Rolling Reissues 2016

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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"

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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

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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

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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

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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

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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.”

Foghat: The Complete Bearsville Albums Collection (13CD)

Came across this one on Amazon a few days ago. It's pretty much like the other Warner distributed complete box sets that have been coming out. Price is pretty good for a 13 disc collection and probably will be $10-20 bucks less after it has been out a few weeks. It's pretty much everything they put out 72-83 for Bearsville. (There is a simliar Todd Rundgren Bearsville set also out.)

http://www.amazon.com/Complete-Bearsville-Albums-Collection-13CD/dp/B01C4WGNV6/ref=sr_1_1?ie=UTF8&qid=1457137481&sr=8-1&keywords=foghat+bearsville

Edsel has/had that Foghat stuff out as remastered twofers (and a final threefer) that weren't super expensive, certainly in line with the box price if you were a smart shopper.

They did the Rundgren stuff too, but his set looks like a steal at $52.

I think I need that Foghat box.

I'd figure the Foghat box will be around the same price as the Rundgren after it is out for a couple weeks. I got that UFO one for like $25 bucks a few months ago.

I love theses complete album sets. They really should have been putting these things out at this price point back in the day, they would have sold boodles of them.

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BAD COMPANY: LIVE 1977 & 1979

Double-CD Set Is The First-Ever Official Live Album To Feature The
Band's Original Line Up And Includes Two Previously Unreleased Concerts

Available From Rhino On April 29

'One Hell Of A Night' Co-Headlining North American Tour Kicks Off On May 12

LOS ANGELES - Despite its reputation as one of the most exciting live bands to ever rock an arena in the Seventies, Bad Company never released a live album during its meteoric rise to the top of the charts. That will soon change when Rhino introduces the first-ever official live album to spotlight the original Bad Company line up: Paul Rodgers, Mick Ralphs, Simon Kirke and Boz Burrell.

LIVE IN CONCERT 1977 & 1979 will be available on April 29 as a double-CD set for a suggested retail price of $19.98. The collection includes more than two-and-half hours of unreleased music taken from 24-track tapes in the band's vault. The music heard on this live collection features absolutely no enhancements or overdubs, nothing but the band as they performed live on the night of the concert. Vinyl fans take note: the concerts will also be released individually as double-LP sets later this year.

LIVE IN CONCERT 1977 & 1979 includes two previously unreleased concerts - with one additional track taken from the group's June 26, 1979 show in Washington, DC.

The first disc captures the band's show at the Summit House in Houston, Texas, which took place on May 23, 1977. It was recorded during Bad Company's tour supporting its fourth studio album Burning Sky. After opening with the title track from the album, the band went on to play selections from all its previous albums: Run with the Pack (1976), Straight Shooter (1975) and Bad Company (1974). Among the crowd-pleasing highlights are strong performances of "Shooting Star," "Ready For Love," "Good Lovin' Gone Bad" and "Feel Like Makin' Love."

The next disc fast-forwards two years to the band's March 9, 1979 show in London, which was recorded during the band's tour for its multi-platinum album, Desolation Angels. Several songs from that album were performed during the show, including "Rock 'n' Roll Fantasy," "Gone, Gone, Gone" and "She Brings Me Love." The group also performed several songs from earlier albums that weren't part of the 1977 concert, like "Run With the Pack," "Rock Steady" and "Can't Get Enough."

LIVE IN CONCERT 1977 & 1979 also includes the band's stellar cover of "Hey Joe," which was recorded on March 9, 1979 at the Capitol Center in Washington, DC.

For more information about BAD COMPANY, please contact Jessica Giordano in the Rhino Media Relations Department at jess✧✧✧.giord✧✧✧@rh✧✧✧.c✧✧ or 818-238-6403.

LIVE IN CONCERT 1977 & 1979
Track Listing:

Disc One: Live at The Summit, Houston, Texas (5/23/77)
1. "Burnin' Sky"
2. "Too Bad"
3. "Ready For Love"
4. "Heartbeat"
5. "Morning Sun"
6. "Man Needs Woman"
7. "Leaving You"
8. "Shooting Star"
9. "Simple Man"
10. "Movin' On"
11. "Like Water"
12. "Live For The Music"
13. Drum Solo
14. "Good Lovin' Gone Bad"
15. "Feel Like Makin' Love"

Disc Two: Live at The Empire Pool, Wembley, London (3/9/79)
1. "Bad Company"
2. "Gone, Gone, Gone'
3. "Shooting Star"
4. "Rhythm Machine"
5. "Oh, Atlanta"
6. "She Brings Me Love"
7. "Run With The Pack"
8. "Evil Wind"
9. Drum Solo
10. "Honey Child"
11. "Rock Steady"
12. "Rock 'n' Roll Fantasy"
13. "Hey Joe"*
14. "Feel Like Makin' Love"
15. "Can't Get Enough"
* Recorded at Capitol Center, Washington, DC (6/26/79)

Bad Company Tour Dates:

5/12/2016 - Dallas, TX @ Gexa Energy Pavilion
5/15/2016 - Morrison, CO @ Red Rocks Amphitheatre
5/17/2016 - Concord, CA @ Concord Pavilion
5/18/2016 - Chula Vista, CA @ Sleep Train Amphitheatre
5/20/2016 - Los Angeles, CA @ The Forum
5/22/2016 - Phoenix, AZ @ AK-Chin Pavilion
5/24/2016 - The Woodlands, TX @ The Cynthia Woods Mitchell Pavilion
5/26/2016 - New Orleans, LA @ Bold Sphere Music at Champions Square
5/28/2016 - Tampa, FL @ MidFlorida Credit Union Amphitheatre
5/29/2016 - W. Palm Beach, FL @ Cruzan Amphitheatre
6/7/2016 - Darien Center, NY @ Darien Lake Performing Arts Center
6/9/2016 - Mansfield, MA @ Xfinity Center
6/11/2016 - Holmdel, NJ @ PNC Bank Arts Center
6/12/2016 - Camden, NJ @ BB&T Pavillion
6/14/2016 - Wantagh, NY @ Nikon At Jones Beach Theater
6/16/2016 - Noblesville, IN @ Klipsch Music Center
6/18/2016 - St Louis, MO @ Hollywood Casino Amphitheatre
6/20/2016 - Kansas City, MO @ Starlight Theatre
6/22/2016 - Clarkston, MI @ DTE Energy Music Theatre
6/23/2016 - Chicago, IL @ FirstMerit Bank Pavilion
6/26/2016 - Cuyahoga Falls, OH @ Blossom Music Center
6/28/2016 - Pittsburgh, PA @ First Niagara Pavilion
6/30/2016 - Charlotte, NC @ PNC Music Pavillion
7/3/2016 - Nashville, TN @ Carl Black Chevy Woods Amphitheatre
# # #

Too bad they were already on the slide, quality-wise, by album #3 and these recordings are from even later than that. Would much rather have heard stuff from 1974-75.

