifetime collaboration.

links etc.:
https://mailchi.mp/riotactmedia/the-clouds-dfa-reissues-beloved-cult-classic-from-the-early-2000s?e=adc06515ce
Adcance track: https://thecloudsdfa.bandcamp.com/album/the-clouds

From Real Gone:

Here come those holidays, and if you’re like us, you could use some music to put some pep in your step. Enter one of the most beloved releases in our catalog, one that’s been out of print for about five years: THE METERS: A Message from the Meters—The Complete Josie, Reprise & Warner Bros. Singles 1968-1977. This 3-LP, 40-track set presents the A and B-side of every single that the world’s greatest funk band (organist Art Neville, guitarist Leo Nocentelli, bassist George Porter, Jr., and drummer Joseph “Zigaboo” Modeliste) cut for the Josie, Reprise & Warner Bros. label, virtually their entire singles output (all but two co-produced by the late, great Allen Toussaint) save for a few odds ‘n’ ends issued mostly overseas. That means that you not only get every hit along with its hard-to-find B-side but also the rare single mixes, including the especially rare original mono single mixes of the 1968-1971 Josie sides (the first three LP sides are all mono; the last three, featuring the later Reprise and Warner Bros. singles, present all stereo single mixes). These songs represent the mother lode of New Orleans funk, classic tracks like “Sophisticated Cissy,” “Cissy Strut,” “Look-Ka Py Py,” “Chicken Strut,” “Hand Clapping Song,” “Hey Pocky A-Way,” and more. And, with liner notes by Bill Dahl featuring quotes from Nocentelli, Neville, and Porter, this 3-LP set offers probably the best retrospective to date of this enormously influential band. And how’s the sound? Well, after extensive and exhaustive tape research, we were able to come up with original tape sources for all but five of these single sides (all on superior-sounding black vinyl), and the remastering—by Mike Milchner at SonicVision—is tight! We’re selling this at the unmatched low price of $44.99…put a check mark next to the music lover on your Christmas list.

nice!

https://svartrecords.com/pictures/4877637f62a27f513.jpg

Oriental Beat by Hanoi Rocks gets the redux treatment, officially mixed and revived from the original sessions, and released on March 17th on deluxe vinyl, CD and digital formats. The CD and vinyl come with the song lyrics, checked and approved by Michael Monroe.

Dubbed the “re(al) mix”, this 40th anniversary edition was mixed by Petri Majuri at E-Studios in Finland in collaboration with the band. Vocalist Michael Monroe calls this release “the longest and slowest album project ever,” stating that “40 years in the making, it's not just a remix, but the REAL MIX supervised and approved by Hanoi Rocks”.

Recorded in London, UK in 1981, for 200 pounds a day, Oriental Beat was made during the height of the British punk + New Wave movement, when the band was hanging out with everyone from Phil Lynott to the Damned. Hanoi Rocks’ original drummer Gyp Casino says of Oriental Beat that: “Back in the days we gave heart, soul and a bit of pain to make this record something else” but the sound of the album, originally released in 1982, did not match their efforts at the time. Bassist Sami Yaffa called it “the worst sounding album of our career” and Michael Monroe said that “the producer of the album didn’t have a clue what the band was about and his mix of the album was horribly wrong”.

Oriental Beat’s original engineer Peter Wooliscroft, was not a rock producer, and according to Hanoi Rocks’ manager Richard Bishop he “tried to mix the album to sound like Spandau Ballet”. Released before the band could remix or rerecord it, as the label had run out of money, and the master tapes had gone missing, the band has always considered the original mix of Oriental Beat to be a “disaster”. With the tapes mysteriously showing up in the Universal vault recently, the band was finally able to mix and resequence the album the way they wanted it to sound.

Oriental Beat is a defining masterpiece made when Hanoi Rocks was about to explode onto the world scene and written at the absolute peak of lead guitarist Andy McCoy’s creativity as a songwriter. Rhythm guitarist Nasty Suicide says “only now, with stripping it down to the bare essentials and tweaking it to bring out what was really laid down it became our dream come true! THIS is what it's all about” as this definitive edition of Oriental Beat now fully displays the ultimate arrogance and attitude which defined the band. Monroe says: “now, 40 years after its original release in 1982, we finally got the album sounding as great as it deserves, with no overdubs or samples,” and McCoy adds that: “It's better now than ever. This is what it was meant to sound like. So enjoy it...Another shot of Hanoi Rocks”.

https://svartrecords.com/en/product/hanoi-rocks-oriental-beat-%E2%80%93-40th-anniversary-real-mix/10891

I had (might still have) the 2CD version of that Meters set. It's great.

