Rolling Reissues 2016

FELA RANSOME KUTI AND HIS KOOLA LOBITOS
HIGHLIFE-JAZZ AND AFRO-SOUL (1963-1969)
OUT APRIL 8, 2016 ON KNITTING FACTORY RECORDS

SEMINAL RECORDINGS COLLECTED FOR RELEASE
LISTEN: "It's Highlife Time" on SoundCloud
https://soundcloud.com/knittingfactoryrecords/fela-its-highlife-time

https://photos-5.dropbox.com/t/2/AADNPGNzHl0vOa-DvGjgZ9P2srWfQ0y9FpxICVzcmPA4og/12/491604411/jpeg/32x32/3/1454562000/0/2/FELA-koola_lobitos-900x900.jpg/ELqR0v4DGOMnIAcoBw/X9H58BXMFyvz__cARJPBl-c4jkMUWETUDy_N9TdQkO0?size_mode=5&size=32x32

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Fela Ransome Kuti is best known as the revolutionary pioneer of Afrobeat music. Born in 1938, Kuti spent his life as a trailblazer creating incendiary music and furthering radical politics. At the beginning of his musical career in the early '60s, Kuti formed his first band, Koola Lobitos. Koola Lobitos were the first expression of Kuti's incredible talent, the start of his musical evolution that led to the Afrobeat movement. As such, Knitting Factory Records is reissuing Highlife-Jazz and Afro-Soul (1963-1969), a collection of recordings that provide unique insight into the beginnings of Kuti's craft. This three-disc set lays bare Kuti's genius experimentation, honing his instincts while trying out new styles and combinations.

The musical style called Highlife first started in Ghana in the early part of the 20th century and spread throughout West Africa over several decades. Highlife melds elements of traditional African music and Jazz into an upbeat, danceable genre. One could understand Kuti's attraction to the mix of Jazz structures, syncopated guitar lines and off-beat drums.

Kuti's Koola Lobitos became a popular dance band in his native Lagos, Nigeria, recording many singles for local labels, Parlophone, Phillips and an album for EMI. The tracks on these recordings evolve from Highlife to soul to hints of what would become Afrobeat. The listener is able to witness the startling evolution of a man intent on finding his own voice and style. The collection encompasses three discs with Disc One focusing on singles, Disc Two on the album recorded for EMI and Disc Three on live and other recordings.

The liner notes, written by Michael E. Veal, Assistant Professor of Ethnomusicology at Yale University, point out: "The release of this collection of Fela Ransome-Kuti's pre-Afrobeat music is a major event for fans of both Fela's music and African popular music in general. Many of these recordings...were thought to be lost forever and certainly, were unknown to all but the most fervent Fela enthusiasts. Even these enthusiasts had to endure low fidelity tapes that had been copied over innumerable generations, from original recordings that were not themselves of the highest quality. What little has been known of Fela's highlife period has been largely due to the efforts of Mr. Benson Idonije, Fela's early manager and long-time proponent of his highlife music. With the recordings' sound quality now much improved, this comprehensive collection gives an overview into a period when one of Africa's finest musicians was attempting to find a style of his own. Thanks to the efforts of dedicated record collectors who assembled this compilation, a crucial and fascinating chapter of Fela's career is finally available to African music enthusiasts around the world."

Knitting Factory Records will release the three-disc set on April 8, 2016.

DISC 1
1. Bonfo
2. Fere
3. Onifere No. 2
4. Oyejo
5. Oloruka
6. Awo
7. Great Kids
8. Amaechi's Blues
9. Yese
10. Egbin
11. Orise
12. Eke
13. V.C. 7
14. I Know Your Feeling

DISC 2
1. Signature Tune
2. It's Highlife Time
3. Lagos Baby
4. Omuti
5. Ololufe
6. Araba's Delight
7. Wa Dele
8. Lai Se
9. Mi O Mo
10. Obinrin Le
11. Omo Ejo

DISC 3
1. Everyday I Got My Blues (Live)
2. Moti Gbrokan (Live)
3. Waka Waka (Live)
4. Ako (Live)
5. Ororuka (Live)
6. Lai Se (Live)
7. Onidodo
8. Ajo
10. Abiara
11. Se E Tun De
12. Waka Waka
13. My Baby Don Love Me
14. Home Cooking

Local H had a terrific late 90s single called "All the Kids Are Right," but that's the last time I ANYONE ever paid attention to them.

I do like how they point out their ubiquity at radio station concerts...seems like they were a perennial undercard at Buzzfests of yore.

BTW that Miamis collection is garbage. There's a reason why some bands were "lost." All the positive quotes from more famous CBGBs luminaries is clearly a case of you had to be there...on drugs. Many, many drugs. In retrospect, it's remarkable that more of those CBGBs bands were not just as terrible.

Still haven't listened to the Miamis, still hoping they won't be a waste. The Ork box (on Spotify) is much better that I suspected.

Dust On The Nettles: A Journey Through The British Underground Folk Scene 1967-72 has all the usual suspects, but also a number of performers and/or songs I hadn't heard of, on three discs. Podcast in here too:
http://shop.cherryred.co.uk/grapefruit-exd.asp?id=5079

Collection of Larry Levan mixes & edits, 2-CDs, out next month. He should write a book---immersed in Nicky Siano's The Gallery, early-mid '70s, later levitated Paradise Garage, etc. etc.:
http://www.factmag.com/2016/02/03/larry-levan-compilation-genius-of-time/

BTW that Miamis collection is garbage. There's a reason why some bands were "lost." All the positive quotes from more famous CBGBs luminaries is clearly a case of you had to be there...on drugs. Many, many drugs. In retrospect, it's remarkable that more of those CBGBs bands were not just as terrible.

― Fastnbulbous, Thursday, February 4, 2016 11:20 AM (2 days ago) Bookmark Flag Post Permalink

Glad I'm not the only one who thinks this. It's pretty cornball and not at all interesting.

He should write a book

Pretty sure he's dead.

Still,

I have to chime in on the Miamis . . . god, they are awful. They're kind of like Barry Manilow doing a stupid Beach Boys parody, only instead of Barry Manilow, it's Barry with his twin brothers singing along. Trying to write a jingle for the kind of rainbow suspenders that Mork of Mork & Mindy fame used to wear. Weak melodies, fumbling rhythm section, poor harmonies, no balls, energy or any spark at all. Honestly, it sounds like music that *could* have been the theme to Laverne & Shirley, but it was too lifeless. I'm sure they're swell guys - my explanation for the raves from their contemporaries, but I'm hard-pressed to think of a band who, on musical merits, is less worthy of 'discovery' decades after the fact. Glad I avoided this.

this is from late 2015, but...

http://i.imgur.com/Hpt3Ks4.png

Sony Legacy and Octave Music Publishing Corporation jointly released Erroll Garner's Complete Concert By The Sea on September 18, 2015 – in celebration of 60 years since the original concert.

The 3-CD box set contains the complete live concert recording including 11 previously unreleased tracks, the original Columbia release from 1956 (digitally restored and remastered) and bonus material including photos and interviews.

it still sounds like an amateur recording, but it's a huge improvement over the previous ('80s) remastering, and the bonus tracks extend it to more than double its original length.I know it was common practice to edit live sets down to LP length, but I can't believe Columbia sat on something like this for 60 years:

https://www.youtube.com/watch?v=UEN8pbFDMcE

Would def like to hear more where that classic LP came from, thanks for the news.

