Rolling Reissues 2016

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)

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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:

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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.

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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

Suicide's second album is being reissued by Superior Viaduct

http://www.superiorviaduct.com/collections/featured/products/suicide-alan-vega-martin-rev-lp

I rewatched The Warriors recently with my 9-year-old son. It holds up rather amazingly, and looks amazing on film. The reissue album cover doesn't seem out of line with the movie. Different version of "In The City" than appeared on "The Long Run."

Too many "amazings" sorry, but I was shocked by how good the movie is in 2016. First saw it on TV back in the 80s probably.

Thanks for the tips, will check it out. Re the grotty subway clips, I was also influenced by John Darnielle saying in the press materials for All Eternals Deck that he was influenced by seeing the Warriors riding in the smoggy twilight, looking ghostly, and "scarred but smarter," or something like that. Could apply to a lot of the people in a lot of his albums and novels, the ones that live long enough to (maybe) wise up, but he's most specifically referring to "High Hawk Season":
Who will rise and who will sink?
Who's going to stand his ground
and who's going to blink?
Surge forward from Van Cortlandt Park
like frightened sheep
Spirit throngs that hoist us high,
three thousand warriors deep

Spray our dreams on any surface
where the paint will stick
Try to time the rhythm,
listen for the click...

Wikipedia claims that some audiences tended to flip out when it was originally shown, so theaters were released from their contractual obligation to screen it.

I'm still surprised no one's talking about the Blue Orchids reissues / new material campaign - new album, double live CD (from 1981 and 1985), Martin Bramah solo album, and a collection of Rough Trade singles and stuff on LP. I bought the lot (well, there's other stuff, I didn't buy, but I bought all the music) and the updates have been cool.

http://www.pledgemusic.com/projects/blueorchids

There's a version of "Work" with The Fall's "Before The Moon Falls" which was apparently once the same song. It says the link is only up for 80 hours, but that was a couple of days ago!

https://soundcloud.com/ratherthanrepeat/blue-orchids-work-before-the-moon-falls

That's exciting! I love this band. First rate psychedelic post-punk, I rate them right up there with The Fall, Magazine, Chameleons, Siousxie, Comsat Angels, etc.

I ordered the three signed CD package. Sucks that the Awefull compilation is vinyl only, but I already have most of the songs on A Darker Bloom and The Greatest Hit (Money Mountain).

Yeah, I'm excited about these Blue Orchids releases, they're one of my favourite bands and I saw them live a month ago and the new songs (I assume from the new album) were phenomenal - the best stuff of theirs I've heard since the early singles.

From Drag City:

NEW LANDS AND MIRROR REAPPEAR JUNE 10TH!
Continuing the Flying Saucer Attack reinstatement program that began with last year's new release, Instrumentals 2015, and the subsequent reissue of FSA's 1995 LPs Further and Chorus earlier this year, we now arrive at the 1997's New Lands and 2000's Mirror.

Following the chilled-out acoustic drafts blowing through both Further and Chorus, it seemed that the direction for future FSA musics was clear: increased melodicism with more roots exposed in ever-cleaner productions, right? Uh, no. After what felt to be an extended wait, New Lands arrived in late '97, marking phase two of Flying Saucer Attack as an ostensible solo act for Dave Pearce. Further, New Lands presented a foreboding atmosphere, with coarse electric textures from the very top of the record and the highly palpable psychedelic shadows of the debut Flying Saucer Attack album flickering throughout, albeit in a much altered form.

The distance between albums only increased between New Lands and Mirror - over two years this time, with Mirror arriving wrapped in a vibrant, multicolored cover designed by Savage Pencil. The violent spells of New Lands had given way to a flattened drone on the electric pieces from Mirror while the glittering acoustics of "Suncatcher" and "Tides" highlighted an incredible fragility within the songs.

New Lands, Mirror and the eventual Instrumentals 2015 show us that following their manic first years, Flying Saucer Attack never stopped evolving. And now the vinyl artifacts are back among us - to be excavated and reexamined on June 10th!

Flying Saucer Attack Online:
Official Website& Video-http://fsa.space/
Drag City-http://www.dragcity.com/artists/flying-saucer-attack
New Lands-http://www.dragcity.com/products/new-lands
Mirror-http://www.dragcity.com/products/mirror

Numerophiles-

Over the last three years, you might have noticed a slight bend in our release scheduled towards the textural and atmospheric. Iasos and Jordan De La Sierra were our first volleys into the Private Issue New Age world. Last week we completed the Bay Area holy trinity with Joanna Brouk: Hearing Music, our 69th release. All three of these have arrived courtesy of Douglas Mcgowan, who recently joined our staff and heads up our west coast efforts. His previous efforts brought the world great compilations like I Am The Center and albums by Ted Lucas and Dwarr for his own Yoga Records. To celebrate his arrival, we’ve forced Douglas to maintain our ever-evolving PINA playlist on Spotify, which we encourage you follow for all your meditation/psychic readings/yoga class needs.

