Rolling Reissues 2016

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

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‘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

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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
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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

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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.

Louder Than Love - The Grande Ballroom Story
coming to home video on June 10th via MVD Entertainment Group
New documentary by Producer/Director Tony D'Annunzio provides
an all-access pass to legendary 1960s Detroit rock music scene

MVD Entertainment Group
For review copies, interviews, promotional opportunities, or additional info...

CONTACT: Clint Weiler
MVD Entertainment Group
p: 800-888-0486 x115
e: cl✧✧✧@mvd✧✧✧.c✧✧

FOR IMMEDIATE RELEASE:

Louder Than Love - The Grande Ballroom Story
coming to home video on June 10th via MVD Entertainment Group
New documentary by Producer/Director Tony D'Annunzio provides
an all-access pass to legendary 1960s Detroit rock music scene

Louder Than Love - The Grande Ballroom Story, produced and directed by Tony D'Annunzio, is coming to home video on June 10th via MVD. The film has been to over 35 festivals from Detroit to LA to London and Australia.

Louder Than Love debuted to standing ovations at the world premiere April 5, 2012 at the Detroit Film Theatre at the Detroit Institute of Arts, followed by 35 different film festivals across the globe including SOLD OUT screenings at Rock and Roll Hall of Fame and Museum, Nashville Film Festival, CBGB / NYC Music & Film festival, Sheffield Doc/Fest and Australia DocWeek. It screened at the Traverse City Film Festival and was personally handpicked by Michael Moore who described it as "an amazing look back at the talent and creative culture produced in this state."

It has won numerous awards including "Best Doc" at Las Vegas International Film Festival and D'Annunzio was nominated for "Best New Film Director" at the LA New Directors Film Festival. Most recently, the film was broadcast on PBS and became one of their best received pledge drives.

The Grande Ballroom era is potentially the greatest untold story in rock and roll history," says D'Annunzio, a Detroit native. "With everything Detroit has been through in the last several decades, I wanted to let folks know that aside from the automobile industry, the city has some amazing musical history which helped shape American pop culture."

While the west coast was grooving to the sounds of the "Summer of Love" in 1967, Detroit was pumping out a hard-driving, gritty, raw sound. At the epicenter of this seminal music scene stood the Grande Ballroom, Detroit's original rock and roll palace. That sound was Louder Than Love. Louder Than Love - The Grande Ballroom Story relates the story of the hallowed halls that started it all, as told by the artists and fans who helped fuel the Grande phenomenon.

In the late 1960s, the Grande helped to break some of America's most iconic rock bands including MC5, Iggy and the Stooges and Ted Nugent and the Amboy Dukes, who influenced local musicians and inspired bands all over the U.S. and Great Britain. Legendary acts such as Led Zeppelin, Cream, B.B. King, Janis Joplin, Pink Floyd and the Who played the Grande main stage on a regular basis. D'Annunzio amassed more than 75 + hours of interviews with artists and other insiders from The Grande's heyday including musical icons B.B. King, Alice Cooper, Roger Daltrey, Scott Morgan, Mark Farner, Tom Morello, Wayne Kramer, Lemmy, Ted Nugent, Henry Rollins, Don Was, Slash, Dick Wagner, and James Williamson. He also collected over 500 never-before-seen archival photos-taken by professional photographers and fans-of performers such as The Who, Howlin' Wolf, Albert King, Cream, Pink Floyd, Jeff Beck Group, MC5, Traffic, and Iron Butterfly.

"We have incredible 8mm film of The Who performing "Tommy" for the first time, including an audio recording by Pete Townsend explaining "Tommy" to The Grande audience. Both have never been seen or heard in any documentary," D'Annunzio notes.

trailer:
https://www.youtube.com/watch?v=rsXQgt_dGhE&feature=youtu.be

Think I mentioned this before, but latest Drag City newsletter reminds us, as well they might (brace for hype)(they've already reissued most if not all of the other albums mentioned here)