Flying Saucer Attack on vinyl (brace for Drag City newsletter prose, not too eyehurt this tyme)

David Pearce re-materialized last year with the beautiful Instrumentals 2015 and attracted all manner of attention - as one does when one emerges from self-imposed exile holding a glittering prize. Without warning he became part of the musical landscape once again, heralding a new phase of the project he initiated in the early 1990s. It was in the year of '92 that FSA were first sighted, high over the western skies of Bristol, UK. Flying Saucer Attack originally manifested in the form of 7" singles, shot through with noise sheets and touches of eastern-tuned psychedelics, hooded with shoegaze-inspired somnambulance.*

In '95, the nebulae aligned, the red giants went supernova and the black holes issued forth onto the Drag City label: the second [FSA album, Further, delivered deeper-focus textures with an increased acoustic presence that traded in new ways on the "rural psychedelia" label, sharing an encompassing access of space in doing so.Pearce's excoriating feedback serving as a dream weapon designed to cleanse the grit from the mind's eye. The melodies beyond the noise reassure us that it's okay to take this route away from the superhighway and explore paths trodden only by a few, Pearce and collaborators included. Later in that same year,Chorus emerged - an icy blast of electric-band FSA that in no way revisited the wild-eyed pastures of the first album, but instead found refinements and experimented in new directions.

Further has been out of print on vinyl for the past decade. Chorus has been unavailable on LP since the golden days of CD (1998)! Re-acquaint yourselves with these exemplary classics on March 18th, or preorder them now!

*They don't quite clarify that initial singles incl. on self-titled debut album; also, discogs lists In Search of Spaces as second album proper(same tracks as or mostly same as Further?), with Chorus filed under compilations:
http://www.discogs.com/artist/66963-Flying-Saucer-Attack

"They don't quite clarify": they list the name of the group, but not in italics to indicate self-titled.

in search of spaces is a collage of live performances (edited by bruce russell, i think). never seen a copy of it, even when corpus hermeticum cds were in plentiful supply in the sales sections here. wish someone would reissue that!

Starting on the xpost Trad Gras Stenar box: so far so good, re dark x light themes distilled from Velvets and Dead; got the soulful vibe, with solos a bit cautious, but doggedly preceding uphill at the moment; keep at it, guys. Info upthread and here: http://www.anthologyrecordings.com/albums/tradgras/

They do have some variety so far: the opening VU/pre-Plastic People-type subway mood groove, the "Estimated Prophet" uphill venture, the hearty juice harp hop-around, now the proto-metal-boogie---but I won't live-blog the whole thing, I promise (uh-oh, kind of a "Gloria" riff-based fade-in, nice). But will they do anything really distinctive in these 4'46''? Got the spirit, anyway.

wait, what!?!? How are you hearing the trad gras boxset already??? and please do live blog!!!

vinyljunkie, did you get my reply to your email? If you're a reviewer, see contact info at anthologyrecordings.com

Bear Family Records Presents

Jerry Lee Lewis, The Collected Works

Holste-Oldendorf, Germany (February 5, 2016) – Jerry Lee Lewis and Sun Records are two terms that just go together naturally. For many years, if collectors wanted the entire Sun catalog of the singer, you would have to purchase several anthologies to complete the collection. Now, that mission has become a lot easier.

German-based Bear Family Records has just released Jerry Lee Lewis At Sun Records: The Collected Works, an eighteen CD & 2 book collection that tells the story of one of the most original and unique artists of all time. Spanning the years from 1956 until 1963, the set contains a staggering 623 tracks of Lewis at his piano-thumping greatness!

The set contains every surviving recording from the Sun master collection – and every single take! Included on the discs are such Lewis classics as “Crazy Arms,” “You Win Again,” as well as his two biggest hits, “Great Balls Of Fire,” and “Whole Lotta Shakin’ Goin On,” which topped the Billboard Country Singles chart in 1957 and 1958, respectively.

Lewis was born September 29, 1935 in Ferriday, Louisiana. With cousins that included Jimmy Swaggart and future Country superstar Mickey Gilley, music struck a chord in the singer at a very early age. His mother enrolled him in Southwest Bible Institute in Waxahachie, Texas, so he would be singing only Gospel and Inspirational songs, but was expelled for adding his own boogie-woogie touch to a version of the classic “My God Is Real.” Also unsuccessful was a trip he made to Nashville in 1955 to drum up interest in himself as a recording artist. However, executives in Music City turned Lewis away, suggesting that he might take up the guitar instead.

As it turned out, Lewis found his home at 706 Union Avenue in Memphis – the home of Sam Phillips’ Sun Records. The maverick producer loved the singer exactly the way he was, and quickly signed him to a record deal in November of 1956. By the mid-way point of 1957, Lewis was well his way to making musical history. “Whole Lotta Shakin’ Going On” became his first hit – peaking at No. 3 on the Hot 100. “Great Balls Of Fire” was next, and it became even bigger – spending four weeks at No. 2 on the hit parade.

Besides the hits Lewis cut for Phillips at Sun, many songs that you might not be aware the singer cut for the label are included in Jerry Lee Lewis At Sun Records: The Collected Works, including “I Forgot To Remember To Forget” (made famous by Elvis Presley originally, “I’m Throwing Rice” (a hit from the Eddy Arnold catalog), as well as “Be-Bop-A-Lula” (an iconic Pop hit from Gene Vincent.

The set – as well as the two books in the collection - follows the Lewis story through his controversial marriage to his first cousin once removed, Myra Gale Brown. Though the chart successes came to an end for the singer (save his 1960 raucous take on “What’d I’d Say”), Lewis continued to record for the label for several more years, recording such gems as “Money,” “I’ve Been Twistin,” and “Seasons Of My Heart.” The music also comes along with a pair of exclusive hardbound books – one with a complete Lewis On Sun discography, as well as another full of historical photos of the singer – many never published anywhere!

Jerry Lee Lewis At Sun Records: The Collected Works serves as an excellent companion piece to Mercury Smashes, a ten-CD set that Bear Family released in 2000, that chronicles the classic Country recordings of Lewis between 1968 and 1977.

Bear Family Records continues to plow new musical ground. For a detailed listing of all of their releases, go to www.bear-family.com

# # #

The Träd, Gräs guys don't remind me of the Dead much at all; they remind me more of Creedence in their jammier moments. Their primitivism and crudity is what draws me in. They really do seem (as they've stated in interviews) that they arrived at their sound organically and ignorant of what was going on elsewhere in the world (aside from the Stones, who they covered and completely demolished in the process - their version of "Satisfaction" sounds more like Keiji Haino's, with his band Aihiyo, than the original).

Dow, I didn't get your email and no, I'm not a reviewer, just an eager fan...

They are so much sloppier than creedence. Not a diss.

Suicide Squeeze 20th Anniversary, (new releases and) reissues:

...While it’s an exciting time for a label with an active roster, Suicide Squeeze is also taking the opportunity during their anniversary year to offer up old classics you might have missed the first time around. The lauded remix album Interpretaciones del Oso by Seattle’s indie guitar wizards Minus the Bear gets a long overdue vinyl reissue in 2016. Vitriolic art-core outfit These Arms Are Snakes will see a new vinyl edition of their swan song Tail Swallower & Dove. Pastoral pop duo Cotton Jones and Southern punkers The Coathangers will both reissue their Suicide Squeeze debuts, Paranoid Cocoon and Scramble, on LP. On the EP front, Suicide Squeeze is repressing the vinyl for Pedro The Lion’s Progress 2x7”, King Tuff’s Wild Desire 7”, Modest Mouse & 764-Hero’s Whenever You See Fit 12”, and Elliott Smith’s split 7” with Pete Krebs.

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CAROLINE K'S RARE, LONG SOUGHT AFTER NOW WAIT FOR LAST YEAR LP
TO BE RE-ISSUED BY BLACKEST EVER BLACK
OUT APRIL 26TH

This haunting and deeply narcotic work of post-industrial synthesizer music – the late Nocturnal Emissions co-founder’s only published solo record – has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time, the music seems to exist firmly outside of it.

