Rolling Reissues 2020

The Convertion song on there is one of my favorite Leroy Burgess things

picking up the King Diamond reissues and trying to get copies of the Mercyful Fate vinyl reissues that quickly sold out this year, but the places I order from seem to be out.

also kinda intrigued for the Decibel Napalm Death vinyl reissues.

xpost I liked some of that, but lost patience. Maybe I should try the whole thing again.

But also on YouTube, just now listened to xpost Soul Jazz Records’ new Black Riot: Early Jungle, Rave and Hardcore, which gets better and better, rollic-King, for the most part. Thanks to Gottpunch for the reminder on What Are You Listening to? 2020

Rilo Kiley Announce Release Of Rare Self-Titled 1999 Debut Album;

Rilo Kiley To Be Released On Vinyl & DSPs October 2nd;
Rilo Kiley have announced plans to re-issue their extremely rare self-titled debut album from 1999. The recording, originally pressed only on CD and sold exclusively at the band’s early shows, has been out of print since its original pressing 21 years ago. Rilo Kiley will be made available on limited edition vinyl and digital DSPs on October 2nd via Little Record Company, the label started by Rilo Kiley’s own Pierre de Reeder. The vinyl package includes gate-fold and colored vinyl.

The Los Angeles four piece arrived on the music scene in 1998 with their very first show at Spaceland in Silverlake. In the audience was comedian Dave Foley who was so impressed with their performance that he introduced himself and immediately encouraged them to record some of their music. Recalls Foley of this first encounter with the fledgling Rilo Kiley:

“January 1998, I was a young man, young compared to now, hanging out in L.A’s alt. rock club scene. One night in particular, I found myself at Spaceland, at the bar drinking when a band started playing. They were good, so good that I stopped fighting for the attention of the bartender and turned to see who it was. On stage was a very young, delightfully unpretentious group named Rilo Kiley. Between songs they were charming, smart and funny. During songs they were brilliant. After the set I introduced myself and learned that this was their first public performance. I was astonished. They invited me back to their rehearsal space for Thai food and to hear some songs they didn’t have room for in the set. Dreamily, I filled my belly with noodles and my head with one great song after another. I was in a full on, pop music fan swoon. Having decided to force myself into their lives, I suggested (insisted) that I should fund a demo recording. They relented. I also tried to talk them into changing the band's name. They were unrelenting. A lot of years have passed. I remain proud to know Rilo Kiley and grateful that I had the opportunity and ability to be of some help."

Some of the songs from that initial Foley-funded demo session formed the foundation for Rilo Kiley and the band handmade copies of the CD to sell at shows before signing to Barsuk Records and going on to release some of the most influential and acclaimed albums of the era.
Rilo Kiley tracklist:

Frug
Papillion
Always
85
Glendora
Teenage Lovesong
Sword
Asshole
Gravity

Jenny Lewis (vox, guitar, bass, keys), Blake Sennett (vox, guitar, keys), Pierre de Reeder (bass, guitar, keys, vox) & Dave Rock (drums).

https://www.rilokiley.com/

Just listened to Disc 1 of xpost soundtrack to Tim Lawrence's book, Love Saves The Day: A History of American Dance Culture, 1970-1979, and it's a trip, as expected. New to me: Les Troubadours Du Roi Baudouin's "Dibwe Diambula Kabanda" is a chattery, charming, caffeine come-all-ye, cruising into Chuck Mangione's "Land of Make Believe," with his fluegelhorn, Jon Faddis's trumpet, beats etc. gliding in and out of the orchestration around Esther Satterfield's calm vocal authority---all seems ready for Broadway in the wake of The Wiz, but why bother when we've already got this, for 12-plus painless minutes---will have to check more Chuck, but suspect context incl. anticipation of live James Brown etc. helps a lot---more than ditto: "We All Need Love," by Dominec Trioano, yes the guitarist for The James Gang and Guess Who, here vocalizing and maybe playing synth? Ultimately okay enough---wonder if Joe Walsh, Randy Bachman ever tried disco? Would like to hear.
Nary a wasted measure of the Jackson 5's epic, mostly (but not too)instrumental "Hum Along And Dance (Uncut Version): "Play it Tito!" Squealy balloon piglet guitar, or something: good! I'd never heard anything from their Dancing Machine etc. era.
Also hadn't heard Wilson Pickett's contributions to that era, like "Don't Knock My Love." Awesome, and although he doesn't sing on "Dont...Pt.2," instrumental's so fine, I don't miss him here quite so bad.
Fave find so far is Brainstorm's brave, hopeful "Lovin' is Really My Game (12" Version)": I love the boogie, but the boogie don't love me"---don't say that, yes it does!