Oh yeah. Hope there are decent show tapes out there, hadn't thought to look.
Meanwhile, after many diversions, I'm on the home stretch of the xpost Trad, Gras box; it's pretty strong now. I dig that they get into shaping one note, with enough sustain, twangbar etc. for carving, without worshipping thee thing. When they do that and keep a groove, can be fairly involving. But as an overview, as I said on their own thread:

Been making my way through the box for several days, off and on--so far (heard about 3/4), about an hour's worth really grabbed me, but the rest either starts well, then loses the momentum, or fades out too soon, or seems utterly predictable, in that jam band way, from any era--or just seems inconsequential, at least to non-specialist ears (that nevertheless have listened to lots and lots of jams, in my case). But I'll keep listening; it ain't painful (I've heard much, much worse).

Going to be more like 90 minutes than an hour of personal keepers after all, but out of 4 hrs.-plus---so still rec more to confirmed fans than newcomers, unless there's a sampler coming up, or reissues of individual albums.

―

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Johnny Winter With Dr. John "Live In Sweden 1987"
coming to DVD, CD, Vinyl, and Digital Formats
on April 22 via MVD Entertainment Group

https://soundcloud.com/mvdentertainmentgroup/johnnywinter-drjohn-liveinsweden-sound-the-bell

t's been around since the bygone days of VHS and there have been bootlegged DVD editions floating around the globe (even from Japan) of dubious quality, but now fans of Blues legend Johnny Winter can rejoice with the release of Johnny Winter With Dr. John - Live In Sweden 1987 available on DVD, CD, vinyl, and digital formats on April 22nd.

Recorded live at the famed Sonet Studios in Stockholm, Sweden in January of 1987, this eight-song set with New Orleans Jazz and Zydeco legend Dr. John (aka: Malcolm John Rebennack) features the likes of "Sound the Bell," "Jumpin Jack Flash," "Prodigal Son" and "Sugar Sweet."

As a special bonus, MVD Entertainment Group is including a vintage 1972 rendition of "Prodical Son

Tracklist:
Sound the Bell
Don't Take Advantage of Me
Mojo Boogie
You Lie Too Much
Sugar Sweet
Love Life & Money
Jumpin Jack Flash
Prodigal Son

http://i2.cmail20.com/ei/i/ED/B09/5A2/202117/csimport/sjr-lp329-punk-45-la-slve_1.jpg

‘Chaos in the City of Angels and Devils’ is the new instalment of Soul Jazz Records’ Punk 45 series featuring an array of first generation Los Angeles punk bands including X, The Germs, The Zeros, The Urinals, The Weirdos through to second generation hardcore groups like The Circle Jerks, Adolescents and T.S.O.L.

Unlike the other major cities of New York and London, Punk in Los Angeles was pretty much ignored by the major record industry. As bands sprang up, Los Angeles punk gave rise to a wide range of its own DIY independent records with labels like Dangerhouse, Bomp!, What? And Upsetter documenting the nascent emerging scene.

Original Los Angeles punk came in two distinct phases. The first punk groups (c.77-79) all centred around The Masque club in Hollywood, and the birth of the first ever hardcore groups who emerged in the surrounding Los Angeles suburb and beach areas (c.1979-81), mixing punk, skate and surfer ideologies. This album includes music from both periods.

‘Chaos in the City of Angels and Devils’ documents this in detail. The 64-page outsize CD booklet features extensive notes, exclusive photography from celebrated original photographers Jenny Lens, Melanie Nissen (Slash magazine) and Edward Colver, original cover art as well as interviews and features on bands and labels (including The Urinals, Flesh Eaters, Dangerhouse, Posh Boy, Frontier, Upsetter and more!).

The deluxe double vinyl comes in gatefold sleeve, inner sleeves, insert + free download (+ full sleevenotes and photography). This is the sixth Punk 45 release on Soul Jazz Records and follows on from the earlier releases covering punk from Cleveland, Akron, UK, USA and proto-punk, as well as the book Punk 45 – Cover Art of Punk written in collaboration with Jon Savage.

New 2×LP
Cat. No.: SJRLP329
Barcode: £14.99
BUY
CD
Cat. No.: SJRCD329
Barcode: £10.99
BUY
MP3 Release
Cat. No.:
Barcode: £7.99
BUY
Tracklisting
1 The Middle Class – Out Of Vogue
2 X – We're Desperate
3 The Flesh Eaters – Disintegration Nation
4 The Weirdos – A Life Of Crime
5 The Urinals – I'm White and Middle Class
6 Iggy & The Stooges – I Got A Right
7 The Germs – Forming
8 Agent Orange – Bloodstains
9 Black Randy & The Metrosquad – Trouble At The Cup
10 The Urinals – Ack Ack Ack Ack
11 The Zeros – Don't Push Me Around
12 The Randoms – ABCD
13 Circle Jerks – What's Your Problem
14 The Bags – Survive
15 The Adolescents – Amoeba
16 The Dils – Class War
17 The Deadbeats – Brainless
18 The Simpletones – I Like Drugs
19 T.S.O.L. – World War 3
20 Eyes – TAQN
21 The Hollywood Squares – Hollywood Square
22 The Deadbeats – Final Ride
More Info & Audio
https://soundsoftheuniverse.com/sjr/product/punk-45-chaos-in-the-city-of-devils-and-angels-hollywood-from-x-to-zero-hardcore-on-the-beaches-punk-in-los-angeles-1977-81

Numerophiles-

This Friday marks the release of the release in our Wayfaring Strangers series, wherein we take deep dives into the American private press subculture of the 1960s and ’70s. Cosmic American Music is a peerless gem of a compilation, the kind of record we’re known for making. Your shelf will feel barren and lonely without it. Your friends will mock you openly. It’s in the realm of possibility that your dog will run away to live with someone who has better taste. If you can’t find one in your local record store, feel free to challenge them to a duel, and when you win go to our website and order a copy.