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May leads off with a vault-find from Mayo Thompson's storage space - a previously-unreleased album from 1984 called Baby and Child Care by the juggernaut we've known as The Red Krayola with Art & Language! The collective whose credits include Corrected Slogans, Kangaroo?, Black Snakes, Sighs Trapped By Liars and Five American Portraits, even! This album was recorded with the Black Snakes Red Krayola incarnation of Mayo, Ben Annesley, Chris Taylor and Allen Ravenstine. Using a similar 80s-informed assemblage of spare funk 'n roll punched up with some dub-tastic dollops of plate reverb, and featuring signature whooshes from Ravenstine's suitcase synths and uncanny bird-calls from his soprano sax, Baby and Child Care is just a great SOUND for one to sink deeply into - and yet, it's an album of songs with lyrics adapted by Art & Language from Dr Spock's influential monograph on the new and better way of raising one's offspring. As with all Red Krayola-Art & Language collaborations, the heavy nature of the suggestion on paper translates with effervescent lightness in practice! This is due to Mayo Thompson's irrepressible vocalese and the elastic qualities of the band. One might not even know that songs like "Make Believe In Moderation" or "The Age of Three" are imparting valuable insight for parents everywhere - because the musical experience of the material is so very complete. Again, this is a hallmark of The Red Krayola: communication on several levels at once, perhaps even from contradictory positions, and in an entirely musical form of entertainment. An additional plus for our 2016 ears (and the brains ostensibly attached) is the 80s-vintage of Baby and Child Care - a sound that scans easier today than perhaps it may have then! That's the beauty of course - THERE'S NO WAY OF KNOWING!

Omnivore's expanded reissue of the Muffs'debut is pretty fun overall, if a mixed blessing; hope this will be at least as good:

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THE MUFFS’ SECOND ALBUM, BLONDER AND BLONDER,
GETS BIGGER AND BETTER ON OMNIVORE
EXPANDED REISSUE, OUT MAY 27.
CD contains seven bonus tracks — five previously unreleased.
Title to be available on vinyl for first time in decades (first edition in baby blue vinyl). Package contains essays from the band.

LOS ANGELES, Calif. — The self-titled debut disc from L.A.-based, high-energy pop quartet the Muffs hit the scene in 1993, and was an instant smash. Any fear that they couldn’t follow it up successfully was answered when Blonder and Blonder arrived two years later.
Now a three-piece, the Muffs again teamed up with producer Rob Cavallo (Green Day, Paramore, Fleetwood Mac) and delivered 14 even better Kim Shattuck-penned powerhouses, including the hit single “Sad Tomorrow.” Bassist Ronnie Barnett and new drummer Roy McDonald propelled Shattuck’s material to even greater heights, and Blonder became the band’s biggest selling album.
Omnivore Recordings is proud to present this ’90s milestone on CD with seven bonus tracks (two U.K. B-sides and five previously unissued Shattuck demos), and on LP for the first time in more than two decades (first pressing on baby-blue vinyl, with black to follow).
Like 2015’s reissue of The Muffs, the full-color packaging includes photos, drawings and memorabilia, plus essays from Barnett and McDonald, as well as track-by-track commentary from Shattuck.
Shattuck says, “Blonder and Blonder was a hoot to make and a blast to listen to. It’s got a crazy energy and I scream my fool head off. I hope you turn up the volume so loud you annoy your neighbors.”
Adds Barnett: “Blonder and Blonder will always be seen as [the Muffs’] watershed moment, the kind of thing that happens once in a band's lifetime if they're lucky. It was the place where our band’s lineup, sound and songwriting all hit its stride. It still makes up the bulk of our live show, and always will. It’s our most celebrated, best-selling work and will always define us. I don’t mind — I love it too!”
And per Barnett’s liner notes: “To answer the obvious question: May 1994 in Seattle, after one of our last appearances as a four-piece, a newly widowed Courtney Love out at a live show for the first time following that horrible incident, scoffing at Kim’s newly bleached hair, walked by and muttered, ‘Blonder and blonder.’”
Twenty-one years later, Blonder and Blonder still sounds as vital and visceral as it did upon its original release. Face it, you’re dye-ing to have this record in your collection.
CD Track List:
1. Agony
2. Oh Nina
3. On And On
4. Sad Tomorrow
5. What You’ve Done
6. Red Eyed Troll
7. End It All
8. Laying On A Bed Of Roses
9. I Need A Face
10. Won’t Come Out To Play
11. Funny Face
12. Ethyl My Love
13. I’m Confused
14. Just A Game
Bonus Tracks:
15. Goodnight Now
16. Become Undone
Pre-Blonde Bonus Tracks:
17. Born Today (Demo)*
18. Look At Me (Demo)*
19. Pennywhore (Demo)*
20. Red Eyed Troll (Demo)*
21. Won’t Come Out To Play (Demo)*
* Previously unissued