From Lawrence's booklet: With generic boundaries yet to take root, the Jackson 5's "Hum Along and Dance" moved seamlessly between the Bronx, downtown and Brooklyn, the 15-minute version included here is this version's first legal release on vinyl. Brainstorm's "Lovin' Is Really My Game," played by Larry Levan when the Paradise Garage was still in its infancy, reminds us that disco, once it was let loose, could power its way through anything.

(And could keep going long after you weren't supposed to call it "disco" anymore.)

Sometimes, when blissmaster David Mancuso considered last dancers lingering too long in the Loft (his lower-case home, after all), he would play Gladys Knight & The Pips' "It's Time To Go Now," which ends Disc or Part 1. Realness continues at the earnest new beginning of 2., "Brother's Gonna Work It Out," as Willie Hutch or his representative tells a social problem that his business has gotta go too, not just the competition and equivalents in other markets---but hey, change can be fun, just listen to this, and dance along.
Charles Earland's answer is "Leaving The Planet," rising through stratspheres crowded as the streets, but nonstop.
Laura Lee's marching and stomping in a silver elevator, "(If You Want To Try Love Again), Remember Me," she appeals, commands. The Modulations' "I Can't Fight Your Love" has unusual-to-me combo of high voice appeals, gruff voice commands (both male), but we already got Ms. Lee and I'd cut straight from her to Margie Joseph's diamond "Prophecy," one of Nicky Siano's fave peak tracks.
After those two, the voices are more back in the total effect of the builds: Blue Magic have, to my ears re post-Motown 70s, an unusually rich, vivid blend of high male harmonies, here balancing on and in rolling folds of textured rhythm, in "Welcome To The Club." Then, two tours led by prodigal jazzers: Twennynone with Lenny White's "Fancy Dancer," where the details eventually get bigger and closer, almost distended, but not quite: like the original 12", or is it an effect of analog recording, digital remastering? I remember some of Columbia Records' early attempts at digitally remastering Miles Davis vinyl had the same effect (though some others *were* distended. Miroslav Vitous, Herbie Hancock, Airto Morieta and ricochet female voices go all around the town in a dynamic limo, through the shadows at times, basic groundclouds more often, but it is "New York" in the 70s, after all.
"Above And Beyond" is certainly the most sensitive Edgar Winter track I've heard: voices and synths guided through sunset-tinged blue skies by Tom Moulton's production.

From MVD Entertainment:

Johnny Thunders - Que Sera Sera: Resurrected

35th Anniversary 3CD Box Set featuring a remixed version with extra tracks, the live version, the original album plus a 36-page booklet

Coming September 11th
In 1985 Johnny Thunders went into the studio in London, to record his third and final solo album. He gathered friends Mike Monroe, Patti Palladin, John Perry, Wilko Johnson, Henri-Paul Tortosa, Nasty Suicide, JC Carroll,Stiv Bators, Glen Matlock and others, and the resulting album was christened Que Sera, Sera.

It wasn't all plain sailing - with Johnny it rarely was. Johnny had spent the previous two years in relative stability. He'd been gigging around the world, and between tours he was filming in France. Life was a series of nice apartments and hotels shared with his constant companions - his girlfriend Susanne and his manager Christopher.

Now circumstances meant he had neither. Without a new release, touring slowed, and his high-maintenance lifestyle led him to seek friend favors for somewhere to live. The major labels that Christopher hoped would provide financial support hadn't materialized.
In a row with Susanne, she complained that Johnny had never written a song for her. Johnny obliged, and along with new songs from his live set, he recorded "I Only Wrote This Song for You." Before the album was finished, as soon as he had a rough monitor mix of the song, he flew to Sweden to attempt a reconciliation.

Those remaining at the studio were left to put the pieces together. Patti Palladin oversaw the mixing with the engineer, and found there wasn't really enough for an album. Patti added "Tie Me Up" from the b-side of her Crawfish project, and "Blame It On Mom" was found from an earlier session. The title-track was actually an afterthought; recorded as a single 16 months later.

The album was well-received, and it got Johnny touring again, but there was always a sense that it could have been better, and that the guitar was restrained - in '85 many artists were seeking mainstream crossover. Two tracks were left off - Jerry Nolan's "Countdown Love" song was unused as he hadn't yet recorded it; and "Talk About You," a lengthy blues workout that didn't seem to fit.