After a quiet open to the year, we’re rushing into Spring and Summer with lineman-like bloodthirst. Record Store Day sees the return of our pop-up stores in Chicago and New York, alongside the smoking new Numbero compilation Los Alamos Grind! and a Blonde Redhead Peel Session 7”. In May we’ll follow up our Iasos and Jordan De La Sierra albums with a collection of Joanna Brouk’s haunting flute and synthesizer drones. A month later we’ll unleash White Zombie’s complete pre-major label recordings, a terrifying combination of horror comics, Ibanez riffs, and greasy hair. Plus 5LPs and a hardcover book. And finally, we’ll soundtrack that summer park picnic with the latest volume of our long-running Eccentric Soul series: Sitting In The Park.

Cosmic American Music

As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. “He hated country-rock,” Parsons collaborator Emmylou Harris would later reflect. “He thought that bands like the Eagles were pretty much missing the point.”

Parsons had been orbiting the idea of for some time. In ’68, he’d parted ways with the Byrds and was looking to take air with a new project. “It’s basically a Southern soul group playing country and gospel-oriented music with a steel guitar” he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M’s Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons’ Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before for day one of the 1970s. Parsons himself might’ve disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music’s most distinguishing stringed signifier.

Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum’s raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shit-kickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became “the dominant American rock style of the 1970s,” as Peter Doggett’s comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre’s real Wild West—America’s one-off private press label substructure.

Buy Cosmic American Music on CD or 2LP.

Joanna Brouk

She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk's little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse.

Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the ’70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

Pre-order on deluxe double vinyl or CD.

itting In The Park

Hear the document of one man’s passion crossing over into obsession. Chicago radio disc jockey and soul archivist Bob Abrahamian was deeply devoted to celebrating and documenting unknown Chicagoland group harmony music. Upon his untimely passing in 2014, he left behind hundreds of radio programs and a daunting collection of 35,000 carefully-selected 45s. Our collection borrows its title from Abrahamian’s long-running and acclaimed WHPK radio show, and it spins a tale that’s cautionary, inspiring, and set to the sounds of the impossible-to-find tracks that made Bob Abrahamian’s on-air playlist and animated the radio programs that were his life’s work. Collected here are 12 (16 on the CD) artists featured on Sitting In The Park, in their own words and through the lens of our friend Bob.

Featuring rare and previously unissued tracks by Cindy & the Playmates, Shades of Brown, the Mist, Puzzle People, the Enchanters, Oneness, the Procedures, Master Plan Inc, Chocolate Sunday, the Krash Band, Ahead of Our Time, Cliff Curry, Walter & the Admerations, the Auditions, the Dontells, and Otis Brown & the Delights.

Pre-order Sitting In The Park on CD or LP.

Keep Up

http://email.forcefieldpr.com/sites/default/files/styles/album_cover/public/01-Music-of-Morocco-Cover-Image-700x588.jpg?itok=i3zfRNiY
From Dust-to-Digital, out April 1:Music of Morroco. Press sheet won't let me paste pic, but I recognize Burroughs, Bowles, Corso, and Ginsberg, whose handwritten caption lists another guy as Alan---Aron, I think: "W. H. Auden's & Burroughs's part-time amanuensis."
Maybe the musicians get some credits in here somewhere:
This box set commemorates one of the most legendary field recording expeditions ever made. From July to December 1959, Paul Bowles crisscrossed Morocco making recordings of traditional music under the auspices of the Library of Congress. Traveling an estimated 25,000 miles, Bowles captured vocal and instrumental music of various tribes and other indigenous populations at 23 locations throughout the country. It was the culmination of Bowles’s longstanding interest in North African music.

Included are four CDs with D/L code in a silkscreened box with 120-page, foil-stamped, leatherette book, featuring extensive liner notes by Philip Schuyler; field notes by Paul Bowles; and an introduction by Lee Ranaldo.

Being leery of studio stars on their own, never heard his, but maybe worth checking?

LEGENDARY GUITARIST LEE RITENOUR TO BE
CELEBRATED WITH LIMITED-EDITION BOX SET,
THE VINYL LP COLLECTION
Individually numbered box set features 180-gram vinyl, remastered audio and 46-page booklet featuring never-before-seen photos and new liner notes by Ritenour

LOS ANGELES, Calif. — On April 22, 2016, Concord Records will release The Vinyl LP Collection, a limited-edition, individually numbered box set celebrating a key period in the prolific solo career of renowned guitarist Lee Ritenour. The Collection contains five classic LPs by Ritenour: Earth Run (1986), Portrait (1987), Festival (1988), Color Rit (1989) and, on vinyl for the first time, the GRAMMY® Award-nominated Wes Bound (1993). These albums have each been remastered, pressed on audiophile-quality, 180-gram vinyl and restored with original artwork and liner notes. An accompanying 46-page booklet contains new liner notes by Ritenour plus never-before-seen photos and ephemera, all culled from an extensive scrapbook collection lovingly kept by the guitarist’s late father.

The Vinyl LP Collection presents a fertile period in a storied career, which began when Ritenour, at the age of 16, was hired as a session guitarist for the Mamas and the Papas, who dubbed him “Captain Fingers” for demonstrating incredible dexterity. Throughout the next decade, Ritenour became one of the most prolific session guitarists, working with the likes of Steely Dan, Pink Floyd, Aretha Franklin, Tony Bennett and Quincy Jones. Ritenour’s solo work has earned him a GRAMMY® Award and 19 GRAMMY® nominations. He has recorded more than 40 albums that have yielded 35 charting tracks, and he is widely recognized as one of the best guitarists of his generation.