Real Gone Music is also continuing their Holiday Hootenany vinyl sale: https://realgonemusic.com/collections/sale?rs_oid_rd=201919297551061
Adding a couple of Lonnie Liston Smith & The Cosmic Echoes titles, Eddie Hazel's solo alb Game(sic), Dames, and Guitar Thangs---which I recall as disappointing, considering his P-Funk peaks, but maybe a few keepers---also Dusty Springfield's reemarkable The Complete Atlantic Singles 1968-1971: a double LP, like Michael Nesmith's Different Drum: Lost RCA Victor Recordings. Also the unearthed "pysch classic" by Tintern Abbey, and overall quite a mixed bag. Would like to hear this:

Melvin Van Peebles: Watermelon Man (Green “Watermelon Skin” Vinyl Edition) LP Regular Version

In an extraordinary career spanning seven decades, director and "godfather of black cinema" Melvin Van Peebles only made one studio film. 1970's Watermelon Man shattered conventions with its bitingly satirical story about a white couple, intolerant and obnoxious insurance salesman Jeff Gerber (Godfrey Cambridge) and his seemingly liberal wife Althea (Estelle Parsons). One morning, Jeff awakens to discover that his skin color has changed from white to black-and it's not a result of his daily tanning routine. Unable to successfully change back, he learns what it's like to live in America as a black man, and his eyes are opened. The uncompromising Watermelon Man shocked audiences in 1970 and remains all too relevant today. Accompanying the scathing comedy was an original soundtrack composed by Van Peebles himself, then recording for A&M Records and about to take on Broadway with a pair of Tony Award-nominated musicals. The soundtrack to Watermelon Man was released on the small Beverly Hills label, preserving Van Peebles' enjoyably eclectic score - blending jazz, funk, rock, rhythm and blues, proto-rap, and even bluegrass - and the songs "Love, That's America" and "Soul'd on You" as well as a special appearance by Estelle Parsons on "Where Are the Children." All that and Ry Cooder, too: the slide guitar virtuoso, while uncredited, is said to have played the indelible slide parts throughout the album! Watermelon Man came to be overshadowed by Van Peebles' seminal follow-up Sweet Sweetback's Baadasssss Song and the album disappeared, too. But the time has never been more right to rediscover Van Peebles' prescient film and its killer soundtrack. Real Gone Music and Second Disc Records' first-ever vinyl reissue (and first reissue in any format) of Watermelon Man features remastered audio from Mike Milchner at Sonic Vision as well as an insert with on-set photos and liner notes by The Second Disc's Joe Marchese, with a green, "watermelon skin" pressing. "Love, That's America" was adopted decades after its original release as an anthem for the Occupy Wall Street movement. Now, it's your turn to discover this one-of-a-kind soundtrack from visionary filmmaker, writer, actor, songwriter, and musician Melvin Van Peebles.

Side One
1. Love, That’s America
2. Great Guy
3. Eviction Theme
4. Soul’d on You
Side Two
1. Where Are the Children
2. Erica’s Theme
3. Fugue #1
4. Fugue #2
5. Fugue #3

And this (Two is the title; it's one LP):

Three Man Army Two LP
Brothers Adrian and Paul Gurvitz were responsible for some of the most progressive hard rock sounds of the late '60s and '70s, first in The Gun, and later with Cream drummer Ginger Baker in The Baker Gurvitz Army. In between those two bands, though, was the one that was perhaps the best of the bunch; Three Man Army put out three records from 1971 to 1974 that would nestle nicely in your heavy British rock collection next to, say, Cactus and Jeff Beck's Truth and Beck-Ola records. 1974's Two was, confusingly, their third album, and it’s safe to say they saved their best for last. "Polecat Woman" kicks off the record with a Led Zep-like boogie stomp, "Today" is very Peter Green-era Fleetwood Mac, and "Flying" almost sounds like a harder version of Badfinger. But the highlight might be "I Can't Make the Blind See," which, with its orchestration and soulful vocals, almost sounds like a power ballad done by Traffic. This overlooked '70s hard rock platter gets a long-overdue vinyl reissue with a cobalt blue pressing limited to 1500 copies!
Side One