With those two tracks in mind as bonus tracks for a reissue, Pat Collier, former Vibrators' guitarist, was asked to mix them. When the results came through, it became obvious that Pat should remix the whole album using today's technology and viewpoint.
n the multi-track tapes a few outtakes were discovered, and last year the Resurrected version was released as a Record Store Day double-vinyl with 5 bonus live tracks. After interruptions, the CD version was reappraised and expanded to a three-disc box set. The original album is included, reinstating "Tie Me Up" and the old, familiar mixes. Three live gigs were uncovered, and they became the live version of the album as a bonus CD.

Johnny Thunders' biographer, Nina Antonia, has written new notes with interviews for the 36-page booklet. It also includes lyrics and unseen photos from the recording sessions, the cover session and from one of the featured live gigs.

TRACKLISTS:

DISC 1: Resurrected: Alone In A Crowd, Countdown Love, Blame It On Mom, Talk About You, M.I.A., Little Bit Of Whore, Short Lives, I Only Wrote This Song For You, Cool Operator, Billy Boy, Endless Party, Que Sera Sera. Extras: Copy Cat, Blame It On Mom (outtake),Taking You Up Avenue D, Short Lives (outtake), I Only Wrote This Song For You (outtake), Cool Operator (first version)

DISC 2: Live in Europe: Geneva: Blame It On Mom, M.I.A., Cool Operator, Personality Crisis, Countdown Love, Little Bit of Whore, Amsterdam: Short Lives, So Alone, Sad Vacation, Too Much Junkie Business, Little Bit of Whore, Born To Lose, Chinese Rocks, Lyon: Countdown Love, Just Another Girl, Talk About You, Alone In A Crowd, It’s Alright (Blame It On Mom)

DISC 3: The original album: Short Lives, M.I.A., I Only Wrote This Song For You, Little Bit of Whore, Cool Operator, Blame It On Mom, Tie Me Up, Alone In A Crowd, Billy Boy, Endless Party, Cool Operator (Black Cat mix), Short Lives (Heavenly ver.), Short Lives (Johnny’s remix), Que Sera Sera

More info, audio, pre-order:
https://mvdshop.com/products/que-sera-sera

Okay, I did listen to xxxpost The World of Keith Haring again, and liked most of the other half much much much more than before---main thing might have been that I played it much louder this time. From June 2019, turns out, but hey. I'm gonna get it, probably.

Tracklisting for the Love Saves The Day feels a bit "songs that are mentioned in the book but haven't been comped before". I'll check it out though!

2019-released soundtrack for the second book is even better, and, unlike the first a 2020 release), you can listen to the whole thing on bandcamp:https://reappearingrecords.bandcamp.com/album/life-death-on-a-new-york-dance-floor-1980-1983

Meanwhile,

https://soundsoftheuniverse.com/img/STllTy9FS2lCNG9ud2JuWUxJVy9wQT09/viralata-antonio-adolfo.jp

New edition vinyl reissue of his seminal Brazil/Funk/Jazz fusion CLASSIC LP: Antonio Adolfo's Viralata! Remastered from original tapes and on heavyweight 180 gm vinyl.

An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music!

Joe Davis' Far Out label presents this classic album that includes the Brazil jazz dance classic track 'Cascavel' - a BIG Gilles Peterson and Patrick Forge tune back in their Dingwalls days.

Viralata sits comfortably on the same pedestal as Azymuth's Light As A Feather and Joao Donato’s Quem É Quem, which is no co-incidence. All three keystone LPs were recorded and engineered by Toniniho, considered by many to be "the Brazilian Rudy Van Gelder" whose magic touches in the studio also helped to produce Marcos Valle's Previsão Do Tempo and Joyce's Água E Luz among many other holy grails and unassailable classics of soulful Brazilian music.

Antonio’s work has been widely performed by his legendary Brazilian contemporaries including Sergio Mendes, Emilio Santiago and Erasmo Carlos, but also by platinum-selling American icons including Stevie Wonder, Herb Alpert and Dionne Warwick. Following an early 70s spell of studying jazz in the USA, Viralata’s release in 1979 arrived at the height of a flourishing period of Antonio’s career. With his late 60s and 70s output following through on his influences of tropicalia, funk, MPB and easy listening, the almost entirely instrumental Viralata marked an apex for Brazilian jazz.
More info, audio: https://soundsoftheuniverse.com/product/antonio-adolfo-viralata

BORIS ANNOUNCE SIX-VOLUME 'ARCHIVE’ SERIES

Boris will begin to archive past limited releases on their Bandcamp page.