LP Track List:
Side 1
1. Agony
2. Oh Nina
3. On And On
4. Sad Tomorrow
5. What You’ve Done
6. Red Eyed Troll
7. End It All
Side 2
8. Laying On A Bed Of Roses
9. I Need A Face
10. Won’t Come Out To Play
11. Funny Face
12. Ethyl My Love
13. I’m Confused
14. Just A Game

Watch (and feel free to post) the Muffs trailer: http://youtu.be/rsTlEnXZQxU

Soul Jazz Records record day LP exclusives, gahdam (if they don't show, the Skatalites one up front is what I esp. want)

https://pbs.twimg.com/media/CgJalc2XEAADExR.jpg:large

http://d31hzlhk6di2h5.cloudfront.net/20160415/91/61/88/8f/d3e0f2a98a7cd9f47a7b8960_880x604.jpg

THE WILBURYS ARE COMING…
CONCORD BICYCLE MUSIC PARTNERS WITH THE TRAVELING WILBURYS TO REISSUE CATALOG
The Traveling Wilburys’ Music to Debut
on Streaming Services for First Time Ever

LOS ANGELES, Calif. – Concord Bicycle Music is very pleased to announce that it has entered into a worldwide licensing agreement with The Traveling Wilburys to represent the iconic band's entire catalog, including physical and digital reissues.
For the first time ever, the super group’s music will be available on streaming services, beginning June 3, 2016, along with the re-launch of the hugely successful Traveling Wilburys Collection box set as a limited-edition, uniquely numbered 2-CD 1-DVD box set, standard 2-CD 1-DVD package, deluxe 180-gram vinyl box and for the first time as high-resolution downloads. The release includes albums (Vol. 1 and Vol. 3), bonus tracks and a DVD featuring footage of the band from the first chord to the final mix.
When originally released in 2007, The Traveling Wilburys Collection debuted at #1 in the U.K. and six other countries and entered the U.S. charts at #9, making it the highest chart debut of a box set at the time, and has since been certified Gold.
The previously released albums Traveling Wilburys Vol. 1 and Traveling Wilburys Vol. 3 feature music's greatest singer-songwriters — George Harrison, Jeff Lynne, Roy Orbison, Tom Petty and Bob Dylan — as the legendary band the Traveling Wilburys.
The Wilburys formed in 1988 after Dylan, Harrison, Petty, Lynne and Orbison assembled at Dylan's Malibu, California studio to record a B-side for the Harrison single "This Is Love." The resulting song, "Handle With Care," was instead released under the Wilburys name, with the artists posing as a band of brothers. George later said, "I liked the song and the way that it turned out with all these people on it so much that I just carried it around in my pocket for ages thinking, 'Well what can I do with this thing?' And the only thing to do I could think of was do another nine. Make an album." The original album release, Traveling Wilburys Vol. 1, achieved great success; after hitting No. 3 on the Billboard Top 200 chart, the certified double Platinum album earned a GRAMMY® for Best Rock Performance by a Duo or Group.
Traveling Wilburys Vol. 3, the group's second album, was released in 1990 and dedicated to Lefty (Roy Orbison) Wilbury, who passed away in late 1988 before recording could be completed. "She's My Baby" and "Wilbury Twist" became radio hits as the album reached #11 in the U.S. and was certified Platinum.
Scott Pascucci, CEO Concord Bicycle Music and Sig Sigworth, SVP Catalog Concord Bicycle Music said in a joint statement, "The global success of the Traveling Wilburys reissues in 2007 was one of our career highlights. So, we are very proud to bring the Wilburys' catalog to Concord Bicycle Music and work with these incredible songs and musicians a second time."
"…one of the few rock super groups actually deserving to be called either super or a group."
—Rolling Stone, Dec 1, 1988
# # #
The Traveling Wilburys
Website: travelingwilburys.com
Facebook: facebook.com/travelingwilburys
Instagram: instagram.com/officialwilbury
Twitter: twitter.com/officialwilbury
YouTube: youtube.com/user/TravelingWilburys

My mom liked them, I think.