1. Polecat Woman
2. Today
3. Flying
4. Space Is the Place

Side Two

1. Irving
2. I Can't Make the Blind See
3. Burning Angel
4. In My Eyes

Alan Vega's Saturn Strip is also in the RGM sale---hadn't seen that about Hanoi Rocks, looks appealing. What's their best?

(I've never heard Three Man Army sound like Badfinger or Traffic, and don't particularly want to: those bands had their moments, but it's not how I think about Gurvitz rock)

(But I shouldn't hold label copy against them, must listen w/o prejudice.)

Uh-oh, just now saw this

Omnivore Recordings
Less Than Perfect Sale
Dec. 5-7
Limited Quantities
Reissues and Previously Unreleased

ello Omnivores,

While music is now available in many forms, we still love and prefer LPs and CDs. The only drawback is as things ship across the country to get to our warehouses, sometimes they arrive—in well, less than perfect condition. The vinyl and discs are fine, but the packaging may have a slight ding here or there. Rather than sending them to the scrap heap, we’re offering them at a discount to you!

Titles in this sale are priced at 50% off of their normal price. Move fast if you’re interested by going to www.omnivorerecordings.com/less-than-perfect and grab them at incredible prices. There is very limited stock on hand and when they’re gone they’re gone!

Remember, these are “less than perfect” on the outside, but it’s the same great music on the inside. If there’s something you’ve been meaning to pick up, this is the perfect opportunity to add selections to your collections. Again, quantities are extremely limited, so don’t delay!

Please note, the prices you’ll see in the webstore will have the discount already applied to them.

did the nuggets reissue thing ever happen?

I'm not pasting the entire track listing, but this looks pretty impressive:

Stax Records and Craft Recordings are proud to announce the release of multiple new titles paying homage to the iconic Wattstax Benefit Concert which took place at the Los Angeles Memorial Coliseum on August 20th, 1972. Soul’d Out: The Complete Wattstax Collection, Wattstax: The Complete Concert, and The Best of Wattstax, plus 2-LP reissues of the original soundtrack albums Wattstax: The Living Word and The Living Word: Wattstax 2 will all be released on February 24 and are available for pre-order today.

In celebration of the 1973 Columbia Pictures music documentary, Sony Pictures will re-release Wattstax at participating Alamo Drafthouse locations throughout the U.S. from February 24.

Created in conjunction with the annual Watts Summer Festival to commemorate the seventh anniversary of the Watts uprising in Los Angeles, the Wattstax benefit concert was attended by more than 100,000 people. It featured performances from Stax Records’ most popular artists of the time, including, but not limited to, Isaac Hayes, The Staple Singers, Rufus Thomas, Carla Thomas and The Bar-Kays. These releases are the first complete audio collections of what Wattstax creator and then-President of Stax Records, Al Bell calls the “most jubilant celebration of African American music, culture, and values in American history.”

Soul’d Out: The Complete Wattstax Collection is a 12-CD box set featuring the complete 1972 L.A. Memorial Coliseum concert plus recordings from the Summit Club, including 31 previously unreleased tracks across the collection. These recordings are housed in a folio with a 76-page, full-color book featuring an introduction by Wattstax creator Al Bell, and new essays by Rob Bowman and A. Scott Galloway. A previously unreleased version of the iconic soul funk anthem “Theme From Shaft” by the legendary Isaac Hayes from his headline set at Wattstax is available to stream and download here today.

Wattstax: The Complete Concert includes the full L.A. Memorial Coliseum concert and is available on both 6-CD and 10-LP formats. In addition to musical performances, it features all the speeches and other stage banter from the event, including event MC, the Rev. Jesse Jackson’s often referenced “I Am Somebody” speech. Both formats of this collection include the full-color book with introduction by Wattstax creator Al Bell, and essays by Rob Bowman and A. Scott Galloway that is also included in Soul’d Out: The Complete Wattstax Collection.