Tomorrow, and over the course of several months, the archiving of Boris past limited releases will take place on their Bandcamp. They'll start off appropriately with the “Archive” series, 3 live album CD’s released in 2005 from the US label, “aRCHIVE”, limited to 600 copies that sold out immediately.

These 3 live albums were reissued as “Archive I” (Vol. 1, 2, & 3) along with “Archive II” (Vol. 4, 5, & 0) in 2014. Both sets of 3 CD’s each were limited rereleases of 1,000 copies, and thus quite difficult to obtain.

Boris’s early demo tape recordings, as well as a compilation of at the time unreleased live recordings spanning “Heavy Rocks,” “Akuma no Uta,” ”dronevil -final-, ”mabuta no ura,” up through “PINK” can be found on “Archive II”.

These 6 CD’s worth of material, labeled as Boris “Archive” Volume Zero to Five, are a total of 6 releases. Getting a glimpse at a piece of the band from the Boris Book of Genesis to the present, these are some precious recordings indeed.

Details for each Archive release can be found below. Look for more news and music from Boris in the near future.

—
Boris Archive Volume Zero "Early Demo"

9 songs selected and compiled from 3 independently produced demo tapes, from the early period of Boris’s formation.
The final 10th track, “Soul Search You Sleep,” was recorded in 1996 during Boris’s first tour of the US west coast, and has been brought out of a long slumber to complete Volume Zero.
(Originally released on March 5, 2014. Included in Archive 2, limited to 1,000 copies)

1. Loudd
2. AYA
3. Spell Down
4. Nods
5. Scar Box
6. Mosquito
7. Matozoa
8. Deep Sucker
9. Water Porch
10. Soul Search You Sleep

Track 1,2 from 1st Demo 1993
Track 3,4 from 2nd Demo 1993
Track 5-9 from 3rd Demo 1994

Recording Engineered by Kokage
Mixed by fangsanalsatan

Track 10 Recorded at Capitol Theater, Olympia, WA. Mar 1st & 2nd 1996

Takeshi: Bass & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal
Nagata: Drums(Track 2,3,4,6,7,8,9)

Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

—

Boris Archive Volume One "Live 96-98"

Originally released in 2005 from the US label “aRCHIVE,” limited to 600 copies which sold out immediately. Compiled from live recordings during Boris’s “Power Violence” period 1996 - 1998, including songs from the 1998 studio album “Amplifier Worship” and Archive Volume Zero “Early Demo.”
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

1. Huge
2. In Hush
3. Soul Search You Sleep
4. Vacuuum
5. Mosquito
6. Mass Mercury
7. Scar Box
8. Hama

Track 1,2 Recorded at Koenji 20000V 21st Dec 1996
Track 3,4,5 Recorded at Koenji 20000V 21st June 1996
Track 6,7 Recorded at Shinjuku Loft 4th Oct 1997
Track 8 Recorded at Koenji 20000V 2nd Aug 1998

Takeshi: Bass & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal

Re-Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

—

Boris Archive Volume Two "Drumless Shows"

Originally released in 2005 from the US label “aRCHIVE,” limited to 600 copies which sold out immediately. Includes 2 songs recorded live from Boris’s 1998 studio album “Amplifier Worship” and 1 song from “Early Demo,” all arranged for a drumless performance. The beginning of Drone Metal history in 1997.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

1. Huge
2. Mosquito
3. Vomitself

Track 1 Recorded at Nagoya Music Farm 9th Aug 1997
Sound Engineer: Yukihito Okazaki (from ETERNAL ELYSIUM)

Track 2,3　Recorded at Koenji 20000V 8th Aug 1997

Takeshi: Bass & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal

Re-Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

—

Boris Archive Volume Three "2 Long Songs"

Originally released in 2005 from the US label “aRCHIVE,” limited to 600 copies which sold out immediately. A precious live recording from their early days, of Boris’s 1996 debut single song release, “Absolutego,” and “flood,” released in 2000, performed live together as “1 song, 1 production.”
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

1. Absolutego
2. flood

Recorded at Koenji 20000V 3rd May 2001

Takeshi: Bass & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal

Re-Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

www.borisheavyrocks.com

—

Boris Archive Volume Four "Evil Stack Live"