The Keepers Record Club=vinyl reissues and/or repackages of favorite records of indie etc artistes, who write about the records, and also incl. some of their own music (coupons etc for other records etc. are also in each month's package).
For May, possible sometime ilxor Wooden Wand picks Bruce Langhorne's soundtrack for The Hired Hand:

http://keepersrecordclub.com/news/wp-content/uploads/2016/04/hiredhand_vinyl.jpg

James Toth does the honors this month, presenting Bruce Langhorne’s highly sought after soundtrack for the 1971 Peter Fonda film, The Hired Hand.

Toth, probably best known by his recordings released under the moniker Wooden Wand, brings forth a thorough and thoughtful essay walking through the sequencing track-by-track, reflecting:

“The Hired Hand not only evokes but exhumes. It’s part genie in bottle, part séance. It’s an album you shouldn’t play often, though anyone who has been charmed by it knows that this is not possible.”

Langhorne is most famous as a fixture of the Greenwich Village folk scene of the 1960s, session guitarist for Bob Dylan and inspiration for the song “Mr. Tambourine Man”. He’s been credited for his work with artists like Odetta, Joan Baez, Richie Havens and Gordon Lightfoot, to name very few. A master multi-instrumentalist, he was recruited by Peter Fonda in 1969 to score the actor’s directorial debut, The Hired Hand.

Recorded in Laurel Canyon by Langhorne alongside his girlfriend Natalie Mucyn, who without prior production experience, multi-tracked the recording “via some distinctly lo-fi tape dubbing,” Langhorne tracked each part, piecing together a truly unique accompaniment to the film.

Ghostly banjo, gritty fiddle, waves of lap steel, meditative guitar, flutes (all performed by Langhorne) fit together to create this ethereal and at times mystical soundtrack that at once beautifully support the films visuals and pulls the listener into the landscape of American mythology and even to the open prairies of one’s mind.

Sign-up by May 15th to secure your copy of The Hired Hand with exclusive liner essay by Toth.

But... the most recent reissue of that has been not-so-scarce as far as I know?

I got the Scissor Tail reissue of that. Was only 2014, I think? Fantastic record, like.

Yeah, the main reason for including it here is that it's occasionally turned up on ILM threads over the years, always mentioned as an old favorite or gratifying discovery. But still a lot of people don't have it, and the Wooden Wand's say-so might make them take the plunge, especially if they remember who he is..-several other goodies in this series still available, last time I checked.

Sure! I'm just surprised they're reissuing it again.

Might just be a repackage

But deserves more exposure

Agreed.

yeah pretty sure it's not a reissue as such, but hoooeee is it good.
wonder how langhorne is doing -- word was he was in hospice care at the end of 2015, but i haven't heard any updates.

In today's Expert Witness column, xgau hails the fuckin' finally reissued Rainbow Bridge soundtrack. Jimi's, that is; the LP tracks sounded rough-edged, but in a good way, like he made 'em in a hurry and they were still vibrating from his touch, about to take off into his wake, join him on the chase. In the movie, which I saw with friends at the drive-in, he's with friends in Hawaii, waiting for the Space Brothers, but not too idle about it. Fave track (of most in the universe) is the instrumental "Pali Gap." Don't worry, he sings fine, like on "Dolly Dagger" and "Room Full of Mirrors": "I used to live in a room full of mirrors/All I could see was me/Then I'd take my hand and I'd smash the mirrors/Pieces, fallin' in my bed/Makin' love was strange in my bed." On Spotify now.

http://assets.noisey.com/content-images/contentimage/90723/rainbowbridge.jpg

advance track from the aforementioned, previously unreleased (1984) Red Krayola with Art & Language album, Baby and Child Care: cool bass, drums, rhythm guitar, vocal sound, sung and spoken---*not*, as Drag City's hype would have it, rebel-rockin'and bawlin' the words from good Dr. Spock's liberating manual, just letting them roll out, hither and yon. Doesn't knock my socks off, but intriguing enough: https://soundcloud.com/drag-city/the-red-krayola-with-art-language-no-no-no-trust-yourself

Catching up with some of the ones I've posted info about on here:
xpostFirst Class Rocksteady box seems mostly undistinguished group vocals & songs, def rhythm tracks; a few impulsive exclaimers and solo vox I'll go back to, maybe.