Joanna Brouk: Hearing Music

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. CD contains 8 bonus tracks.

2LP/2CD/Stream

I'll prob re-post this some other time on the Green On Red Lone Justice etc. thread, cos def has that blue jean jacket mid-80s ambitious, mostly friendly but sometimes morose and often wound-tight been-around boondocks sound---also rec to fans of Jason and the Scorchers (for the guitars more than the front man), Drivin' & Cryin', Chuck Prophet's solo ventures, Cracker, the Kinks'Muswell Hillbillies, Wussy---but, while most of the original album had to grow on me (and still ain't all the way here). most of the demos are immediate grabbers (that/those guitars never let me down, when they get a reasonable amount of room, which they usually do).
"Positively Lost Me" is the most inspired song, leading off the original album (a bit downhill afterwards): like one of Wussy's bent muffler folk-slammers of the present century, each verse adds more stuff you lost when you lost me, empty bottles and a broken tree, but even better stuff too, all the way up the hill and out the window:

THE RAVE-UPS’ 1985 ALBUM TOWN + COUNTRY
TO BE REISSUED BY OMNIVORE RECORDINGS ON JULY 8
Americana pioneers’ debut album reissued and expanded with 11 bonus tracks.
Contains sought-after “Positively Lost Me” from the film Pretty in Pink.
Also features new liner notes by frontman Jimmer Podrasky
and many never-seen photographs.

LOS ANGELES, Calif. — While the members of the Rave-Ups held day jobs in the mailroom at A&M Records, they were able to use the label’s studios at night and during lunch breaks to record what would become a genre-defining release. Enlisting the help of producer Stephen Barncard (Grateful Dead’s American Beauty) as well as the legendary pedal-steel player Sneaky Pete Kleinow, the band released Town + Country in 1985.
The album gained enough attention to get the band featured in John Hughes’ classic 1986 film Pretty in Pink. Sadly, their “Positively Lost Me” didn’t make the soundtrack, and the Fun Stuff Records-issued Town + Country fell out of print. Fans of the band (and the film) have been searching for it ever since. Three decades later, it’s finally available again via Omnivore Recordings on July 8, 2016.
This reissue of Town + Country features the original 10 songs, plus a whopping 11 previously unissued bonus tracks — including live radio performances recorded for Dierdre O’Donoghue’s influential Snap program on Los Angeles’ legendary KCRW-FM, as well as 1986 material produced by Steve Berlin (Los Lobos) and Mark Linett. A detailed historical essay from the band’s Jimmer Podrasky, complemented by numerous unseen photos from the sessions/era, make this not only a document of time + place, but one that helps document a moment in musical history.
Mastering and restoration was overseen by Grammy® winner Gavin Lurssen
According to Podrasky from the liners: “Music has the uncanny ability to thwart time and space. It informs a moment. It indexes lives. It creates strange bedfellows. It outlasts people — even the people who helped make the music. Music resonates more than any other art form — that is its unique power. It remains with us long after the last note has faded. Town + Country was the beginning of a lifelong journey for me — the start of a trip that still hasn’t ended. I’m proud and honored to have been a part of something that has withstood the test of time.”
Town + Country has been gone for far too long. Now, fans can positively find it.
Track listing:
1. Positively Lost Me
2. Remember (Newman’s Lovesong)
3. Better World
4. Class Tramp
5. In My Gremlin
6. Radio
7. By The Way
8. Not Where You’re At (But Where You Will Be)
9. You Ain’t Goin Nowhere
10. Rave-Up/Shut-Up
Previously unissued bonus tracks:
11. If I Had A Hammer (The Hammer Song) (Fun Stuff demo)
12. Nine Pound Hammer (Live on Snap)
13. Positively Lost Me (Live on Snap)
14. Square Hole
15. Train To Nowhere (Early Version)
16. The Rumor
17. Please Take Her (She’s Mine) (Early Version)
18. Mickey Of Alphabet City (Early Version)
19. No No No
20. See You
21. Blue Carrot (Early Version)

# # #

ammmusic

caroline k rec excelente

No idea how this is, sorry if horrible triggers (but Creation, Easter---maybe it's good):

http://d31hzlhk6di2h5.cloudfront.net/20160520/45/55/ae/3c/e083046c8728429cc1fb6d6e_344x560.jpeg

VELVET CRUSH’S PRE-TEEN SYMPHONIES
EXPLORES MUSICAL ORIGINS
OF POWER POP CULT LEGENDS
Due July 22 on Omnivore Recordings, collection contains 16 previously unissued tracks, including demos and live tracks bookending the band’s breakthrough Teenage Symphonies to God. Features liner notes from the band’s Ric Menck; plus photos.