Full set live recording that was broadcast on Japanese government-owned radio. The setlist is compiled from songs representative of their “Uppercase BORIS” distinction, including tracks from “Heavy Rocks” (2002) and “Akuma no Uta” (2003).
(Originally released on March 5, 2014. Included in Archive 2, limited to 1,000 copies)

1. Heavy Friends
2. Korosu
3. Ibitsu
4. Death Valley
5. Naki Kyoku
6. Furi
7. Akuma no Uta
8. Dyna-Sore
9. 1970

Recorded at NHK Tokyo 15th May 2003
Sound Engineer: Yasuaki Satake

Takeshi: Bass, Guitar & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal

Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

—

Boris Archive Volume Five "Pink Days"

Recorded live in New York during Boris’s 2006 US tour. Selections from “dronevil” "mabuta no ura" and “Akuma no Uta” combined with songs from “PINK,” during the period of its release that transmits wild enthusiasm; the songs in this full set recording could even be called their greatest hits.
(Originally released on March 5, 2014. Included in Archive 2, limited to 1,000 copies)

1. Blackout
2. PINK
3. Woman on the Screen
4. Nothing Special
5. ibitsu
6. Electric
7. A Bao A Qu
8. the evilone which sobs
9. Akuma no Uta
10. Just Abandoned My-Self
11. Farewell

Recorded at New York 31st May 2006
Sound Engineer: Randall Dunn

Takeshi: Bass, Guitar & Vocal
Wata: Guitar & Echo
Atsuo: Drums & Vocal

Mixing: fangsanalsatan
Mastering: Soichiro Nakamura
Design: fangsanalsatan
Produced by Boris

GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION will be available on September 18 as a 180-gram double-LP set and as a double-CD set and is available for pre-order now. Both versions include the newly remastered version of the original album plus eight alternate takes. The recordings come packaged in a replica of the original sleeve and labels used for the album’s first stereo pressing, and the packages, each with a booklet, include photos, never-before-seen images of Atlantic Records ephemera, original liner notes and new liner notes written by Grammy®-winning music historian Ashley Kahn. As a special bonus, fans who order the 2-LP set from Rhino.com will receive a limited edition 7-inch vinyl single disc featuring alternate takes of “Giant Steps” and “Naima.”

The other anniversary release is GIANT STEPS: 60th ANNIVERSARY SUPER DELUXE EDITION, which will be available to download and stream on September 18. The 35-track collection includes the original album, eight alternate takes, and 20 additional outtakes, all of which are newly remastered. Until now, many of the outtakes were only available on the 1995 set: The Heavyweight Champion: The Complete Atlantic Recordings.

Giant Steps was recorded in 1959 at Atlantic Studios in New York City. The album features Coltrane on tenor saxophone, Paul Chambers on double bass, Tommy Flanagan on piano, and Art Taylor on drums on all songs except for “Naima,” which features Jimmy Cobb on drums and Wynton Kelly on piano. It’s extraordinary to note that Coltranebegan principal recording sessions for Giant Steps less than two weeks after finishing his work with Miles Davis on Kind of Blue, which became the best-selling jazz album in history.

Considered a landmark in modern jazz improvisation, Giant Steps earned a rare honour in 2004 when the album was selected by the Library of Congress for inclusion in the National Recording Registry. It is well known for Coltrane’s exploration into third-related chord movements, which are now known as ‘Coltrane changes.’ Several compositions on the album have become jazz standards, including the ballad “Naima” (named for his wife) and the title track.

In the new liner notes that accompany the vinyl and CD sets, Kahn details the album’s origins and eloquently writes about its lasting impact, while interweaving quotes and commentary from Coltrane’s peers, critics and family. “And yet…Giant Steps is Exhibit A of how Coltrane’s obsession with the inner mechanics of music could not—and did not—impede his lyrical priority as a soloist, nor his compositional knack for inventing memorable, deeply entrancing melodies, says Kahn. “It never trips over its own intricacies, never loses sight that it is indeed music. The title track connects with an altogether hip, finger-snapping affect. “Cousin Mary” is a marvel of blues simplicity and smoky, late-night vibe; “Mr. P. C.” a burner fired by a toe-curling, R&B feel. “Naima” stands as one of Coltrane’s most wistful romantic statements, and “Syeeda’s Song Flute” one of his most playful. “Countdown” is a dizzying slalom down a mountainside, while “Spiral” thrills with a more relaxed energy, a gear-shifting exercise.”