“For us music lovers and folks who play music, vinyl is still the most amazing way to listen to and appreciate music,” proclaims Ritenour in his liner notes. “I’m thrilled that Concord Records and myself can present these five records remastered on 180-gram vinyl.” The Vinyl LP Collection includes such personnel as Academy Award-winning composer Dave Grusin, GRAMMY® Award-winning pianist Alan Broadbent, and GRAMMY® Award-winning composer David Foster, plus legendary saxophonist Kenny G and celebrated Brazilian artist Caetano Veloso.

The Vinyl LP Collection is available for preorder at: http://smarturl.it/RitVinylBox
###
Watch (and feel free to post) the promo video: http://youtu.be/HRrjZNsKCVY

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SMOG VEIL RECORDS ANNOUNCES
THE NEXT RELEASE IN THE PLATTERS DU CUYAHOGA SERIES
The Robert Bensick Band: French Pictures In London (1975)
Album Streets June 24, 2016

March 30, 2016 (Cleveland, OH) – Smog Veil Records announces the next release in the Platters du Cuyahoga series: The Robert Bensick Band’s French Pictures In London, a previously unreleased art rock magnum opus. This studio project from 1975 is finally seeing the light of day and will hit retail on June 24th, 2016. Available in digital format as well as CD and vinyl LP, this release features extensive and carefully researched liner notes which put Bensick back into the Cleveland underground music history he was essentially written out of.

French Pictures In London is recommended for fans of: Pere Ubu, Deaf School, The Doctors of Madness, Home & Garden, Japan, Roxy Music, The Teardrop Explodes, 39 Clocks, John Foxx-era Ultravox, Visage, Scott Walker, Gary Wilson, and the Various Artists compilation Enjoy The Experience.

"In the Summer of 1975," as explained by music writer and researcher Nick Blakey, "Cleveland multi-instrumentalist, sculptor, and artist Robert Bensick brought together the best of the Cleveland underground and recorded an album at Agency Recording, a studio favored by such recording stars as Todd Rundgren.”

The studio band Bensick – himself a veteran of such legendary Cleveland bands The Munx, Hy Maya and Peter Laughner’s Fins - assembled for the record included such luminaries as Tom Herman (Pere Ubu), Scott Krauss (Pere Ubu/Cinderella Backstreet/Home & Garden), Cynthia Black (Cinderella Backstreet/Peter & The Wolves), Albert Dennis (Cinderella Backstreet/Wolves), and Michael Hronek (a collaborator of Cleveland proto-punk legend Peter Laughner). Bensick was attempting through this record to bring music and art together into a brand new experience. The end result – French Pictures In London - was so far ahead of its time that it remained unreleased for forty years.

French Pictures In London could very well be considered the missing musical piece of Cleveland that falls in between the four long players by Raspberries and the first three albums by Pere Ubu. Fans exploring this era in music should note that the late Peter Laughner (Pere Ubu/Rocket From The Tombs) had a dominant effect upon the record (despite not participating in the sessions) as the majority of the musicians who performed on French Pictures In London had played in several of Laughner’s bands.

The album’s sound and mood is also a precursor to the New Romantic movement of groups such as Visage and Spandau Ballet as well as the direction Roxy Music would take on albums such as Manifesto (1979). French Pictures In London similarly touches upon the darker corners of rock and pop such as those found on Scott Walker’s subversive Climate of Hunter (1984), Oxbow’s brutal and troubling The Narcotic Story (2007), and the delicate yet unsettling undercurrents that transpire on L’Amour by Lewis (1983). Album highlights include the Nick Drake-meets-Nick Cave melodrama of “Sweet Pricilla,” the heavily Herbie Hancock-influenced desperation of “Night Life,” the Broadway letdown of “Cinquain Attempted,” and the completely unhinged “Doll.”

“There are a lot of emotions in French Pictures In London," Robert Bensick reflects. “It’s real stories about real people. And some of it was struggling, some of it was fighting, some of it was desperately looking for love. French Pictures In London is real. It’s not trying to entertain people. It was one guy really trying to document real human beings and their lives inside a musical product inside a contemporary, populist art form…what I’ve realized [since then] is the real key is the joy I got writing it, the joy I got recording it…without the testosterone and everything messing things up, the real joy was the creation. And I hope people get a joy from that creation like I’ve been moved by so many artists.”

After continuing his musical career in Cleveland with various bands including Berlin West and Zara, Bensick eventually moved to New York and stopped performing in public. Bensick never stopped creating music and art and continues to do so to this day. The release of French Pictures in London represents long overdue credit and recognition of a landmark recording in the long history of Cleveland rock and roll.

French Pictures In London features Robert Bensick on vocals, rhythm guitar, flute, Mellotron, ARP Odyssey on “Silly Man,” EML synthesizer on “Doll”; Tom Herman on lead guitar; Albert Dennis on bass; Scott Krauss on drums; Michael Hronek on electric and acoustic piano, Hammond organ on “Night Life” and “Muse.” The album was recorded at Agency Recording by Arnie Rosenberg in 1975 and was mastered by Paul Hamann at Suma Recording, Cleveland, OH.

I think this compilation of Cortijo music released on the Ansonia label is worthy of general audience attention:

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On 7 May 1970, Rafael Cortijo met a group of lifelong friends in New York City to embark on a musical journey back to his Afro-Caribbean roots. For the first time ever in a recording venture, the famous Puerto Rican percussionist and ambassador of bomba and plena music since the 50s decided to express the raw essence of his repertoire of island rhythms; stripping them of orchestration with the idea of recreating in the studio the drumming fiestas he enjoyed as a boy in the Santurce neighbourhood in San Juan de Puerto Rico. He was accompanied by fellow percussionist and partner on this production, Francisco “Kako” Bastar, as well as the singers Rafael “Chivirico” Dávila as lead vocalist and Ismael Rivera on the chorus, the outstanding artists of Latin music at that time, who had also grown up with Cortijo in the streets of San Juan.