The Muffs xpost Bigger and Blonder: Shattuck's rough, dry, take-it-or-leave it vocal comes off flat here, more often monotonous than signifying tuff cookie pre-emption, though yeah yeah,she don't want you to think she's vulnerable and girly and trusting, just because she's venting; we get it already. Also, bringing it down to a trio---this trio, that is--- keeps the backing from adding a little variety. Nevertheless, "Red-Eyed Troll," "Ethyl My Love" (a good demo added to the reissued debut reissue) and a few other finished tracks really work. But as with the reissued debut, the breathing room demos (9 here, incl just a couple versions of the original album's cuts) really make the whole thing worth having, or hearing, anyway. Things get just a bit more flexible---and some of the initial release's tracks should be rescued by somebody with a few more musical shrewds.
Still, I'd start with the debut; here's what I said about it last year:
The Muffs’ s/t debut reissue w bonus tracks: "pop-punk," some call them, and I've seen comparisons to Joan Jett and the Blackhearts, but Kim Shattuck sometimes relies more on on vocal scrunchies than hooks---still, good some good chord changes and textures, with a few guest sounds, like theramin and organ: part of the variety of arrangements *eventually* shaking up the 16 tracks of the original album.
But the 10 bonus tracks, mostly four-track demos, provide a lot more breathing room for vocals and guitar, like maybe the studio sessions were more labored, sometimes (not so many direct comparisons; several of these songs didn't show up on the finished product). It might help that most of the demos have only a tambourine behind the slightly echoing, gnarly jangle (but one of the best, "Ethyl My Love," has what sound's like a full trap set). I'd say that, if you like the original album or the band as you knew them, or, even if you haven't heard them, but are into what turns out to be indeed pop-punk, with even a bit of power-pop---but more get-lost gusto than moony romance---then the demos make this worth checking out, for sure

Not familiar w the earliest, but they're usually worth a listen, in my limited experience

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Pacific Northwest black metal clan WOLVES IN THE THRONE ROOM will proudly re-release their 2006 debut album Diadem Of 12 Stars through their own Artemisia Records in mid-June. The album will precede the band's first East Coast North American dates in five years.

Written almost exclusively in a windowless, black room over the long dark nights of Winter 2005, Diadem Of 12 Stars was the first official WOLVES IN THE THRONE ROOM release. Re-imagining black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest, WITTR created a unique melancholic atmosphere. Diadem Of 12 Stars is about lunar sorcery on Cascadian mountaintops and encounters with wild spirits. In contrast to the icy, razor sharp soundscapes of their 90s Norwegian forebears, the sound of Diadem... is lush and ethereal, dripping with rain soaked moss and lichen.

WOLVES IN THE THRONE ROOM honed the material for Diadem Of 12 Stars by touring across the country's basements and squats. Its raw analog sound in many ways pays homage to the band's varied influences: the harsh black metal of Norwegians Ulver and Emperor or their American counterparts Weakling and Ludicra, the monolithic heaviness of Neurosis and Swans, the sorrowful Funeral Doom of My Dying Bride and in places, the mournful goth of Dead Can Dance. Yet, WITTR distills these inspirations to create a sound that is entirely their own.

Described by guitarist Nathan Weaver as the rawest and most "punk" of their five full-length releases Diadem Of 12 Stars was recorded live to tape in Oakland by Tim Green. Joined in the studio by Jamie Myers (Hammers Of Misfortune, Sabbath Assembly) and Dino Sommese (Asunder. Dystopia), every song was rendered in one or two takes and the album was mixed without the aid of a computer. Originally released on a small DIY label and unavailable physically for many years, this reissued version has been carefully remastered by Jason Ward at Chicago Mastering Service. The band redeveloped every photograph from the original negatives, creating richer, high quality prints in order to present the artwork as originally envisioned.

The Diadem Of 12 Stars reissue will be released June 17th on CD, 2xLP, Cassette, and all Digital formats.

WOLVES IN THE THRONE ROOM will follow the reissue with their first live performances since mid-2014 this September, with two weeks of shows currently confirmed and more to be added in the coming weeks.