“People like to talk about Giant Steps as a test for young horn players and how he’s breaking new ground with some of the pieces,’ says Ravi Coltrane, son of John, who was born in 1965 and grew up in Southern California and is one of many reed players who have spent countless hours with the music. “‘But it’s the accessibility that stands out for me. The accessibility, despite how challenging some of the material is. It’s still all very listenable and very joyful. John’s music is a joy to study and to play. It’s a joy to listen to.’”

Kahn concludes, “It remains one of the most talked-about albums of the modern era, a set of music all should have and absorb. It is music that has lived up to the grandiosity of its title: the first, yet not final, of John Coltrane’s fully realized statements, a point along a comet-like path of creative genius, an indelible marker on the timeline of popular music. It is a jazz classic recognized far beyond jazz circles. What more could a true artist hope to achieve?”

GIANT STEPS: 60th ANNIVERSARY DELUXE EDITION
LP and CD Track Listing:

Side One / CD 1
1. “Giant Steps”
2. “Cousin Mary”
3. “Countdown”
4. “Spiral”

Side Two / CD 1
1. “Syeeda’s Song Flute”
2. “Naima”
3. “Mr. P.C.”

Side Three / CD 2
1. “Giant Steps” (Alternate, Take 1, Incomplete)
2. “Naima” (Alternate Take)
3. “Like Sonny” (Alternate Take)
4. “Countdown” (Alternate Take)

Side Four / CD 2
1. “Syeeda’s Song Flute” (Alternate Take)
2. “Cousin Mary” (Alternate Take)
3. “Giant Steps” (Alternate Version Two False Start)
4. “Giant Steps” (Alternate Take)

GIANT STEPS: 60th ANNIVERSARY SUPER DELUXE EDITION
Track Listing

1. “Giant Steps”
2. “Cousin Mary”
3. “Countdown”
4. “Spiral”
5. “Syeeda’s Song Flute”
6. “Naima”
7. “Mr. P.C.”

The Outtakes
8. “Giant Steps” (Alternate, Take 1, Incomplete)
9. “Giant Steps” (Alternate, Take 2, False Start)
10. “Giant Steps” (Alternate, Take 3, Incomplete)
11. “Giant Steps” (Alternate, Take 4, Incomplete)
12. “Giant Steps” (Alternate, Take 5)
13. “Giant Steps” (Alternate, Take 6, False Start)
14. “Giant Steps” (Alternate, Take 7, Incomplete)
15. “Giant Steps” (Alternate, Take 8)
16. “Naima” (Alternate, Take 1, False Start)
17. “Naima” (Alternate, Take 2, Incomplete)
18. “Naima” (Alternate, Take 3)
19. “Naima” (Alternate, Take 4, False Start)
20. “Naima” (Alternate, Take 5)
21. “Naima” (Alternate, Take 6)
22. “Like Sonny” (Rehearsal 1, False Start)
23. “Like Sonny” (Rehearsal 2, Incomplete)
24. “Like Sonny” (Alternate, Take 1, False Start)
25. “Like Sonny” (Alternate, Take 2, Incomplete)
26. “Like Sonny” (Alternate, Take 3, Incomplete)
27. “Like Sonny” (Alternate, Take 4, False Start)
28. “Like Sonny” (Alternate, Take 5)
29. “Like Sonny” (Alternate, Take 6, Incomplete)
30. “Like Sonny” (Alternate, Take 7)
31. “Countdown” (Alternate Take)
32. “Syeeda’s Song Flute” (Alternate Take)
33. “Cousin Mary” (Alternate Take)
34. “Giant Steps” Take 3 (Incomplete)
35. “Giant Steps” Take 6 (Alternate)

That's way more alternate takes than I need in my life.

John’s music is a joy to study and to play

it's sort of weird that he refers to his father as "John"

I dunno, how old was he when his father died? And whatever memories you might have, might well be subsumed by such a historical figure, presence...Can I get just the original album, with this latest remastering? Maybe with just a *few* alts? On CD or digital?

Re: that Richard & Linda Thompson box set (which actually has a few differences in the officially announced track list), Warner Music has apparently blocked Universal's sale of that set within the U.S. due to rights issues over Shoot Out the Lights.

As some may remember, Rhino Handmade (which was/is owned by Warner) released a two-disc reissue of that album ten years ago, which quickly went out-of-print as all Rhino Handmade releases typically have a very limited pressing.