A 1-CD title, The Best of Wattstax, brings together a handpicked selection of twenty of the best musical performances from the Wattstax concert. Including performances by Isaac Hayes, The Staple Singers, The Bar-Kays, Kim Weston, Rufus Thomas, Carla Thomas, Albert King, Eddie Floyd and more, and serves as a great introduction to the event and the many iconic artists that it featured.

Newly cut from the original analog tapes, reissues of the two original soundtrack albums Wattstax: The Living Wordand The Living Word: Wattstax 2—which feature highlights from the concert and subsequent documentary film—will also each be reissued on 2-LP formats on the same date.

whoa

> did the nuggets reissue thing ever happen?

"A five LP Nuggets box set is on the way – delayed until spring 2023 owing to the vinyl production backlog."

jeez, yet another Omnivore flash sale:

People are always told never to wait until the last minute to do something. Well, we believe that sometimes, it’s exactly the right thing to do. If you’re looking to grab some last minute holiday deals, for yourself or for someone special, we’re offering 25% off everything (except pre-orders) in our webstore for three days only—Monday, December 12 through Wednesday, December 14! Choose from CDs, LPs, singles, EPs, posters, t-shirts, slipmats… if it’s in stock, it’s 25% off.

The sale is limited to stock on hand, and there’s no limit as to how many copies you can pick up per title. The only thing we ask is that you remember not to add pre-orders to your cart, as that delays your shipment and negates the discount. So, don’t do that! Just take advantage of 25% off everything that’s in the store now.

Top Sellers
Janis Joplin & Jorma Kaukonen – The Legendary Typewriter Tape: 6/25/64 Jorma’s House
Jonathan Richman & The Modern Lovers – Jonathan Sings!
Bobby Cole – A Point Of View
The Cowsills – Rhythm Of The World
New Riders Of The Purple Sage – Lyceum ‘72

Soul Jazz Records 2022 releases:
https://soundsoftheuniverse.com/img/M1BYOWw2NU16SnEvQTdtUzdVNFNUQT09/sjr-495-lp488-count-ossie-grounation.jpg

The Mystic Revelation Of Rastafari
Grounation

"One of the greatest albums of all time just got better. Do not miss." Quietus

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Definitive 50th anniversary release of this seminal album!

Soul Jazz Records are releasing this long-revered album release in three unique formats; a one-off pressing limited-edition deluxe box set triple-vinyl edition complete with a free 45 single + art print + an exact-replica reproduction Mystic Revelation 1977 mag/zine + download code;

Secondly as a triple album + download code with complete sleevenotes.

Thirdly there is also a deluxe 2 CD version complete with 40 page large format outsize booklet encased in double-walled slipcase.

All editions come with extensive new sleevenotes, photography, exact reproductions of the original text and artwork, and a new interview with founding member Sam Williams (aka Time).

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Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae - the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound.

The group's stunning, unique and groundbreaking 1972 album ‘Grounation’, a mighty conceptual triple-album (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive all-encompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music - an absolute and essential classic of Reggae music.

The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists of equal repute – Count Ossie and his African Drums and saxophonist Cedric ‘Im’ Brooks’ and his group, The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records.

Master drummer Count Ossie and his collective of Rastafarian drummers performed for Haile Selassie on his momentous visit to Jamaica in 1966. Cedric Brooks came out of the Alpha Boys School – the fertile breeding ground of musicians who dominated the Jamaican music scene from the 1960s onwards; Tommy McCook, Don Drummond, Johnny Moore, Headley Bennett, Johnny Osbourne, Yellowman, Leroy Smart, Bobby Ellis, Joe Harriott, Eddie Thornton, Vin Gordon, Rico Rodriguez, Owen Gray, Leroy ‘Horsemouth’ Wallace and more.

The Mystic Revelation of Rastafari’s ‘Grounation’ is a massive opus, a work of profound musical genius that tells the story of Jamaica through music and words. The album is a cornerstone in the history of reggae, a unique and other-worldly album the like of which has never been made since.