The result of this legendary session was the album “Ritmos y cantos callejeros” by Cortijo and Kako y sus Tambores; an essential contribution to the sonorous vitality and sense of identity that preceded the salsa boom in New York and the Caribbean. While a new generation of immigrants of Latino origin, mostly Puerto Ricans, took their drums to Central Park and out onto the streets of the Bronx to make their way in New York, Cortijo and his friends chose to reclaim the immense wealth of their Puerto Rican drumming heritage, as well as the link between this legacy and popular music of the day. Considered today a “DA FUNK Afro Boricua Style” classic, in the words of New York producer Bobby Matos, this tribute album to traditional island rhythms is much more than an ethnomusicological document. Far from being a folklorist, Rafael Cortijo has always adopted a more pragmatic than orthodox approach and, on this album, as on all their bomba and plena recordings, Cortijo and Kako predominantly use Afro-Cuban percussion instruments (congas, timbales and bongos), which they considered more suitable than their Puerto Rican equivalents, traditional bomba barrels and plena panderos.

Together with the “Ritmos y cantos callejeros” album, between 1969 and 1971 Cortijo recorded another two LPs for the same label, Ansonia Records: “Noche de temporal” and “Volumen 2”. Both albums are along the same lines as the combo with which the maestro had made his name in the 50s. Spearheading the salsa movement in Puerto Rico, Cortijo y su Combo had revolutionised tropical dance music during this period; developing a distinctive sound, favouring spontaneous, authentic neighbourhood Caribbean rhythms, in contrast to the growing sophistication of Latin orchestras. Dominated by percussion and voices, Cortijo’s combo conveyed the impetuous energy of a carnival group, which was very different from the routine formality of a tropical big band. A strong advocate of bomba and plena throughout his thirty-year career, Cortijo also stands out for his explorations of the ramifications and symbiosis of West Indian rhythmic diversity, emphasizing the dialogue between Puerto Rican and Cuban styles. His two combo productions for Ansonia are particularly interesting in this respect, with the outstanding participation of the Cuban musician Javier Vázquez, first known as the pianist for Sonora Matancera, and then as one of the leading arrangers for the salsa produced in New York in the 70s.

http://munster-records.com/en/label/vampisoul/product/the-ansonia-years-1969-1971
https://open.spotify.com/album/5qTP5QrJ8BX5yVW5UmQ9HW

It's very stripped down. You can clearly hear the rhythmic bones of the music.

Cool, thanks! All new to me. Ditto most of this:

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NEW LIMITED EDITION VINYL BOX SET

FIRST CLASS ROCK STEADY (APR 16, 17 NORTH PARADE)

CELEBRATES 50TH ANNIVERSARY OF THE JAMAICAN MUSICAL GENRE

FOR RECORD STORE DAY

VP Records Hosts Record Store Day (Sat. April 16) Vinyl–Only Showcases with the Renowned Selectors & Sound Systems at NY & FL Retail Stores Including King Jammy and Downbeat The Ruler.

Rocksteady, which used elements of rhythm and blues (R&B), jazz, ska as well as African and Latin American drumming, was a successor of ska and precursor to reggae. One of the most easily recognizable elements of Rocksteady (as in ska) are offbeat rhythms, staccato chords played by a guitar and piano on the offbeats of the measure. Rocksteady was popularized by the likes of Alton Ellis, Hopeton Lewis, Errol Dunklrey and vocal harmony bands like The Gaylads, The Maytals, The Heptones, The Paragons The Sensations and The Melodians.

The vinyl singles package will be followed by a 2CD (30 track) collection on July 1st, which is International Reggae Day. For each release, music was handpicked from collectors' lists of the most sought after titles. Each track is re-mastered and paired with a complimentary hit title from the era on the B side. The detailed packaging evokes the excitement of the era when snail mail was the only mode for sharing this burgeoning Jamaican export for worldwide consumption.

As part of Record Store Day celebration, both VP Records’ retail stores in NYC and Miami will host a vinyl-only showcase on Sat. April 16 featuring some of the biggest sound systems in Jamaican music. The group of DJs, engineers and MCs will go round for round, battling it out for the ultimate showdown. In New York, Downbeat The Ruler will deliver a stellar set. In addition, sounds and selectors Massive B, King Addis, Platinum Kids, Fatman and Pretty Possee will go wheel-to-wheel for the winning title. In South Florida, producer and dancehall innovator King Jammy will get behind the turntables for a one-of-a-kind vinyl only set. Then, popular sound systems like Waggy T Movements, Galaxy Sound Station, PeppaBox Sound and Metrix International will round out this historic event.
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All new to me.

Well, I know you've heard El Gran Combo. They emerged from Cortijo's band after he went to jail on drug charges. Also, Ismael Rivera, who you might know of, sang a lot with Cortijo.

As for the specific material on this compilation, I don't think it's appeared on CD (or other digital form) before. I don't recognize any of it, though I'm not super familiar with Cortijo.

I need to comb through this thread more. It's grown pretty rapidly.

Yep, I did know those artists, but not any of the material here; thanks again.

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TWO CLASSIC ALBUMS BY THE BLIND BOYS OF ALABAMA
COMING FROM OMNIVORE RECORDINGS ON MAY 13:
SPIRIT OF THE CENTURY AND HIGHER GROUND,
BOTH GRAMMY AWARD WINNERS.
Reissues of these classic recordings feature an impressive roster of guest musicians including Ben Harper, Robert Randolph, Charlie Musselwhite, David Lindley and John Hammond, as well as previously unreleased live tracks
from 2001-2002