Caroline Kaye Walters formed Nocturnal Emissions in 1980 with Nigel Ayers, contributing voice, synthesizer, bass and drum programming to the group’s early releases. She and Ayers also co-founded Sterile Records (1979-1986), one of the key underground imprints of its time, home to music from the likes of SPK, Lustmord and Maurizio Bianchi. In later life Walters retreated from the public eye, and in 2001 married Daniel Ayers (Nigel’s brother, also of Nocturnal Emissions, and her collaborator in The Pump), moving to Garfagnana, Italy, where she resided until her death from leukaemia on July 12, 2008.

Existing at some remove to the more abrasive textures of Walters’ collaborative work, there is an underlying sadness to Now Wait For Last Year; a wistful, autumnal atmosphere that feels quintessentially British. But the album is singular in concept, structure and tone, and it transcends genre: tags like industrial, minimal synth or proto-techno help place it in a broad context, but they can’t do real justice to the understated yet richly cinematic sound-world that Walters describes. She took the title of the album from a 1966 SF novel by Philip K. Dick, whose plot revolves around a pill-based hallucinogenic drug, JJ-180, which proves to be highly toxic and addictive – causing intense paranoia and the kind of intense withdrawal effects one would normally associate with heroin. Over the course of the book, it emerges that JJ-180 induces time travel for those who take it. But the effect is different for each user, no two trips the same: some users are sent to the past, others to the future, and each trip constitutes an alternate universe, meaning no one can effectively change their future or their past.

Walters captures beautifully the temporal distortions and existential malaise brought on by JJ-180. Side-long opener ‘The Happening World’ – twenty minutes of dread oscillations, distant howls and mystic glass-tones, all smothered in reverb – is a breathtaking exercise in sustained tension, and a vortical portal into Now Wait For Last Year’s uncanny domain. The wordless vocalisations and woodwind of ‘Animal Lattice’ sound like field recordings from the dawn of man, while stately piano lines evoke something more akin to Fin de siècle romanticism; ‘Chearth’, ‘Tracking With Close-Ups’ and ‘Leaving’ are poised between the dystopian and the beatific, their elegant, deep-frozen synthesizer melodies and crisp drum machine loops appearing to embrace the future, but struggling to conceal an intractable melancholy. It’s a remarkable sound from a remarkable artist: falling somewhere between Wendy Carlos’s A Clockwork Orange, Chris Carter’s The Space Between, and early Detroit techno.

Given the glut of reissues and archival presentations of 1970s and ‘80s synth, industrial and DIY music that we’ve enjoyed (and occasionally suffered) in the present decade, it’s astonishing that Now Wait For Last Year has remained, until now, largely out of reach. Were it not for Klanggalerie’s 2010 CD reissue of the album, we might never have encountered it at all (or featured ‘Animal Lattice’ on the very first Blackest Ever Black mixtape, The Scold’s Bridle), and so we’re delighted to be joining forces with that label in order to bring you the vinyl edition that so many of us have been waiting for.

LISTEN & SHARE: Caroline K - "Animal Lattice"
https://soundcloud.com/blackest-ever-black/caroline-k-animal-lattice/s-pz7I2

A1. The Happening World (20:48)
B1. Animal Lattice (4:56)
B2. Chearth (6:02)
B3. Tracking With Close-Ups (4:45)
B4. Leaving (2:37)

http://www.blackesteverblack.com

WOLFPACK: 1990s Trilogy Of LPs To Be Reissued Individually And In Box Set Form By Southern Lord; New WOLFBRIGADE Material On The Horizon

Southern Lord will be bringing back the furious early era of WOLFBRIGADE, the band then known as WOLFPACK, in a trilogy of reissues this April. The series will encompass the savage Swedish act's first three LPs -- A New Dawn Fades, Lycanthro Punk, and Allday Hell -- as well as a boxset including all three LPs and the remaining two EPs released before their name change. This marks twenty years since the release of their first two records; Bloodstained Dreams and A New Dawn Fades.

WOLFBRIGADE was one of the main factors in the renaissance of d-beat driven hardcore punk that ruled the world in the late 1990s and early 2000s, with a legion of bands and labels forming a globally recognized network of crushing momentum, siren-like leads and earnest anger sourced from political dissatisfaction and the need to build from the ground up a DIY system. WOLFBRIGADE's music stood at the forefront, in no small part down to their instantly identifiable brand of destructive riffing, riddled with chaos and ire, and with a fatally catchy tendency to structure tracks in a manner that kept the listener captive, slammed between a constant buffeting of high-speed verses and snappy choruses. Add to that their bare-bones intensity, underwritten by the storming d-beat drumming. The first three albums cemented their direct blasting approach and remain longstanding favorites, before their transformation at the turn of the millennium brought in darker tones and alternate directions.

On April 15th, Southern Lord will be running with the WOLFPACK to return to print A New Dawn Fades (1996), Lycanthro Punk (1998) and Allday Hell (1999), all of which will be available in LP format, or together in a special box set that also comes with the bonus 7"s Bloodstained Dreams (1996) and Hellhound Warpig (1997). Preorders will be available soon from the Southern Lord store.

Additionally, the present incarnation of the band, WOLFBRIGADE, will be once again teaming up with Southern Lord to bring to the masses their next full-length offering, which can be expected later on this year.

http://www.facebook.com/lycanthropunks
http://www.southernlord.com
http://www.southernlord.bandcamp.com
http://www.facebook.com/SLadmin
http://www.twitter.com/twatterlord

>ots of good-to-great stuff, 'bout time they brought it back again

https://soundsoftheuniverse.com/img/aTRvcElUeEZXYlZHZVZDUzVFOHgyZz09/sjr-lp328-ny-noise-slve.jpg

New York Noise 2016 Edition
Dance Music From The New York Underground 1977–1982
SOUL JAZZ RECORDS

This is the new 2016 edition of Soul Jazz Records’ long out of print first New York Noise collection, Dance Music From The New York Underground 1978-82.

This new 2016 edition features classic New York post-punk, punk funk and no wave tracks from Arthur Russell/Dinosaur L, James White and the Contortions, The Theoretical Girls, Mars, Konk, Material, Bush Tetras, Lizzy Mercier Descloux as well as new tracks by Alan Vega (Suicide), Chain Gang and Implog.

New 2×LP, also on CD, MP3

Tracklisting
1 The Dance – Do Dada
2 The Contortions – Contort Yourself
3 Theoretical Girls – You Got Me
4 Konk – Elephant
5 Mars – Helen Fordsdale
6 Dinoaur L – Clean On Your Bean #1
7 Chain Gang – Son Of Sam
8 Arto / Neto – Pini, Pini
9 Bush Tetras – Too Many Creeps
10 Alan Vega – Bye Bye Bayou
11 Mars – 3E
12 Konk – Baby Dee
13 Lizzy Mercier Descloux – Wawa
14 Material – Reduction
15 Bush Tetras – Can't Be Funky
16 impLOG – Breakfast
More Info & Audio
https://soundsoftheuniverse.com/sjr/product/new-york-noise-2015-dance-music-from-the-new-york-underground-1977-1982

http://files.ctctcdn.com/c58a551d001/70b28fda-0e81-46f6-a1c6-e18e6c2e3bae.jpg

The celebrated compilation series of long-lost vintage 60s-70s proto-stoner-psych singles, Brown Acid returns for a second edition this spring. Curated in partnership by L.A. retailer Permanent Records and RidingEasy Records, Brown Acid: The Second Trip will be released (fittingly) on April 20th. A new track, Crossfield's "Take It" is available to hear and share today:https://soundcloud.com/easyriderrecords/ash-midnight-witch/s-QHp32

Consequence of Sound recently premiered the first track, Ash's "Midnight Witch." Please see complete track listing below. Watch a rare clip of Ash performing "Midnight Witch" on Australian TV HERE.
https://www.youtube.com/watch?v=ZLTizSIITVk&feature=youtu.be

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century -- particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins - often hoarding them in private collections, or selling at ridiculous collector's prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid: The Second Trip.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long.

"I essentially go through hell and high water just to find these records," Barresi says. "Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved," rather than simply bootlegging the tracks. When all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

"There's a long list of songs that we'd love to include," Barresi says. "But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us."