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https://soundsoftheuniverse.com/img/Snd4ZGpoQ0tTRkpCeVdIWTBUeWJQZz09/sjr-lp507-life-between-islands-sleeve.jpeg

Soundsystem Culture : Black Musical Expression In The UK 1973 - 2006
SOUL JAZZ RECORDS

Soul Jazz Records new ‘Life Between Islands’ collection is released in conjuction with Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

Soul Jazz Records’ ‘Life Between Islands’ shows how these many styles are interconnected. The album comes as a heavyweight triple vinyl (+ download), deluxe double CD with slipcase and digital release. Lloyd Bradley (author of the classic book on reggae ‘Bass Culture’, and ‘Sounds Like London’), provides the excellent sleevenotes, which are also accompanied with exclusive and striking photography.

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"There is probably no better or more appropriate way to celebrate the Tate Britain’s exhibition, Between the Islands: Caribbean-British Art 1950s – Now, than with an accompanying compilation album. As with the art itself, music has all the possibilities to reflect its surroundings through an array of lenses limited only by the creator’s imagination. Hence this astutely conceived and compiled soundtrack is as beautiful and as varied as the art itself, offering stories of immigration and settlement that can exist without filters or outside interference, providing a vivid snapshot of one of the cornerstones of black British culture.” Lloyd Bradley

Life Between Islands: Caribbean-British Art 1950s-Now is at Tate Britain 1 Dec 2021 until 3 April 2022.

REVIEWS:

"It’s yet another example of Soul Jazz Records winning combination of historical insight and high quality, often exceptional music, the label spreading knowledge with nary a trace of academic dryness." Vinyl District

Rough Trade - Top 10 Compilation of the year

More info, audio:
https://soundsoftheuniverse.com/sjr/product/life-between-islands

Saxophonist Marzette Watts only ever made two albums — Marzette & Company for ESP-Disk, and The Marzette Watts Ensemble for Savoy, the latter of which was produced by Bill Dixon. It's been out of print since 1969, never reissued on CD. The Portuguese label Mad About Records is doing a limited edition vinyl run and selling it digitally:

https://madaboutrecordslabel.bandcamp.com/album/the-marzette-watts-ensemble

The word is, this is not a "legit" reissue because Savoy has nothing to do with it; they got the tapes from Marty Cook, who plays trombone on the record and is the last living member of the group. But since Savoy (which is now owned by Concord) has never bothered to do anything with the album, I say fuck 'em, get it how you can. I've wanted to hear this music for more than 20 years and now I can.

Didn't know about that one---is Sonny Sharrock on there again?

D-I-Y or Die ! Art, Trash, Neon - Punk 45's In The UK 1977 - 1978
SOUL JAZZ RECORDS

Soul Jazz Records’ long-lasting Punk 45 series are high-quality editions of early punk 45s. While previous editions have focussed on the early days of punk in Los Angeles, Cleveland, Akron, France, and proto-punk, this new edition focusses on mainly do-it-yourself, or self-released 45s, all made in the UK in the early days of punk.

While only a handful of Punk 45s were released in 1976, the following two years produced an avalanche of them. Aside from the few punk bands who signed to major labels, many of these singles were self-released private press 45s or independent label 45s. With limited distribution and access to the media, many of these sunk without trace and were lost in history. This album features many of these independent punk 45 gems, lost nuggets of gold from the sea of time!

The bands featured here come from all across the United Kingdom. Here you will find The Drive, Scotlands’ answer to the New York Dolls, Dansette Damage from Newcastle, Stormtrooper, from the Isle of Wight and many more - a snapshot of some of the finest private-press 45s ever made. Other bands include Cybermen, The Exile, Neon as well as the early punk incarnations Johnny and The Self-Abusers (who later became Simple Minds) and The Killjoys (led by Kevin Rowland who later formed Dexy’s Midnight Runners).

These are all one-off and super rare releases from bands that you have probably never heard of! – totally hidden gems from the wastelands of the early days of punk. Totally in keeping with the spirit of the time, this is high-octane, righteously-independent - DIY or die!

Resident - Top 10 Compilation of the year

https://soundsoftheuniverse.com/img/VVFpWE9lRXE0aUl4ZVV5czVieUJNdz09/sjr-lp505-punk-45-diy-sleeve.jpg

https://soundsoftheuniverse.com/img/VVFpWE9lRXE0aUl4ZVV5czVieUJNdz09/sjr-lp505-punk-45-diy-sleeve.jpg

Steve Reid
Odyssey of the Oblong Square
SJR

ew special one-off pressing v.limited edition gold vinyl edition (and gold CD edition!) of this intense and radical jazz classic album.