LOS ANGELES, Calif. — Omnivore Recordings will release expanded reissues of two turn-of-the-century Grammy Award-winning albums by the Blind Boys of Alabama: Spirit of the Century and Higher Ground. Street date for the CD and digital editions is May 13, 2016.
Formed in 1944, the Blind Boys of Alabama have been trendsetters musically, socially and spiritually. At the dawn of the 21st Century, almost 60 years into their career, one would think the Blind Boys had nothing more to prove. However, 2001’s Spirit of the Century not only showed how relevant they still were, but how they could continue to reinvent the genre they helped bring to the mainstream, and to win their first Grammy while doing it.
Produced by John Chelew with assistance from Chris Goldsmith, Spirit of the Century mixed soulful new arrangements of traditional hymns with songs by the Rolling Stones (Exile on Main Street’s “I Just Wanna See His Face”), Ben Harper and Tom Waits — including “Way Down in the Hole,” which became the theme for HBO’s first season of The Wire, performed by the Blind Boys.
Accompanying the Blind Boys’ soaring vocals is a who’s who of iconic players including David Lindley, John Hammond, Danny Thompson, Charlie Musselwhite, and more. To make this release even more special, seven live performances of album tracks recorded with the Spirit studio band at New York’s Bottom Line club have been added, as well as a new essay from Davin Seay.
Fifteen years after its original release, Spirit of the Century has lost none of its power. It’s time to feel the Spirit once again.
After winning the Best Traditional Soul Gospel Album Grammy for Spirit of the Century, the Blind Boys of Alabama wasted no time recording their next album. Once again helmed by Chelew and Goldsmith, Higher Ground picked up where Spirit of the Century left off, and moved even further. With backing by Robert Randolph & the Family Band (and guest appearances from Ben Harper), new arrangements of gospel classics were supplemented by songs from Harper, Curtis Mayfield, Funkadelic, Aretha Franklin, Jimmy Cliff, Prince and the classic title track by Stevie Wonder. The outcome was rewarded by the Blind Boy’s second consecutive Grammy for Best Traditional Soul Gospel Album, as well as having Harper’s tune, “I Shall Not Walk Alone,” featured on television’s Lost.
In addition to a new essay by Seay, seven live performances of album tracks recorded for KCRW-FM’s Morning Becomes Eclectic have been resurrected and added, making Higher Ground even more exceptional. Newly refreshed with these previously unreleased live tracks, this important release finally returns.
Spirit Of The Century Track Listing:
1. Jesus Gonna Be Here
2. No More

3. Run On For a Long Time
4. Good Religion

5. Give a Man a Home

6. Amazing Grace

7. Soldier
8. Nobody’s Fault but Mine
9. Way Down in the Hole
10. Motherless Child
11. Just Wanna See His Face
12. The Last Time
Previously unissued bonus tracks recorded live at the Bottom Line, New York (2001)
13. Good Religion

14. Way Down in The Hole
15. Give a Man a Home
16. Motherless Child
17. No More
18. Nobody’s Fault but Mine
19. The Last Time

Higher Ground track listing:
1. People Get Ready
2. Spirit in The Dark
3. Wade in The Water
4. Stand By Me
5. The Cross
6. Many Rivers to Cross
7. Higher Ground
8. Freedom Road
9. I May Not Can See
10. You And Your Folks/23rd Psalm
11. I Shall Not Walk Alone
12. Precious Lord
Previously unissued bonus material recorded live on Morning Becomes Eclectic, KCRW (2002)
13. Run On For a Long Time
14. My Lord What a Morning
15. Freedom Road
16. Higher Ground
17. People Get Ready
18. Wade in the Water
19. Amazing Grace

"They proclaim their reverence in close harmonies and gusty improvisations that leap heavenward." —The New York Times
"Typical gusto, honest, soulful music." —Mojo
"No matter what direction the Boys go, it's always a righteous affair." —Relix
# # #
Watch (and feel free to post) the Blind Boys of Alabama trailer:
http://youtu.be/o9EgZ780zZo

Always thought Ginsberg (like Burroughs) was more consistent as a performer than a writer, though he also wrote all of this except the Blake. Some great stuff here (compare with the Holy Soul Jelly Roll box, now OOP apparently):

OMNIVORE RECORDINGS TO ISSUE
THE LAST WORD ON FIRST BLUES,
FIRST BOX SET OF ALLEN GINSBERG
AS A SINGER SONGWRITER
The classic Ginsberg session augmented with 11 unissued performances (from 1971-1984) including contributions from Bob Dylan, Happy Traum, Peter Orlovsky, Arthur Russell and others.
Contains 28-page color booklet and rare photos.
Produced in conjunction with the Allen Ginsberg Trust.

LOS ANGELES, Calif. — Internationally revered as a Beat Generation spokesman, Allen Ginsberg is an iconic part of the counterculture. His 1956 epic poem “Howl” inspired the songwriting of Bob Dylan. Hippies and punk rockers alike claimed him as an influence; he even recorded with the Clash, on Combat Rock.
In 1971, Ginsberg called on Dylan to record a slew of songs: some political, some gay-themed, and some just plain wacky! Along for the ride were fellow poet Anne Waldman; the eclectic composer David Amram (Jack Kerouac’s musical partner, among other claims to fame); folk artist Happy Traum; and a young avant-garde cellist, Arthur Russell. Ginsberg himself was lyricist, composer, and lead vocalist.
These 1971 recordings remained dormant until 1983 when they were released as First Blues, which also included 1976 sessions produced by Columbia Records exec John Hammond, and some 1981 sessions. Along the way, Beat Generation legend Peter Orlovsky and Rolling Thunder Revue sideman David Mansfield joined the festivities.
Omnivore Recordings is proud to reissue the cult classic, plus much more, as The Last Word on First Blues. A deluxe package, this 3-CD set contains the original double LP, plus 11 previously unissued songs from 1971 and 1981 sessions, and demos and live recordings including Dylan and/or Russell and even a cameo by trumpeter Don Cherry — on kazoo!
The release includes a full color 28-page booklet of rare photos, writings and drawings from Ginsberg’s archives and an essay from set producer Pat Thomas featuring interviews with original participants. Longtime Ginsberg-music aficionado Thomas was given full access to the poet’s tape archive at Stanford University and spent several years pouring over hundreds of hours of recordings.
Mastering and restoration was handled by Grammy-winning engineer Michael Graves.
Upon the album’s 1983 release, John Hammond stated, “I recorded Allen in 1976 but Columbia Records refused to issue the results, considering the songs obscene and disrespectful. I am thrilled to finally be able to present Allen … I will present ‘disrespectful’ music like this as often as possible.”
While today’s political right try to limit artistic expression, here is the pioneer of “free speech” — the mystic Beat poet — doing what many forgot he ever did: singing with the most acclaimed songwriter of the rock era, Bob Dylan, as well as mentoring the work of the late Arthur Russell.
The Last Word on First Blues is not only a definitive cultural artifact, it will destroy the best minds of those who hear it.
On the weekend of June 3-5, during celebrations for what would have been Ginsberg’s 90th birthday, Thomas will host a round-table discussion about the First Blues recordings in Manhattan with the musicians who played on it, including Amram and Mansfield, to be followed by a one-off reunion of these musicians performing this material that evening. Exact details to be confirmed.
Track listing:
Disc One:
1.Going To San Diego
2.Vomit Express
3.Jimmy Berman (Gay Lib Rag)
4.Ny Youth Call Annunciation
5.Cia Dope Calypso
6.Put Down Yr Cigarette Rag
7.Sickness Blues
8.Broken Bone Blues
9.Stay Away From The White House
10.Hardon Blues
11. Guru Blues