SHERMAN OAKS, Calif. — When Rhode Island’s Velvet Crush appeared on the scene in the early 1990s, they were obviously a force to reckon with. Signing with England’s Creation Records (Oasis, My Bloody Valentine, Teenage Fanclub), they released their debut LP in 1991. But, it was 1994’s Teenage Symphonies to God (the title being a play on Brian Wilson’s description of what would become SMiLE) on Sony 550 Music that put them on the map. Co-produced by the legendary Mitch Easter, it opened America’s eyes to what those over the pond were so wild about.
But, what was the genesis of that record? We can now find out with Pre-Teen Symphonies, a collection of 16 previously unissued tracks from Velvet Crush: eight demos (including one for the classic single “Hold Me Up”) and eight tracks recorded live in 1995 at Cabaret Metro in Chicago. The set, available on CD and Digital, will be released on Omnivore Recordings on July 22, 2016.
As the band — fronted by Paul Chastian (bass, guitar and vocals) and Ric Menck (drums) with Jeffrey Underhill (guitar) — proved the past was the future by taking elements from classic ’60s melodies, ’70s power pop, and ’80s reinvention, Pre-Teen Symphonies is a unique look into the development of a classic, and the live power that drove it.
Menck writes in the liners: “It’s probably no exaggeration to make the claim that Teenage Symphonies to God was the pinnacle of our illustrious career as a band. It’s certainly the album by Velvet Crush that most people know. Pre-Teen Symphonies collects all the loose ends, and hopefully, helps to usher in a new chapter for the little band that could from Providence, Rhode Island.”
Find your path with Pre-Teen Symphonies.
Pre-Teen Demos:
1. Hold Me Up
2. My Blank Pages
3. Time Wraps Around You
4. Not Standing Down
5. Turn Down
6. This Life Is Killing Me
7. Weird Summer
8. Star Trip

Live At Cabaret Metro, Chicago:
9. Window to the World
10. My Blank Pages
11. Ash and Earth
12. Time Wraps Around You
13. Atmosphere
14. This Life Is Killing Me
15. Hold Me Up
16. Remember the Lightning

Also:
Watch (and feel free to post) the Velvet Crush trailer: http://youtu.be/HBphNIsRiVs

just found this album by <b>Rexy</b> via inclusion of a track on the 'Sharon Signs To Cherry Red' compilation (early 80s UK indie women), it got reissued earlier this year and I love it. weird mix of super blank confessional DIY synth stuff, jazzy disco cuts and covers which while arguably throwaway don't by any means suck: https://luckynumber.bandcamp.com/album/running-out-of-time

the singer went on to do session stuff and playing Gary Moore's band of all things

https://f4.bcbits.com/img/a0685524032_16.jpg

much love for Velvet Crush, especially the "She Gives Me One Thing To Believe"/"If Not True" 7" (which I guess is way earlier and not on Creation)

Yeah, fixing to listen again. It's initially appealing, rough-edged power pop, bleaty and beaty: all demos and live, like the bonus tracks I've been favoring re Rave-Ups and Muffs. Rave-Ups prev. released LP tracks still growing on me though. Especially "Better World," where he's skeptical of progressive and Greatest Generation claims, as a given, not getting shrill about it, but his parents dead and brother not doing so well, but he's marching on but also to a sinuous, even backwards-seeming but as written, no retro gimmicks, riff. So he's got the Beatles legacy too, carrying on amidst (offstage but prevalent) 80s musical & other glitz.
Also like "Class Tramp," which starts off like it's gonna be a Kinks mockery of Mr. Middle Class Salary Whore, but then turns the mirror: look out now, he might be your Dad. Okay though, be a hip classy Class Tramp too. Very cheerful, like celebration "In My Gremlin" (can't afford no "Mercury" of course, though trying to hotwire the same tune). Some are grim, but need those too.
xpost Bangles round-up is real good from the first listen, other than those few thin Bangs tracks, and a clunky live cover of "7 & 7 Is." Never seen Bangles on a power-pop thread, unless I do it dammit.

oh yeah, and the McGarrigles' xpost Porto Novo starts strangely, with olde folkie warbles over yachty tasty licks. And these top-paid studio pros should never be asked to play a straight-fwd guitar shuffle. But in terms of at least gettin' concise-if-not-always-down sounds, and thematically appropriate melodic-harmonic explorations, Kate McG. is the Lennon figure here, with Anna the moonier McCartney. Then again, her "Park Fixture" is dynamically *about* an obsesso romantic, as written and performed from that POV. (And she tries to get more concise, "I love my kid" etc.) So far seems like about half of this album works pretty well after all. Do like Kate's solo voice more than the duets.

Back to xpost Velvet Crush: so limber tunes, even some hooks, can push through or to the surface of concentrated demos----but the more I play these *live* 8 (out of 16) tracks, the more I call for more shows, bros!