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"A Truly Phenomenal Artist' Gilles Peterson

"Steve Reid is one of the greatest drummers. He is a musical genius." Kieran Hebden, Four Tet

“Reflects the spirit of a generation- Art Ensemble of Chicago, John Coltrane, Pharoah Sanders, the Black Artists Group.” The Wire.

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'Odyssey of the Oblong Square'---featuring heavyweight players Arthur Blythe, Charles Tyler, David Wertman and Muhammad Abdullah---was originally self-released by Steve Reid in 1977 on (his) own Mustevic Sound record label (where it came out in an edition of 1000 copies) and has been a serious collectors album ever since.

These special gold vinyl and CD editions are both one-off pressings, which, like the original, are limited to 1000 copies worldwide.

Steve Reid became known worldwide for his radical collaborations with Kieren Hebden after they first recorded together on the Steve Reid Ensemble album Spirit Walk released on Soul Jazz in 2005, releasing five joint releases together in the following years... up until his untimely death in 2010.

Steve Reid is steeped in musical history and a true pioneer of US deep left-field jazz. He played in Sun Ra’s Arkestra, was a Motown session drummer and backed James Brown at the Apollo! He was a Black Panther, imprisoned during the Vietnam war as a conscientious objector and lived in Africa in the early 1970s. Reid worked with Freddie Hubbard, Gary Bartz, Ornette Coleman, Lester Bowie, Fela Kuti, Leon Thomas, Miles Davis and many more in his long illustrious and groundbreaking career.

"A Truly Phenomenal Artist' Gilles Peterson

"Steve Reid is one of the greatest drummers. He is a musical genius." Kieran Hebden, Four Tet

“Reflects the spirit of a generation- Art Ensemble of Chicago, John Coltrane, Pharoah Sanders, the Black Artists Group.” The Wire.

More info, audio:
https://soundsoftheuniverse.com/sjr/product/steve-reid-odyssey-of-the-oblong-square

https://soundsoftheuniverse.com/img/ZC80RTRsNVRaWk4vSHRmN2QzdVRjZz09/sjr-lp514c-steve-reid-odyssey-slve.jpg

For more 2022 Soul Jazz Records releases, see:
https://soundsoftheuniverse.com/sjr

I think they're all downloads as well, though storefront plays up the more expensive formats.

The word is, this is not a "legit" reissue because Savoy has nothing to do with it; they got the tapes from Marty Cook, who plays trombone on the record and is the last living member of the group. But since Savoy (which is now owned by Concord) has never bothered to do anything with the album, I say fuck 'em, get it how you can. I've wanted to hear this music for more than 20 years and now I can.

― but also fuck you (unperson), Monday, December 12, 2022 10:40 PM (yesterday) bookmarkflaglink

Bill Dixon (who also plays piano on one of the tracks, "Play It Straight") called Savoy a "plantation." Fuck 'em seconded.

FTR, bassist Steve Tintweiss is also still among the living. In fact, I interviewed him earlier this year about Albert Ayler:

https://daily.bandcamp.com/features/albert-ayler-revelations-interview

welp

Dear buyer, unfortunately, we will have to provisionally withdraw the reissue of The Marzette Watts Ensemble LP due to discrepancies in the authorisation we had to do so. Mad About Records is firmly against unofficial releases, and we strictly adhere to this policy. With this reissue, some discrepancies have arisen, and we don't want to operate in a territory where there could be any suspicion. Until we have a clarification, we will withdraw the disc from the market until then in pre-sale. We apologise for what happened and the damage caused. We will immediately refund the purchase and ensure that this reissue is a reality so that we can all enjoy the excellence of this record.