Disc Two:
1. Everybody Sing
2. Gospel Nobel Truths
3. Bus Ride To Suva
4. Prayer Blues
5. Love Forgiven
6. Father Death Blues
7. Dope Fiend Blues
8. Tyger
9. You Are My Dildo
10. Old Pond
11. No Reason
12. My Pretty Rose Tree
13. Capitol Air

Bonus Disc:
More Rags, Ballads, And Blues 1971-1984
All Recordings Previously Unissued
1. Nurses Song
2. Spring (Merrily Welcome)
3. September On Jessore Road
4. Lay Down Yr Mountain
5. Slack Key Guitar
6. Reef Mantra
7. NY Blues
8. Come Along Vietnam (Rehearsal)
9. Airplane Blues (Live At Folk City)
10. Feeding Them Raspberries To Grow (Live At Folk City)
11. Do The Meditation Rock
# # #
Watch (and feel free to post) the Allen Ginsberg trailer: http://youtu.be/IvVTyZK-bFA

Grönland Records To Reissue Holger Czukay’s Movies -- Movie! Out June 3rd

Watch “Cool In The Pool” Video –
http://youtu.be/PBg-ukRUJuQ

Holger Czukay, best known for being a member of Krautrock legends Can, has been bridging the gap between avant-garde and pop music in powerful and creative ways since 1969. A student of Karlheinz Stockhausen, Czukay is considered one of the most internationally influential figures in musical innovation from Germany. Grönland Records will release Movie!, the reissue of Czukay’s first post-Can solo album, Movies, on June 3rd, and available for pre-order now. The album finds the bass player exploring prog rock jams with varied instrumentation, song-oriented lyrics, and media samples from film, television, and short-wave. It’s all pleasant, playful textures, with little of the darkness present in the music of Can. In conjunction with this release, Grönland also presents the video for “Cool In The Pool.”

In 1979, shortly after Can disbanded, Czukay released Movies, his second solo album following Canaxis 5 (1969). The title suggested a logical continuation of the affinity for film music that had accompanied Can as far back as the Soundtracks (1970) compilation. Although all the members of Can performed on Movies, Czukay did not merely expound upon the band’s accomplishments here, but branched into new territory with a freer, more detached feel. Throughout, Czukay joyfully sends each of the four light-hearted, yet complex pieces of music into the ether. The songs are now being released and reordered as a reissue titled Movie!. “Cool in the Pool” – a song still fit for any modern club – is an enticing invitation into Czukay’s refreshing sonic world and appears as a bonus track, now titled “Cool Pool.” Movie! also features the truly cinematic “Hollywood Symphony,” the dub-o-spheric “Persian Love” and the drifting, kraut-rocky, sample-laden “Oh Lord, Give Us More Money.” This is a refreshing release illustrating Holder Czukay’s relevance to the history of music.

Movie! Tracklisting:
1. Oh Lord Give Us More Money
2. Persian Love
3. Cool In The Pool
4. Hollywood Symphony
Bonus Track – Cool Pool

Legendary Reggae Label Studio One to Reissue Catalogue via Yep Roc Music Group

Classic Reggae Albums to be Released with Original Tracklisting and Artwork, including The Wailing Wailers on May 27th

Founded by Clement “Coxsone” Dodd in the late 1950s, Studio One was one of Jamaica’s most renowned recording studios and record labels, helping to pioneer ska, rocksteady, dub and dancehall. The label discovered and released music from The Skatalites, The Wailers, Delroy Wilson, Jackie Mittoo, The Maytals, Jackie Opel, The Gaylads, Alton Ellis and more.

While compilations of tracks from the label’s catalog have been issued over the years, many of the label’s essential albums have been out of print for decades, with some of them fetching hundreds of dollars from collectors anxious for real documents of reggae’s crucial past.

Now Studio One, in conjunction with the Yep Roc Music Group, will see titles from its catalog re-released in their original formats, with track listings and album artwork intact, as well as new additions to the catalogue.

Kicking things off on May 27th will be The Wailers and their debut album The Wailing Wailers which features three reggae legends who went on to lead very successful solo careers. Bob Marley, Peter Tosh and Neville "Bunny" Livingston are joined by Junior Braithwaite, Vision Walker, Beverly Kelso and Rita Marley in an unforgettable collection of Coxsone's finest productions. The reissue will include the original 1965 Jamaican masters and cover featuring a young Bob Marley, arms outstretched, between Livingston on the left and Tosh on the right. Included in the album is their hit track "Rude Boy" which established The Wailers as the leaders of the new reggae movement. The original LP version of the album has been out of print for decades, fetching huge sums from collectors, and the album has never before been released on CD with the original track listing and artwork.

Also available for pre-order on April 8th is a reissue of the Money Maker LP remastered from the original session tapes. Arguably one of the rarest albums in the Studio One catalog it features a superb selection of earlier top Studio One rhythms from groups like The Heptones, Burning Spear, The Wailing Souls and John Holt. The album is to be released on August 5.

Future 2016 releases from Studio One include the Studio One Radio Show taken from two 1970s shows featuring the legendary host Winston "The Whip" Williams. Also available will be a Don Drummond collection compiled by Mr. Dodd himself before his passing in 2004 and a box set to celebrate the label's over 60 years of existence.