Apparently this isn't a complete surprise - Universal and Warner have had a long drawn-out discussion about this for quite some time, but the box set's producers continued on with the project simply because those talks were going extremely slow and taking too damn long and the producers didn't want to delay things further.

The box set will still be available overseas as this deadlock only impacts U.S. distribution. Universal's own online store did have this available though, so I'm guessing it wasn't impacted by the rights issue, but the limited number of sets that were reserved for pre-orders have already sold out. Amazon.com doesn't list it, but Amazon.co.uk and elsewhere do, and some vendors like importcd's are appropriately enough importing any available stock. Reportedly more pressings will be made if the set sells very well, and that's presumably going to happen as pre-orders have already exceeded expectations.

I guess Shoot Out The Lights is tied up via Hannibal who where bound to Rykodisc who were bought by (and folded into) Rhino?

The box set will still be available overseas as this deadlock only impacts U.S. distribution.

In semi-related news, the Thelonious Monk album Palo Alto, containing a previously unreleased quartet live set from 1968, is not coming out in the US but is available in Europe. You can buy it from grooves-inc.com if you want (and you should; it's great). Importcds doesn't have it (yet).

Re: Giant Steps, I have a feeling that reissue will be completely redundant for most Coltrane fans. Before the market for physical media came crashing down to niche levels, that album had been remastered several times in a fairly short period of time, always from the original master tapes. There was the older (first?) CD release that also had many of those alternates, Mobile Fidelity Sound Lab's Ultradisc II reissue, and then a new CD remaster under Rhino's imprint that probably upgraded the old CD to the new mastering used for Rhino's Heavyweight Champion box set (though it's possible it's another new mastering by the same reissue team). Since then there's been good vinyl reissues cuts of that album as well.

Anyway, that Rhino box set also scooped up the remaining alternates. The booklet laments that more unreleased recordings have been lost forever due to the notorious Atlantic warehouse fire in 1978, which was similar to the 2008 Universal fire that wiped out who knows how many master tapes. Giant Steps was actually very, very lucky - copying from Wikipedia:

"Although master tapes of the material in Atlantic's released back catalog survived due to being stored in New York, the fire destroyed or damaged an estimated 5,000–6,000 reels of tape, including virtually all of the company's unreleased master tapes, alternative takes, rehearsal tapes and session multi-tracks recorded between 1948 and 1969. Atlantic was one of the first labels to record in stereo; many of the tapes that were lost were stereo 'alternates' recorded in the late 1940s and 1950s (which Atlantic routinely taped simultaneously with the mono versions until the 1960s) as well as almost all of the 8-track multitrack masters recorded by Tom Dowd in the 1950s and 1960s...Reissue producers and archivists subsequently located some tapes that were at first presumed 'lost', but which had survived because they had evidently been removed from the New Jersey archive years earlier and not returned. During the compilation of the Rhino-Atlantic John Coltrane boxed set, producer Joel Dorn located supposedly destroyed outtakes from Coltrane's seminal 1959 album Giant Steps...Atlantic archivists have since rediscovered other 'lost' material including unreleased masters, alternative takes and rehearsal tapes by Ray Charles, Van 'Piano Man' Walls, Ornette Coleman, Lennie Tristano and Lee Konitz."

I guess Shoot Out The Lights is tied up via Hannibal who where bound to Rykodisc who were bought by (and folded into) Rhino?
That's my guess. I don't know the exact details of what happened to Rykodisc - it used to be a pretty great label - but from what I can tell, the former owner and co-founder has moved on to others while blogging every now and then about his former label, including some interesting stories about the Bowie catalog. (For example, RCA vastly undervalued its worth, a big reason why Bowie went shopping elsewhere.) I noticed that some of Rhino's reissues from a decade ago (like the 2008 remasters of the Replacements' Twin/Tone catalog) carry a Rykodisc logo, right when there wasn't really any more Rykodisc product, so I'm guessing that was when Warner acquired all things Rykodisc as well as existing licensing agreements that were still made out to Rykodisc.