One song on The Second Trip actually never even saw light of day, until now. "Bell Park Loon" by Spiny Norman - sounding like Jethro Tull on more acid and heavier cider - languished in a collector's archives, unreleased for 38 years until Barresi and Hall arranged to license some of the collector's goldmine.

Brown Acid: The Second Trip opens with the squealing guitar harmonies and Sabbath plod of Ash's "Midnight Wish." Sweet Crystal's "Warlords" is a fuzzy and fierce Deep Purple/Arthur Brown inspired organ-led anthem. Raving Maniac's 'Rock and Roll Man" is a tight and brash glam-meets-metal tune proving the true potential of a genre later squandered on Sunset Strip poodleheads. "Silence of the Morning" by Glass Sun serves grungy psych while the Volt Rush Band merges MC5 frantic energy with razor-sharp guitar leads. And, Iron Knowledge's aptly titled "Show Stopper" features a breakbeat and incredibly infectious detuned bass warble motif that DJs would kill for - had anyone been able to find the tune back in the day. Throughout, The Second Trip is yet another wall-to-wall set of blazing tracks that feels like you've uncovered a holy grail. And, in a way, you have.

Brown Acid: The Second Trip will be available everywhere on LP, CD and download on April 20th, 2016 via RidingEasy Records. Pre-orders are available for digital (with immediate download of first single) at iTunes and Bandcamp, physical pre-orders at RidingEasy Records.

Artist: Various Artists
Album: Brown Acid: The Second Trip
Label: RidingEasy Records
Release Date: April 20th, 2016

01. Ash "Midnight Witch"
02. Sweet Crystal "Warlords"
03. Raving Maniac "Rock and Roll Man"
04. Crossfield "Take It" https://soundcloud.com/easyriderrecords/crossfield-take-it/s-ynBLL
05. Spiny Norman "Bell Park Loon" (Unreleased)
06. Glass Sun "Silence of the Morning"
07. Volt Rush Band "Love To You"
08. Buck "Long Hot Highway"
09. Iron Knowledge "Show Stopper"
10. Sonny Hugg "Daybreak"

Artist: Various Artists
Album: Brown Acid: The First Trip ALBUM STREAM
Label: RidingEasy Records
Release Date: August 11th, 2015

01. Zeke's "Box"
02. Snow "Sunflower"
03. Tour "One of the Bad Guys"
04. Zebra "Wasted"
05. Bob Goodsite "Faze 1"
06. Raw Meat "Stand-By Girl"
07. Punch "Deathhead"
08. Bacchus "Carry My Load"
09. Lenny Drake "Love Eyes (Cast Your Spell On Me)"
10. The Todd "Mystify Me"
11. Josefus "Hard Luck"

Also:

Artist: Various Artists
Album: Brown Acid: The First Trip ALBUM STREAM
https://soundcloud.com/easyriderrecords/sets/brown-acid-vol-1-advance/s-4pOYu
Label: RidingEasy Records
Release Date: August 11th, 2015

01. Zeke's "Box"
02. Snow "Sunflower"
03. Tour "One of the Bad Guys"
04. Zebra "Wasted"
05. Bob Goodsite "Faze 1"
06. Raw Meat "Stand-By Girl"
07. Punch "Deathhead"
08. Bacchus "Carry My Load"
09. Lenny Drake "Love Eyes (Cast Your Spell On Me)"
10. The Todd "Mystify Me"
11. Josefus "Hard Luck"

http://files.ctctcdn.com/c58a551d001/6bd8b1ae-b1b8-4c09-989f-e42ba5844634.png

Sorry for incl. Vol. 1 twice, but at least yall get the album stream

I am really loving that Erroll Garner reissue. So much good music.

Trailer for Numero's xpost White Zombie early years box:
https://www.youtube.com/watch?v=ypT7Yg2-rss

https://pbs.twimg.com/media/CbXBaaeWwAAr9Qm.jpg:large

Yeah, I'll buy that. (The CD version.)

A couple of resurrected tracks from the aforementioned sexual star rovers Lightstorm, "Let Your Astral Body Fly" and "Missionary Is Impossible" (plus new stuff by Rangda etc): https://soundcloud.com/drag-city

http://i2.cmail20.com/ei/i/07/41E/9FE/225730/csimport/img188_1.jpg

Yes it's true! 4 Brand new limited edition Studio One 45s. Classic Studio One, rarities and heavy dub - it's all here on these 4 brand new reggae 45s!

See them all here (more info/audio)
https://soundsoftheuniverse.com/sjr/

Earlier releases in this series still available. Yay Jackie Mittoo!

And now---thee Lightstorm trailer:

https://www.youtube.com/watch?v=ek80jelKK1o

Ilian
Love Me Crazy
April 29th
Anthology Recordings

Listen To "Hey Denise" HERE (with a special intro on the record from our friend/record guru: Paul Major.)

https://www.youtube.com/watch?v=K5cHVmTpO40

"The best songs in the world come from a feeling" - Ilian

Leon Nahat sat on a pier at Hermosa Beach with his guitar and noted how each wave was different. He saw birds fly above and got a feeling. He went right to a recording studio and put "Saturday Song" down in one take, a touchstone of the sole 1977 album Love Me Crazy by Ilian. However, getting "the feeling" is perhaps the easy part, presenting it in a contagious way is where the talent comes in.

Ilian (Nahat’s nickname) put together his first rock band, Fat Daddy Puck, in his hometown of Detroit, Michigan while he was still a teenager, circa 1970. Along with Doug Brown, Steve Marston, and Tom Fine, the band quickly built a local following playing all original material. When Ilian turned 18 years old, the band moved to Phoenix, Arizona and soon were among the most popular live acts in town.

Their next move was to Colorado where Tommy Bolin of the hard rock band Zephyr caught a show and flipped. Tommy became a good friend of the band and partying buddy. Soon Bolin left Zephyr for the James Gang and ultimately Deep Purple. Ilian got the call from Bolin to fill in on lead guitar for Zephyr at a big festival show headlined by the Allman Brothers and promoted by local legend Randy Crazyhorse. It went well — he recalls that he "buried them all, and their Marshall stacks, too" with his little Fender Pro amp. This led to him joining Zephyr for a time until lead singer Candy Givens decided he was drawing too much attention and should lay back, so he quit.

Anybody can throw a bunch of licks at your face. Communicating, telling the story is where it's at. Ilian was influenced heavily by the concise, innovative guitar moves on the '60s Yardbirds classics. Every note speaks, adds to the story the song is laying out. You can hear that in both his guitar tracks and the arrangements of his songs on Love Me Crazy. Not one dicey or stale move allowed, no horses beaten to death in pursuit of pop perfection. He moves fast and if it doesn't happen, he moves on to the next one. Brings 'em back alive.

Beyond the Zephyr adventure, Ilian backed Chuck Berry, Dottie West, recorded with the Cleveland Symphony Orchestra, worked with Keith of "98.6" fame, and much more. All the while he was recording his own songs and firing them off to record labels. Sadly, he sent twenty four songs to CBS Records in NYC that are lost forever, as he has no copies.

In bittersweet stroke of luck, he met up with a representative of Album World in the late '70s. Album World out of Nashville was a prime example of what is now called a "tax-loss label." They would press up tiny quantities of LPs with a goal of losing money on them to scam the IRS. Ilian actually sent them two albums of material, but only Love Me Crazy was issued. In the confusion, Album World actually mixed up the song titles so that they are incorrect on the rare original LP sleeve and labels.

The songs of Love Me Crazy LP were recorded at different times in different studios. They hang together so well because Illian moved fast and with his virtuosic guitar-playing guiding the way. His music sounds fresh and timeless today because the songs were captured quickly before the magic of inspiration faded.