WOLVES IN THE THRONE ROOM Tour Dates:
9/13/2016 Saint Vitus Bar - Brooklyn, NY
9/14/2016 Kung Fu Necktie - Philadelphia, PA
9/15/2016 DC9 - Washington, DC
9/17/2016 Strange Matter - Richmond, VA
9/18/2016 The Earl - Atlanta, GA
9/19/2016 Sisters In Christ - New Orleans, LA
9/20/2016 Barracuda - Austin, TX
9/21/2016 Dada - Dallas, TX
9/22/2016 Riot Room - Lawrence, KS
9/23/2016 Empty Bottle - Chicago, IL
9/24/2016 Lee's Palace - Toronto, ON
9/26/2016 Space Gallery - Portland, ME
9/27/2016 Cuisine En Locale - Somerville, MA

WOLVES IN THE THRONE ROOM has to date released five studio albums, two EPs, and multiple live albums to date, including Diadem Of 12 Stars (2006), Two Hunters (2007), Black Cascade (2008), Celestial Lineage (2011), and most recently, Celestite (2014), which was an instrumental, experimental companion record to Celestial Lineage. The band is currently working on new material, which promises to be their heaviest and darkest in some time.

Diadem tracks currently streaming here:
http://artemisiarecords.bandcamp.com/

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LADIES AND GENTLEMEN … THE BANGLES!,
16-TRACK COLLECTION OF THE BAND’S ’80s RARITIES,
COMING ON OMNIVORE ON JUNE 24.
Set encompasses their debut single (as the Bangs),
full EP, plus demos, live tracks, a commercial and outtakes.
LOS ANGELES, Calif. – Hand-selected by the band members from their personal music, archives, Ladies and Gentlemen . . . The Bangles! is a 16-track collection of re-mastered ’80s-era rarities, demos, live recordings and more, including their debut single and all of the tracks from their self-titled EP — produced by legendary Ramones/Blondie producer Craig Leon — unavailable since its initial release on vinyl in 1982.
The set is due out on Omnivore Recordings on June 24, 2016.
Encompassing the very first years of the band’s development, from their earliest days as the Bangs to their incarnation as the Bangles, this is the original line-up of Susanna Hoffs, Debbi Peterson, Vicki Peterson, and their first bass player, Annette Zilinskas. (Annette's replacement, longtime Bangles bassist Michael Steele appears on a couple of live tracks.)
“We’re so pleased to give our fans and music lovers alike the chance to enjoy the early fruits of our labor. Some of these tracks have never seen the light of day,” states drummer/singer Debbi Peterson.
“We’ve wanted to make these songs available to a new audience for a long time,” adds singer/guitarist Vicki Peterson. “We’ve thrown in a couple of live tracks, and even some of the first demos, all lovingly collected and re-mastered, so you no longer have to dig out a cassette player to hear them.”
Singer/guitarist Hoffs continues, “I feel a very special connection to our early recordings. The garage of my parents’ house was our musical laboratory, and we took all the flavors of our favorite bands and mixed up a concoction of jangly guitars, McCartney-inspired bass parts, grooves powered by punk energy, and harmonies galore! These songs and recordings were our musical manifesto — all that mattered and inspired us, fueled by youthful energy, hope and blind ambition.”
In partnership with the band, Omnivore Recordings is proud to offer this compilation (previously available as a download only), with many tracks available for the first time on CD. Ladies and Gentlemen . . . The Bangles!

Track Listing:
1. Bitchen Summer/Speedway — The Bangs
2. Getting Out Of Hand — The Bangs
3. Call On Me — The Bangs
4. The Real World
5. I’m In Line
6. Want You
7. Mary Street
8. How Is The Air Up There?
9. Outside Chance (Demo Version)
10. Steppin’ Out (Demo Version)
11. The Real World (Demo Version)
12. Call On Me (Demo Version)
13. Tell Me (Live)
14. 7 & 7 Is (Live)
15. No Mag Commercial
16. The Rock & Roll Alternative Program Theme Song

Watch (and feel free to post) the Bangles trailer: http://youtu.be/CbYTwylFm3s

KATE & ANNA McGARRIGLE’S PRONTO MONTO
COMING FOR FIRST TIME ON CD
FROM OMNIVORE RECORDINGS ON JULY 1, 2016
Unavailable for nearly four decades,
package contains photos, lyrics, and a new essay by Mark Leviton.