"We are excited for the opportunity to re launch the Studio One brand and thankful for the trust that Carol (Dodd) and her team has afforded us. Through reissues of classic titles as well as new collections, we want our releases to reflect the history and legacy of Jamaica's most iconic label. Here's to the next 60 years!" - Billy Maupin, GM Yep Roc Music Group

The Wailers burst onto the Jamaican music scene at the height of the ska era in 1964, recording over one hundred songs for producer Coxsone Dodd’s ground-breaking Studio One imprint. They covered American pop and R&B hits and wrote heartbreakingly beautiful ballads and irresistible dance scorchers that sound as fresh today as they did 60 years ago.

The Wailing Wailers Track Listing
Put It On
I Need You
Lonesome Feeling
What’s New Pussycat
One Love
When The Well Runs Dry
Ten Commandments of Love
Rude Boy
It Hurts To Be Alone
Love and Affection
I’m Still Waiting
Simmer Down

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WAXWORK RECORDS ANNOUNCES DELUXE RE-ISSUE OF
BERNARD HERMANN'S SCORE FOR TAXI DRIVER
WITH LINER NOTES BY MARTIN SCORSESE

Featuring an all star cast including Robert DeNiro, Jodie Foster, Cybill Shepard, Albert Brooks, and Harvey Keitel, TAXI DRIVER is regularly cited by audiences, critics, and film directors alike as one of the greatest films of all time. The music by legendary composer Bernard Herrmann was his final score before his death on December 24th, 1975.

Nominated for four Academy Awards, including Best Picture, the film was considered “culturally, historically, and aesthetically significant” by the US Library of Congress and was selected for preservation in the National Film Registry in 1994.

Waxwork Records is pleased to present TAXI DRIVER as a deluxe double LP featuring the complete film score by Bernard Herrmann on vinyl for the very first time, ever. Also included is the complete and remastered original 1976 soundtrack release.

Waxwork Records had the massive pleasure of working with legendary director Martin Scorsese on this 40th Anniversary release to which the director provided new, in depth, and exclusive liner notes. The new album artwork by Rich Kelly is also graciously approved by director Martin Scorsese.

Release details include two variants:

180 Gram Taxi Cab Tri-Color Vinyl (Yellow, Black, and White)
Director Liner Notes by Martin Scorsese
Heavyweight Old-Style Tip On Gatefold Jacket
Four Page Booklet
Director Approved Album Art by Rich Kelly
---
180 Gram Taxi Cab Yellow Vinyl
Director Liner Notes by Martin Scorsese
Heavyweight Old-Style Tip On Gatefold Jacket
Four Page Booklet
Director Approved Album Art by Rich Kelly

LISTEN: Bernard Hermann - Taxi Driver (Original Soundtrack Recording) samples -
https://soundcloud.com/waxwork-records/sets/taxi-driver

Going by that cover art, apparently Robert DeNiro composed the score.

Svart Records is set to re-release all four 1970s albums by the reunited Philadelphia-based doom metal forerunners Bang on heavyweight gatefold vinyl and CD in cooperation with the band. At first, the albums will be exclusively available during Bang's European tour, which starts at Roadburn Festival, Tilburg, on April 14th. The street date of these releases is April 29th.

Bang was founded in August 1969, a week or two after Woodstock, by 16-year-old high school dropouts Frank Ferrera (vocals, bass) and Frank Gilcken (guitar), who swiftly recruited a 26-year-old Tony Diorio (drums), who answered their ad in a local newspaper. Bang were shaping up to be the next big thing in 1972, with keen support from Capitol Records, their first single "Questions" climbing the charts, and shows lining up with numerous major bands of the era, including their mutual favorite and biggest influence, Black Sabbath.

In spite of hype, the success story never came to be, largely due to a corporate shakeup at Capitol Records, losing their producer Michael Sunday, and being blackballed from getting gigs. Bang disbanded in sheer frustration in 1974, only three years after the release of their self-titled debut.

However, Bang left behind them a dominant recorded legacy consisting of four full-length albums: Bang (1971), Mother/Bow to the King (1972), Music (1973) and Death of a Country, which was recorded in 1971 but remained unreleased for decades.

Now all four classic Bang albums will see the light of day in luxurious form, and the cover artwork for Death of a Country has been made according to the original layout concept for the first time. Also, the self-titled album will be released in gatefold covers, as the band originally wanted, but the idea got shot down by the record label.

MORE INFO:
www.bangmusic.com

https://soundsoftheuniverse.com/img/dGpuUVdNRVhXZlVZSmVTOVZZQVZKUT09/cs600394-01a-big.jpg

Wow, nice! Generous excerpts of six tracks have her sounding sensitive but not foo-foo, intense enough but never overselling, sometimes overdubbing parts, and with strings glancing off bass, drums, other instruments---just a little bit of distortion at times, but adds flavor---good on headphones. Her only albun, damn. Wonder if there are any more non-LP tracks here and there, maybe still to come from this Soul Brother label? Yo, Numero, you missed it!

https://soundsoftheuniverse.com/product/eleanore-mills-this-is-eleanore-mills

‘This is Eleanore Mills’ was her debut and only album, recorded for the Sylvia Robinson’s All Platinum subsidiary Astroscope in 1974. The album was produced by Harry Ray and Al Goodman of the Moments and Tommy Keith of The Rimshots. It includes some great Crossover and Modern Soul cuts; including the in-demand string laden early Soul/Disco ‘Same Routine’ a popular killer cut and ‘I’m Gonna Get You’ another superb up tempo Soul cut. ‘Fascinating Devastating Man’ is a lovely mid tempo track. The album includes some beautiful Soul ballads ‘He Said Goodbye’, ‘How Can I Love You’ and the heavily sampled ‘Telegram’ which she rips up, plus ‘Teach Me’ an amazing near seven minute opus which picks up a heavier groove half way through. This special edition includes two non album tracks recorded around the same time, ‘Something on your mind’ and ‘Singing the Blues’ on the CD and as a bonus 45 with the LP. Classic mid 70’s Orchestrated Soul.