Rather than self-consciously attempting to write a “hit," Ilian put down his feelings direct from his dome. The songs come from his real life. He's thinking about how cool his sister is and we get the delightful "Hey Denise.” He’s musing about the human condition and the amazing psychedelic song "See What You Can See" emerges. He calls it "pop rock with a groove,” perhaps because these rock gems literally "popped" out of his mind.

After Love Me Crazy was released, Ilian pursued non-musical endeavors. He founded a water systems business that allowed him to live the American Dream, making so much money he could hit the golf course by 1 pm each day. He is also a walking encyclopedia of numismatics, and turned this passion into a rare coin dealing operation with a shop and many wealthy clients. He bought a Frank Lloyd Wright house and parked a collection of limousines on the property. Unfortunately he got caught up in a multi-million dollar deal with shady characters, got ripped off and had to quit the business.

Despite the ups and downs of the real life and the fantasy of a career as a chart-topping rock star, Nahat is a positive man that continues making his exceptional brand of pop music with feeling to this day.

never heard of that one -- sample sounds pretty nice!

Manufactured Recordings Reissues
Million Dollar Ecstasy Out March 18th

Drawing from influences both expected (Michael Jackson, Prince, Quincy Jones) and unexpected (Kiss, Jackie Wilson and L.L. Cool J), this unique and seldom-heard record exhibits some of the most adventurous electro-funk sounds of its era, accompanied by colorful samples and bold instrumental flourishes. Lyrically, Perry’s songs illustrate the disparities he observed in the world around him at the time: the greed and projected opulence of ‘80’s Oakland street culture, as well as the darker implications of the crack epidemic of the time.

The enigmatic electro/synth funk artist known as Million Dollar Ecstasy is actually the work of multi-instrumentalist songwriter Schyl Perry. In 1987, Perry released this self-titled eight song private press 12” on the Sacred Light label.

Click Here to Stream Single "Going Down Tonight"
https://soundcloud.com/manufacturedrecordings-1/a1-going-down-tonight-v1/s-f2O4T?in=manufacturedrecordings-1/sets/million-dollar-ecstacy-st/s-YPJFL&mc_cid=aea101999f&mc_eid=591064d8e7

The album has experienced a renewed interest among collectors in the ensuing years, often fetching more than $150 for original copies. Manufactured Recordings is proud to make this lost classic available again for the first time in 28 years. This CD reissue includes all 8 original tracks, as well as never before released photos of Perry, liner notes and an interview conducted by noted hip-hop/ funk collector and columnist Chairman Jeff Mao, all of which are unique to this release.

Soundcloud still streaming tracks from that; gets better I think!

The Rough Guide To A World of Psychedelia

Out March 25

In the minds of most people, the psychedelic era lasted just a few short (though eventful and multi-coloured) years. As the Beat Generation of Burroughs, Kerouac and Ginsberg morphed into an LSD culture inspired by the writings of Timothy Leary and Aldous Huxley, bands like the Holy Modal Rounders and the Incredible String Band opened their minds not only to hallucinogens but to the sounds of Indian drones and middle-eastern musical modes.

However, while psychedelia appeared to have flatlined in Europe and the USA, its pulse remained perfectly healthy in other parts of the world. African bands layered fuzztone guitars over highlife beats and Indian sitarists responded to the appropriation of their instrument by creating totally new soundscapes. In parts of Latin America counter-culture politics went hand in glove with musical exploration while Cambodian pop artists borrowed the psychedelic trappings of their American counterparts.

This Rough Guide reflects many aspects of the global psychedelic sphere, not only from the sixties, but continuing through the decades and on into the 21st century.

Latin America heads up nine of the tracks on this collection. The 1960s and 1970s were typified by activist rebellion and bands of the day communicated their passion with heavy reverb and re-imagined trad percussion gone west. Laranja Freak from Brazil make ‘Frantic Psychedelic Music’ on ‘Alergico De Flores’. Colombian dance style cumbia was also adopted by vintage psychedelic troubadours Juaneco Y Su Combo. Modern interpretations come via Chilean 'cumbia-punk-psychodelia' outfit Anarkia Tropikal. Salsa and samba are, in turn, psychedelicized by Iuri Andrade and Bacalao Men.

In Africa, the 1960s and 1970s here were defined by clashing sensibilities and political optimism. Celestine Ukwu’s classic track mixes highlife with pedal steel guitar. Tanzanian group Milmani Park Orchestra are heard on horn-heavy ‘Taxi Driver’. Victor Uwaifo’s seminal 1966 ‘Guitar Boy’ tops off the mix.

During the 1970s drug culture wasn’t flooding India’s shores but the country was undergoing its own social transformation and a DIY garage band scene evolved. Ananda Shankar’s ‘Dancing Drums’ is a cult classic from this era. The Virji Shah brothers appear under their duo moniker Kalyanji - Anandji on the wonderfully bizarre ‘Cabaret Dance Music’. Cambodia’s psychedelic archive was almost eradicated during the time of the Khmer Rouge but the sounds live on via legendary balladeer Ros Serysothea and Yos Olarang’s ‘Cyclo’.

Track List
01 Ros Seresyothea: Jam 10 Kai Theit (Wait Ten Months More) 03:30
02 Ananda Shankar: Dancing Drums 05:22
03 Laranja Freak: Alergico de Flores 03:37
04 Anarkia Tropikal Feat. Los Chapillacs: El Silbido Del Tunche 05:14
05 Celestine Ukwu: Obialu Be Onye Abiagbunia Okwukwe 06:15
06 Traffic Sound: La Camita 02:45
07 Asha Bhosle And R. D. Burman: Piya Tu Ab To Aaja 05:22
08 Yos Olarang: Cyclo 04:28
09 Juaneco Y Su Combo: Perdido En El Espacio 03:23
10 Mlimani Park Orchestra: Taxi Driver 06:20
11 Iuri Andrade: Folia No Vento 04:08
12 Bacalao Men: Japones 04:28
13 Kalyanji - Anandji: Cabaret Dance Music (Instrumental) 02:35
14 Ray Pérez Y Su Orquesta: Recordando Los Soneros 02:24
15 Victor Uwaifo: Guitar Boy 05:41
16 Wal Sant’Ana: Que Vida É Essa 02:43
17 M.A.K.U. SoundSystem: Canto Negro 08:26

World Music Network
6 Abbeville Mews, 88 Clapham Park Road
London, SW4 7BX www.worldmusic.net

Tracks from that and other World Music Network clients streaming here:
https://soundcloud.com/world-music-network

ROUGH GUIDE TO BOTTLENECK BLUES

out Feb. 26

Whatever the worldly origins of using a glass or metal object to slide across the strings of a guitar, this style has become famously associated with the blues. For many of the finest early blues practitioners it was the ultimate mode of musical expression as it could emulate the sound of the human voice to great effect. Employing open tunings, guitarists would use anything that they could find to produce the desired sound, ranging from pocketknives to medicine bottles and even bones, but because using a broken bottleneck (without the sharp edges) was probably the most popular method, the term ‘bottleneck’ has endured.

The profound effect of the bottleneck style on the Mississippi Delta blues is demonstrated by legends such as Charley Patton, Son House and Bukka White. They were able to harness the heightened resonance and volume that it allowed, and create extraordinary effects such as that of a train whistle

Far away from the raw intensity of the Delta blues sound, both Barbecue Bob and Curley Weaver were prominent figures on the East Coast who displayed bottleneck finesse with an incredible rhythmic feel. Also from the East Coast, Darby And Tarleton were a white, early country music duo whose playing was heavily influenced by the Hawaiian guitar style popular in American mainstream culture at the time. The Genial Hawaiians (Jim & Bob) were native islanders of Hawaii before moving to the US to seek their fame. Many feel that the duo’s technique was never topped, which is clearly demonstrated by Bob Pauole’s (Bob) improvisational mastery on ‘Hula Blues’. The Hawaiian style was adopted by an important set of featured blues guitarists in the 1930s including Kokomo Arnold (Gitfiddle Jim), Casey Bill Weldon, Oscar Woods, Tampa Red, and Black Ace who incorporated the Hawaiian practice of playing long melodic lines, as opposed to a blues style defined by short, staccato riffs.