LOS ANGELES, Calif. – The beloved Canadian sister-duo Kate & Anna McGarrigle appeared on the folk scene with a self-titled debut in 1976 and a follow-up in 1977. While those two titles have been reissued throughout the years, the pair’s third album (which has been out of print since its initial vinyl release) has never been available on CD. Despite its many charms, it’s probably been the least-heard Kate & Anna McGarrigle album. That is about to change thanks to Omnivore Recordings, on July 1, 2016.
Pronto Monto (a play on the French for “take your coat”) appeared in 1978, and featured the sisters’ gorgeous vocals and impeccable songwriting, as well as covers and a new track penned by the album’s producer David Nichtern — whose “Midnight at the Oasis,” which appeared on Maria Muldaur’s self-titled 1974 album, was nominated for multiple Grammy®s. Coincidentally, that Muldaur record was released at the same time that Anna’s “Heart Like a Wheel” became the title track of Linda Ronstadt’s breakthrough.
Backing Kate & Anna on Pronto Monto was a veritable who’s who of studio aces including Grady Tate, Steve Gadd, David Spinozza, Tony Levin, Bernard Purdie, and others.
This long-time-coming reissue features the release’s original 12 tracks, newly remastered by Grammy® winner Michael Graves, as well as photos, lyrics, and a new essay from Mark Leviton from conversations/remembrances from Anna McGarrigle, David Nichtern, Lenny Waronker and Joe Boyd.
Out of the marketplace for far too long, Pronto Monto finally reclaims its place in Kate & Anna McGarrigle’s stellar canon. For those who have never heard it, it will be a revelation. For those who have, it’s wonderful to welcome this recording back — almost four decades later.
Track Listing:
1. Oh My Heart
2. Side Of Fries

3. Just Another Broken Heart

4. Na Cl

5. Pronto Monto

6. Stella By Artois

7. Bundle Of Sorrow, Bundle Of Joy

8. Come Back Baby

9. Tryin’ To Get To You
10. Fixture In The Park
11. Dead Weight

12. Cover Up My Head
# # #
trailer: http://youtu.be/eLfOGWcogAI

So The Warriors soundtrack deluxe reissue (special vinyl and CD editions etc) is out, and I'm intrigued by spotting Mandrill, Joe Walsh, Genya Ravan, Arnold McCuller and Desmond Child all in the same place. Barry DeVorzon wrote the score, I dunno who Johnny Vastano is, other than a fellow member in good standing of the Cool Names Club. I wanna see the movie too.

The Warriors: Music From The Motion Picture
Waxwork Records
Out now!

Side A

1. Theme From The Warriors - Barry DeVorzon
2. Nowhere To Run - Arnold McCuller
3. In Havana - Kenny Vance w/ Ismael Miranda
4. Echoes In My Mind - Mandrill
5. The Fight - Barry DeVorzon

Side B
6. In The City - Joe Walsh
7. Love Is A Fire - Genya Ravan
8. Baseball Furies Chase - Barry DeVorzon
9. You're moving Too Slow - Johnny Vastano
10. Last Of An Ancient Breed - Desmond Child

Side C
11. Wonder Wheel (Main Title)
12. Graveyard
13. Night Run
14. The Orphans / Turnbull A.C.'s Part 1 / Riff Boss / Turnbull A.C.'s Part 2 / Molotov Cocktail
15. March To Station
16. Luther Shoots Cyruss / Train Walking

Side D
17. Baseball Furies Chase / The Fight
18. Into The Tunnel
19. Skater / Men's Room / The Fight (Alternate)
20. Riffs Learn Truth / Platform / Warriors & Rogues
21. Platform (Alternate) / Warriors & Rogues (Alternate)

https://www.facebook.com/waxworkrecords
https://twitter.com/waxworkrecords
instagram.com/waxworkrecords

FEATURING ARTWORK FROM MARVEL COMICS ARTIST DAVE RAPOZA

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/a51e8606-7515-47e3-b108-3819dae3b7b4.jpg

The cover's Warriors look much more robust and clean than historically plausible street/subway kids in the few movie clips I've seen (so shouldn't have incl. cover, sorry).

Those rooftops though!

wait, that film is anything but 'plausible' -- it's one of the most stylized depictions of urban life of its era! (well, the nasty subway cars and dilapidated coney island notwithstanding.)

I have heard that it is a modern day retelling of an Ancient Greek classic though.

it's a very loose reworking of anabasis.

I don't see how that cover is any more robust and clean that the image from the original film poster (I think this is the original anyway):

http://www.theconeyislandblog.com/wp-content/uploads/2015/07/Warriors-Movie-Poster.jpg