One of my favorite Latin spiritual jazz albums, trumpeter Luis Gasca's For Those Who Chant, has been reissued on CD in a nice mini-LP sleeve by some South Korean label I've never heard of, but I just bought one on eBay, so I guess I'll report back on the quality of the remastering etc. when it arrives in, like, February. The personnel on this record is fucking mind-blowing, and it really should be better known and never out of print:

Trumpet, Flugelhorn – Luis Gasca
Tenor Saxophone – Joe Henderson
Flute – Hadley Caliman
Guitar – Carlos Santana, Neal Schon
Piano, Electric Piano – George Cables, Gregg Rolie, Mark Levine
Organ – Richard Kermode
Bass – Stanley Clarke
Vibraphone – José "Chepito" Areas
Percussion – Garnette Mims, Joan MacGregor, Rico Reyes, Snooky Flowers
Congas – Mike Carabello, Victor Pantoja
Timbales – Carmelo Garcia, Coke Escovedo
Drums – Lenny White, Mike Shrieve

So he's got pretty much all of early Santana-the-band on there, along with Joe Henderson and George Cables and Stanley Clarke etc.?!

Yep. He had an interesting career — only made a few albums under his own name, but he was a member of Woody Herman's band, played with Mongo Santamaria and did sessions for Janis Joplin, Van Morrison, Santana (he was also on the live album with Buddy Miles), Malo, George Duke, and Joe Henderson.

good lord, that lineup

holy shit, that lineup is nuts. definitely let us know how the quality is, that sounds like something i will totally keep an eye out for.

did the marzette watts reissue on mad about get scrapped? the link is now dead.

it did, I think there was a post above abt that?

Yeah, it's down. The copy I purchased is now set to "Private" in my Bandcamp account and I can't download the files anymore. Fortunately I downloaded them the minute the transaction went through...

Do you have the full line-up? Was wondering if Sharrock was with him again (def his apprentice work on the ESP-DISK, but wondering if they did more, when he could play a bit more).

I haven’t been able to find a definitive listing of the personnel (there may be one out there; I’m just lazy), but Sharrock isn’t on it. The drummer I believe is J.C. Moses and, as I posted upthread, Bill Dixon produced, and played piano on one track.

The lineup (and instrumentation) are pretty interesting — credits via Discogs:

Cornet – George Turner
Tenor Saxophone – Marzette Watts
Trombone – Marty Cook
Violin – Frank Kipers
Piano – Bobby Few
Bass – Cevera Jeffires, Juini Booth, Steve Tintweiss
Drums – J.C. Moses, Tom Berge
Vocals – Amy Sheffer, Patty Waters

Sorry; the first bassist's name is Cevera Jeffries.

it did, I think there was a post above abt that?

― sleeve, Tuesday, December 20, 2022 4:01 PM (one hour ago) bookmarkflaglink

yeah, sorry, missed that!

whoa, this is big news. iirc this is one of those German records that routinely fetches $500+

https://www.forcedexposure.com/Catalog/wegmuller-walter-tarot-2lp/KK.2258003LP.html

Also a 4CD reissue:

Four CD version. Includes two remastered versions, each on two CDs. Four-CD version includes two remastered versions, each on two CDs; first remaster by Dierks/Flüchter and then a completely different mastering by Dieter Wegner, who has already remastered many albums of the krautrock catalog, including the albums of the Cosmic Jokers.

that rules, always wanted to hear that since reading about it in Krautrocksampler

you can hear it on YouTube, it sounds like a mash-up of Ash Ra Tempel & Amon Duul II. really cool and definitely something I've always wanted to own. plus the intro where he introduces the band is (accidentally?) hilarious

yeah I'm super stoked, this has long been on my wishlist

Just found this posted elsewhere today:

Mechanical royalty rates are calculated in a completely different manner for European labels, so what may be possible for European labels is not viable for U.S. labels. There's a reason why European labels can include a ton of songs on a disc and sell it for a low price, or sell 4-fers for the cost of a single disc, or do box sets with tons of great content for a low price, while U.S. labels cannot do the same. The law in Europe is that the mechanical royalties (the money paid to the songwriters) are calculated and paid as a percentage of the wholesale price of the disc. If the wholesale price of the disc is $8, the amount paid in mechanical royalties would be the same whether the disc had 10 tracks or 50 tracks. In the U.S., it's a statutory rate paid per song -- and a 32% increase in that statutory rate just went into effect this year.

I vaguely knew that royalty payouts were higher in the U.S. when they included more songs on an album (one reason why U.S. versions of U.K. albums in the '60s had less songs), but I didn't realize how much of a difference that made in the CD era.