The truly magnificent Blind Willie Johnson serves a prime example of how country blues and gospel have long been intertwined this with his much covered opener ‘It’s Nobody’s Fault But Mine’, undoubtedly one of the finest bottleneck recordings ever made.

Also included are songsters such as Leadbelly, Gus Cannon and Furry Lewis who bridged the gap between the country blues and its earlier musical traditions and who show an adept use of the slide in their variations on classic country blues standards.

Track List
01 Blind Willie Johnson: It’s Nobody's Fault But Mine 03:09
02 Weaver And Beasley: Bottleneck Blues 02:52
03 Bukka White: Bukka's Jitterbug Swing 02:36
04 Curley Weaver: No No Blues 03:07
05 Casey Bill Weldon: Has My Gal Been Here 02:31
06 Barbecue Bob: It's Just Too Bad 03:11
07 Darby And Tarleton: Sweet Sarah Blues 02:57
08 Gus Cannon: Poor Boy, Long Ways From Home 03:09
09 Gitfiddle Jim: Paddlin' Blues 03:17
10 Bayless Rose: Frisco Blues 03:05
11 Oscar Woods: Don't Sell It - Don't Give It Away 02:55
12 Leadbelly: C.C. Rider 02:57
13 Jim And Bob (The Genial Hawaiians): The Hula Blues 02:30
14 Rev. Edward W. Clayborn: You Never Will Know Who Is Your Friend 02:44
15 Tampa Red: The Dirty Dozen No. 2 03:13
16 Son House: Dry Spell Blues - Part 1 03:06
17 Lemuel Turner: Jake Bottle Blues 03:10
18 King Solomon Hill: Tell Me Baby 03:22
19 Black Ace: You Gonna Need My Help Some Day 02:33
20 Bo Weavil Jackson: You Can't Keep No Brown 03:08
21 Blind Willie Davis: When The Saints Go Marching In 01:54
22 Furry Lewis: John Henry (The Steel Driving Man) – Part 1 02:51
23 Blind Willie (Joe) Reynolds: Married Man Blues 03:14
24 Charley Patton: Prayer Of Death - Part 1 03:02
25 Bobby Grant: Lonesome Atlanta Blues 02:57

Total Playing Time: 74:28

http://d31hzlhk6di2h5.cloudfront.net/20160229/37/ab/00/88/f66b38eeaf68514cb3fc6656_384x384.jp

FAT POSSUM RECORDS CELEBRATES 25 YEARS WITH
WIDE-RANGING YEARLONG BLUES LP AND DIGITAL SERIES
Mississippi label’s classic blues debut on vinyl in 2016

OXFORD, Miss. — Fat Possum Records, the Oxford, Mississippi-based label that set a new standard for raw blues and rock ’n’ roll, will commemorate its 25th anniversary with a year-long program including the first-time-on-vinyl release of 30 groundbreaking blues recordings.
The series, highlighting Fat Possum’s storied and varied history, includes new and first-time-on-vinyl releases from hard-hitting North Mississippi “Hill Country Blues” performers; stellar sides from past masters of the Delta style cut in the 1960s, ’70s, and ’80s, recorded by famed musical historian George Mitchell; classic compilations of juke joint blues-rockers; and a first-time-on-vinyl reissue of the acclaimed 2005 All-Star tribute to arguably Fat Possum’s second most famous bluesman, Junior Kimbrough, involving Spiritualized, Black Keys, The Stooges, and Pete Yorn.
Fat Possum was started in 1991 by Matthew Johnson using $4,000 in student loans. The label soon gained recognition with albums by North Mississippi bluesmen Junior Kimbrough and R.L. Burnside, produced by musician and former New York Times music critic Robert Palmer.
Starting with Kimbrough’s All Night Long, and followed by Burnside’s Bad Luck City, Fat Possum found itself landing a perfect one-two punch to the blues-rock establishment, finding just the right mix of commercial and critical success and — utter ire among the so-called blues purists. Releases that followed were an ear-opening experience for blues listeners. Eschewing rocked-up “contemporary blues” and directionless archival reissues, Fat Possum brought to the foreground a generation of hard-hitting blues musicians who had been hiding in plain sight for decades. With never a nod to the past, no evidence of nostalgia, the music wasn’t presented with a whiff of the folkloric — these were upside-your-head records that were made to blow the back off your shack.
Fat Possum’s original stars and some of its greatest discoveries will be available as part of its 25th-anniversary series. Kimbrough will be represented by a vinyl reissue of Meet Me in the City, released a year after the trance-blues master’s 1998 death.
T-Model Ford will be heard on a pair of ferocious sets cut in tandem with longtime drummer Spam: T-Model’s label debut Pee Wee Get My Gun (1997) followed by Bad Man (2002), the latter of which was produced by the venerated musician-producer Jim Dickinson.
The most down-home side of the Fat Possum roster will be represented in a cache of albums by some of the label’s most gifted solo performers: Robert Belfour (2000), Robert Cage (1998), Johnny Farmer (1998), and Asie Payton (2002). R.L. Burnside, perhaps the label’s best known and most revered artist, will be heard on a compilation of material recorded before his arrival at Fat Possum. R.L. Burnside’s Unplugged, packages never-before-heard sides recorded in Europe in 1982.
Music by these and other Fat Possum blues artists — plus offerings from house-rocking modern acts as Grandpa Boy (a.k.a. Paul Westerberg of the Replacements), Bob Log III, 20 Miles (featuring Judah Bauer of the Jon Spencer Blues Explosion), Heartless Bastards — will be released on vinyl and digital editions of the label’s three Not the Same Old Blues Crap anthologies (from 1997, 2001, and 2004) and the compilation All Men Are Liars (1998).
Fat Possum-affiliated label Big Legal Mess will offer a selection of ten LPs and full-length downloads drawn from George Mitchell’s genre defining fieldwork, recorded between 1963 and 1982. Some of the material has been unavailable in its entirety since its original 12-inch release. Artists include such masters as Furry Lewis, Buddy Moss and Houston Stackhouse.
Additionally, John Lee Hooker’s Alone, a 1976 solo live set by the Detroit blues titan captured at New York’s Hunter College, will make its appearance on two individual LPs. Also premiering on vinyl will be Sunday Nights, the 2005 Kimbrough salute starring the Black Keys (whose own Fat Possum albums put them on the map), Iggy & the Stooges, Spiritualized, Cat Power, Mark Lanegan, and a host of other top rock ’n’ roll talents.
Since its outset two-and-a-half decades ago, Fat Possum’s operating motto has been “We’re Trying Our Best.” This celebratory cavalcade will prove definitively that its pretty damn good.
Complete Fat Possum Anniversary Release Schedule
Released in 2015:
Oct. 2 - Not the Same Old Blues Crap 1 LP
Oct. 30 - J.W. Warren – Life Ain’t Worth Livin LP / Digital
Oct. 30 - Jimmy Lee Williams – Hoot Your Belly LP / Digital
Nov. 27 - Buddy Moss – self titled LP / Digital
Nov. 27 - Not the Same Old Blues Crap 2 LP
To be released in 2016:
January 8 - Leon Pinson – Hush – Somebody Is Calling Me LP / Digital
February 19 - Not the Same Old Blues Crap 3 (Blues Crap 1 & 2 in the UK Also)
April 8 - Furry Lewis – Good Morning Judge LP / Digital
April 8 - Houston Stackhouse & Friends LP / Digital
April 16 - Sunday Nights: The Songs of Junior Kimbrough Record Store Day LP
April 16 - Junior Kimbrough – I Gotta Try You Girl Daft Punk Edit Record Store Day LP
May 06 - R.L. Burnside - Mississippi Hill Country Blues LP
May 20 - John Lee Hooker - Alone Volume 1 LP
May 20 - John Lee Hooker - Alone Volume 2 LP
May 27 - T-Model Ford - Pee Wee Get My Gun LP
May 27 - T-Model Ford - Bad Man LP
June 10 - Jim Bunkley & George Henry Bussey LP / Digital
June 10 - Junior Kimbrough - Meet Me in the City LP
June 24 – R.L. Burnside (unreleased recordings)
July 15 - Asie Payton - Just Do Me Right LP
July 15 - Robert Belfour - What's Wrong With You LP
July 22 - All Men Are Liars Compilation CD / LP / Digital
Aug. 17 - Jimmy Lee Harris – I Wanna Ramble LP / Digital
Aug. 17 - Robert Cage - Can See What You're Doing LP
Sept. 9 - Johnny Farmer - Wrong Doers Respect Me LP
Oct. 7- Dewey Corley & Walter Miller LP / Digital
Oct. 7 - Paul “Wine” Jones - Mule LP
# # #

i've been going down the George Mitchell rabbit hole lately, tons of amazing music. that box set from a few years back might be the deal of the century.

Numero National Record Store Day releases:

NUM203.5 Blonde Redhead: Peel Sessions 7”

On June 7, 2000 Blonde Redhead stepped into the BBC’s Radio 1 Yalding House studios for what would be their sole Peel Session, a setting particularly important as it inspired the namesake of one of this 7” single’s two songs. “Where is John?” a nervous producer asked again and again, pacing the room, unable to locate the revered radio host, as a warmed up Blonde Redhead waited patiently.

The trio’s affection for Peel dated to a very early tour in 1995, when they were lost among the tumbleweeds of a barren Texas landscape. As the band turned the crackling radio dial, the celebrated radio presenter’s Northern English accent suddenly piped through their van’s speakers with high praise for the track "Violent Life" from their recently released sophomore LP, La Mia Vita Violenta. This unexpected bit of encouragement from Peel helped give the young, extremely road weary and relatively unknown trio the confidence and validation to press on in what had proven to be an arduous road expedition. Five years later, the seasoned threesome eventually played live for Peel's show, and it seemed only fitting that the they christen a brand new, yet-to-be-titled song after their only session with the man held deep in their collective heart. Remastered and released here for the first time on vinyl, “Where is John?” b/w “Missile ++” speaks not only of a band in the prime of their celebrated sound, but also of the people who helped along the way. Limited edition of 2000 copies (1000 black, 1000 white).

All this is leading up to our Blonde Redhead boxset this fall, details of which will be announced in the coming months.

NBR-006 Los Alamos Grind LP/CD

Record buyers of a certain age need no explanation for Los Alamos Grind!, they will be immediately transported back to a time when going to see The Dwarves was de rigueur for fresh-faced American youth, books like Apocalypse Culture were on everyone’s nightstand, and issues of Rollerderby were available everywhere, selling millions of copies. A natural reaction to this onslaught of hypersexual, transgressive, post-Throbbing Gristle art was a wave of interest in a kinder, gentler era of sleaze. For those space-age bachelors who occasionally invited others into their space-age bachelor- pads, the Las Vegas Grind series appeared to, ostensibly, compile the sounds and smells of vintage strip clubs, with all the pastie-twirling, sweaty-hip-gyrating, lap-grinding one could hope for, as if compiled by Lloyd Llewellyn himself. Like every bootleg series, however, the Las Vegas Grind series slid quickly into the untold darkness, much like a rotted-stripper panty swept off the stage at The Can Can.

Los Alamos Grind! picks up in the not-too-distant future where nuclear war has indelibly altered the physical structure of strippers and patrons alike, but the jukebox selections have returned to a simpler time. Join the time-traveling A&R men of Numbero as they simultaneously visit past and future, compiling a superior collection of sleaze than anything brought to the post-apocalyptic-bachelor-pad scene thus far. And because we are gentlemen and scholars, each track is licensed… no easy feat when the government has crumbled and all laws are dictated by treaties between mutant warlords (and warladies). Quantity limited to whatever we were able to cram into our fallout shelter…help us make room for more canned goods!!

Includes an original comic penned by Doofus creator Rick Altergott. 1000 copies pressed on silver plastic compact disc. 1000 copies pressed on alien urine blue vinyl, 1000 copies pressed on galaxy black vinyl.

6th Annual Chicago
Pop Up Store!

On Saturday, April 16th we’ll return to that little triangular strip at Kedzie/Milwaukee/and Logan Blvd. for our sixth annual pop up store. In addition to an assortment of trusted dealers shucking used 45s and LPs, we’ll have every in-print Numero LP, CD, 45, and whatever other miscellaneous debris we can find on hand at the lowest prices we can afford to sell them at. As an exclusive to our store we’ll be selling an extremely limited edition cassette featuring the earliest recordings from the original torchbearers of Chicago’s rap underground. We’ll also have copies of Rick Altergott’s Los Alamos Grind! as a tract comic, free with any purchase. And, as has been a staple of our sales, we’ll be unloading hundreds of LPs with dinged corners at prices just barely above cost. Condition freaks need not browse these bins, but those looking to round out their Numero collection on the cheap should be sure to bring ample time and cash.

The details:

Numero Group Pop-Up Extravaganza
Saturday, April 16th 2016
10AM-5PM
Comfort Station
2579 N. Milwaukee Avenue
Chicago, IL 60647
Cash/Credit/Interesting trades accepted

3rd Annual Brooklyn
Pop Up Store!

A few days after Record Store Day we’ll pack several thousand records in a rented van and head east. In years past we’ve spent three days hustling our wares at Human Gallery located at Meserole and Manhattan Avenue in Greenpoint. With Human’s closing last year, we’ve moved the whole operation a few blocks north to 170 Franklin where we’ll cram ourselves and several tons of wax into 400 square feet for four days. We’ll have copies of Los Alamos Grind!, Blonde Redhead, and that secret Chicago rap tape mentioned to the left, alongside damaged stock, posters, t-shirts, and all other manners of branded garbage that we’ve manufactured over the last 13 years. Those brave enough to approach our founders Rob Sevier and Ken Shipley can expect tales from the trenches in exchange for coffee and treats.

The details:

Numero Group Pop-Up Extravaganza
Thursday, April 21st 2016
5PM-10PM
Friday, April 22nd 2016
12PM-8PM
Saturday, April 23rd 2016
12PM-8PM
Sunday, April 24th 2016
12PM-5PM
170 Franklin Street
Brooklyn, NY 11222
Cash/Credit/Interesting trades accepted

Won't let me paste, but looks promising:

https://www.bear-family.com/various-the-knoxville-sessions-1929-1930-4-cd-deluxe-box-set.html

https://www.bear-family.com/media/image/thumbnail/the-knoxville-sessions-1929-1930_a56d5d9dfd1d0d_720x600.jpg

http://cdn.beggars.com/fourad/site/images/artists/desktop_header/lush.jpg

Record Store Day LP Boxset 'Origami'
2nd March 2016
To coincide with Lush’s first live shows in almost twenty years a limited LP boxset, collecting the band’s five albums released between 1990 and 1996 on 4AD, will be released as part of Record Store Day on 16th April 2016.
Entitled Origami, the box contains the group's three albums Spooky (1992), Split (1994) and Lovelife (1996) and the singles compilations Gala (1990) and Topolino (1996). All have been out of print since the nineties except Topolino, which has never before been available on vinyl.
All five LPs are being pressed on a different colour of vinyl and will come housed in a beautiful laminated box as designed by long-time associate and former v23 collaborator Chris Bigg. Download codes for each album are also included in the boxset. The full tracklisting for Origami:

Formats: LP
A1. Sweetness And Light
A2. Sunbathing
A3. Breeze
A4. De-Luxe
A5. Leaves Me Cold
A6. Downer
A7. Thoughtforms (Second Version)
B1. Babytalk
B2. Thoughtforms
B3. Scarlet
B4. Bitter
B5. Second Sight
B6. Etheriel
B7. Hey Hey Helen
C1. Stray
C2. Nothing Natural
C3. Tiny Smiles
C4. Covert
C5. Ocean
C6. For Love
D1. Superblast!
D2. Untogether
D3. Fantasy
D4. Take
D5. Laura
D6. Monochrome
E1. Light From A Dead Star
E2. Kiss Chase
E3. Blackout
E4. Hypocrite
E5. Lovelife
E6. Desire Lines
E7. The Invisible Man
F1. Undertow
F2. Never-Never
F3. Lit Up
F4. Starlust
F5. When I Die
G1. Ladykillers
G2. Heavenly Nobodies
G3. 500
G4. I’ve Been Here Before
G5. Papasan
G6. Single Girl
G7. Ciao!
H1. Tralala
H2. Last Night
H3. Runaway
H4. The Childcatcher
H5. Olympia
I1. 500 (Shake Baby Shake)
I2. I Have The Moon
I3. Ex
I4. I Wanna Be Your Girlfriend
I5. Matador
I6. Outside World
J1. I'd Like To Walk Around In Your Mind
J2. Carmen
J3. Shut Up
J4. Cul De Sac
J5. Demystification
J5. Tinkerbell

https://s3-eu-west-1.amazonaws.com/cdn.beggars.com/fourad/site/images/releases/packshots/56d5c52828ff6.jpg

Them lemons looked a lot bigger over here

or whatever they are

Blackest Ever Black presents a new vinyl edition of Af Ursin’s 2005 masterpiece Aura Legato, and its first outings on CD and digital formats.

Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. He began his musical activities in the mid-1980s, co-founding the Noise-Maker’s Fifes collective with Geert Feytons in ’89. During the ’90s he developed his solo work under the name Af Ursin, before establishing his private press, La Scie Dorée, in 2001. It continues to act as the main platform for his own music, including regular collaborations with Christoph Heeman (as In Camera) and Andrew Chalk (as Elodie), while his other label, Metaphon (run with Marc Wroblewski and Greg Jacobs), is focussed on archival presentations from the likes of Michael Ranta, Joris de Laet, and IPEM.

Van Luijk’s work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Informed by years of intensive listening to various types of free music, exploratory drug use and especially the “irregular organic forms” of the Belgian countryside where he resides, van Luijk’s process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Over time he has evolved his own richly poetic musical language, full of allusions to drone, acid folk, classical, Musique concrète and jazz, but beholden to none.

Originally released on La Scie Dorée in 2005, in an edition of 350 copies, Aura Legato is one of van Luijk’s darker and more acutely psychedelic offerings. It’s a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence – dabblings in Thelema, the fog of the opium-den – and has earned telling, if inadequate, comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS. Fully remastered by Noel Summerville, the album has never sounded better, and our vinyl edition replicates the original’s ornate presentation: sleeve die-cut in the style of a 78rpm record, with gold detailing and individually hand-glued labels. Due to be released in May 2016, we urge you to acquaint yourself with what is, unmistakeably, a modern classic.

LISTEN & SHARE: Af Ursin - "Tableau Fluide"
https://soundcloud.com/blackest-ever-black/af-ursin-tableau-fluide

In the 60s, Dr. Spock was cited by some right-thinking thinkers for his pernicious influence on thee rising peacenik tide of Baby Boomers, even before he and his wife turned up at antiwar events (think they're there for levitation of the Pentagon, in Armies of the Night). Never heard of this one!

Drag City presents a newly-unearthed artifact from the long history of The Red Krayola: 1984's previously-unheard Baby and Child Care! Every year, we discover in our society the injustices of history in many and myriad forms. Surely among the most profound realizations of 2016 will be that the heads of (record) industry circa 1984 did not hear a fantastic new release when the tapes for Baby and Child Care were played to them! Grooving sinuously in prime mid-80s form in a production redolent with funk, dub and new-wave inflections, Baby and Child Care is of a musical vintage whose dry complexity is even more appreciable today.

The revolutionary advice found within The Common Sense and Baby Child Care opened doors in the mid-40s that are widening still; at the time of this album project, it had influenced a generation or two of generally young parents.When presented with the lyric qualities of Dr. Spock's psychoanalytic texts, passages of which had been transposed by Art & Language's Michael Baldwin and Mel Ramsden, Mayo Thompson immediately set them to music. The Red Krayola "Black Snakes" band provided musical accompaniment in performances recorded by Eric Radcliffe at Blackwing Studios in London. Thirty-two years later, the conversant playing and production approach of Baby and Child Care comes across with an enduring completeness that belies its position on the shelf for the past several decades.

Standing tall next to the already-known classics of early-80s Red Krayola, from Kangaroo? through Three Songs on a Trip to the United States, Baby and Child Care drops into the hands of parents and progeny alike on May 13th!

http://www.dragcity.com/artists/the-red-krayola"> http://www.dragcity.com/artists/the-red-krayola

John Stuart Mill

Forget Everything

Scioto Records

19 February 2016

* 1999 Solo album from John Schmersal (Brainiac, Enon, Crooks on Tape, Vertical Scratches and touring member of Caribou)
* First time on vinyl
* Vinyl cutting by Adam Boose at Cauliflower Audio in Cleveland, Ohio from the original master

John Schmersal is an American musician, producer, composer best known for being a founding member of the band Enon, as well as the guitarist for the seminal Dayton, Ohio indie-rock group Brainiac.

In 1997, Schmersal found himself without a band. Brainiac had broken up following the tragic death of frontman Tim Taylor, so he recorded a solo album on a 4-track machine at an old Masonic Temple in Kentucky. Released in 1999 on CD by SeeThru Broadcasting under the pseudonym John Stuart Mill, the title, “Forget Everything” was an homage to Brainiac song of the same name.

Describing the record now, Schmersal says, “I was starting to hit a wall as a guitar player in Brainiac. I wanted to do something almost polar opposite of those constructs. I made “Forget Everything” in a kind of bubble. I was sort of escaping into the process. I didn’t want to play those songs live or even try. It just seemed like I couldn’t turn myself off and be the vessel for that material.” Shortly after its release, Schmersal went on to form Enon, releasing a series of acclaimed records that blend pop melody and electronic art rock.

Largely ignored at the time, “Forget Everything” now stands as the missing link between Brainiac and Enon. The recording process was unfiltered, as Schmersal quickly translated songs to tape.

In a recent interview for Blurt, he compared it to his work with Vertical Scratchers: “Both records are intimate. The songs are introspective.”

Couple of interesting end-of-the-year items:

Punk 45: Les Punks, The French Connection (The First Wave Of French Punk 1977-80): https://soundsoftheuniverse.com/sjr/product/the-first-wave-of-french-punk-197780
- The best review of French punk I've heard

Kollektion 06: Cluster 1971-1981: https://shop.tapeterecords.com/records/bureaub/kollektion-6-cluster-compiled-by-john-mcentire.html
- Single disc career overview

Also, this lovely 4CD box covering underground UK punk:
http://www.cherryred.co.uk/product/action-time-vision-a-story-of-uk-independent-punk-1976-1979/

out today:
WAXWORK RECORDS ANNOUNCES DELUXE VINYL RELEASE OF
THE HOWLING ORIGINAL MOTION PICTURE SCORE
COMPOSED BY PINO DONAGGIO
won't let me paste the artwork here for long, but link leads to that and other details of a lavish edition (a la others posted about upthread):
http://us1.campaign-archive1.com/?u=a088e1e7fb68010cf6ad8ff4a&id=f55057ec3c&e=32e64a6326

Thanks for those links, Gerald. Would esp. like to check that French comp; the only ones I've heard on there are Metal Urbain and Metal Boys (when they featured China), both ace.

"others posted about upthread"--others on Waxwork Records.