I'd never heard of Pete Yellin (alto sax/flute) or the album Dance of Allegra until this week, but Mainstream reissued it on Bandcamp and I grabbed it. It's from 1972 and sounds uncannily like Miles Davis circa 1970/71, but a little more melodic. The band is Eddie Henderson on trumpet and flugelhorn, Kenny Barron on electric piano, Stanley Clarke on bass, Dom Um Romao on percussion and Billy Hart on drums, and it fucking rips.

https://peteyellin.bandcamp.com/album/dance-of-allegra

https://f4.bcbits.com/img/a2938675747_10.jpg

Oh yeah, thanks for the reminder! I posted about the Mainstream resurrection upthread, forgot to check more Yellin---he's on this sampler, as described at the end of the press release, which also has a link to excerpts:
VARIOUS ARTISTS
This Is Mainstream! LP
WEWANTSOUNDS

£24.98
2 x LP

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect
balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Audio etc.:
https://www.phonicarecords.com/product/various-artists-this-is-mainstream-lp-wewantsounds/162609

― dow, Monday, May 11, 2020

From Smog Veil newsletter---think at least some of this has been released before? So I'll put it here"

https://cdn.shopify.com/s/files/1/0075/9892/products/SV142_HarveyGold-ItsMessyVol1-frontcover-3000px_large.jpg?v=1595942833

(ships by Sept.18)
Harvey Gold "It's Messy, Vol. 1" CD
Describing the musical output of the eclectic Harvey Gold, a founding father of Tin Huey and Half Cleveland, Gold has offered, “We are what we eat and we’ve eaten a lot of different stuff.”
Careening from power pop, to electronic, to “West Akron Appalachian,” this solo album includes an emotional protest/love song in “The Fence,” a sizzling rocker with horns, “In Consideration of Joe Strummer,” a dark take on The Beatles’ “I’ve Just Seen a Face,” AND a nod to Vivian Stanshall with a Music Hall style tune about a hard-boiled egg, “Song For Joanne.” It’s even been suggested that the track, “March of the Elephants,” might be Gold’s instrumental sequel to his Huey’s opus, “Chinese Circus.”

So, he’d like to think he says it all in the title, “It’s Messy Vol. 1.”

Four songs are recorded with Half Cleveland, Gold’s band with mates from Tin Huey, Chris Butler and Bob Ethington.
Another four tracks are with Harvey in the Hall, comprised of Debbie Smith Cahan (Chi Pig), Ethington, and Gold—with a couple of those tunes aided by The Black Keys’ Dan Auerbach, and Byrd and Burrito Brother, Chris Hillman.
“Lemon Beazly” is an epic reunion of the three original members of Tin Huey: Michael Aylward, Stuart Austin, and Gold.
The rest of the album—well, someone mistakenly left him alone in a room with toys, so…

Of note: the song “The Fence” has been remastered for this release and everything Gold receives from it is donated to the Southern Poverty Law Center. Additionally, proceeds from the song “Eidola (inadvertently for Ralph)” go to Sweet Relief in memory of his dear collaborator and friend, Ralph Carney (who briefly appeared on “The Fence”).
More infor, audio:
https://www.smogveil.com/collections/frontpage/products/harvey-gold-its-messy-vol-1-cd

Received my copy of The Stooges - Live At Goose Lake, August 8th, 1970. As with all live Stooges recordings, it sounds terrible, but at least there's interesting liner notes.

I also received the first two The Primevals albums directly from LTM. The reissues were from 2015, but I was not aware of them until recently. RIYL The Gun Club, Cramps, Crazy Horse, Eleventh Dream Day.I wrote about Sound Hole (1986) here.

Earlier I was talking about Compass Point in Nassau, and I recently finished Chris Frantz' book Remain In Love: Talking Heads, Tom Tom Club and Tina, and he gives a good snapshot of what it was like to work and stay down there, and talked about many of the artists who recorded down there, including their surprisingly close friendship with Robert Palmer and his wife. He talked about when James Brown attempted to record there in 1982. Most accounts were that it was Brown's ego that was the problem, but it was Robbie Shakespeare who put his bass in Brown's hands, said, "You play that bumbaclaat part" and walked out. With his 30 year trailblazing career at that point, he could be forgiven for assuming he'd get more respect than that, but to his credit, Brown came back the next day and was conciliatory with the musicians and open to listening to their ideas. The real problem was that he wanted to claim all the songwriting credits, and for Blackwell that was a no go and cut it off after the fourth day. Another big personality that didn't really mesh well at Compass Point was Lee Perry. "Bed Jamming" lol. One musician who everyone had great things to say about was Wally Badarou. His Echoes (1983) and Words Of A Mountain (1989) are long overdue for reissue. I'd think Grace Jones' third in her Compass Point trilogy, Living My Life (1982) would also get a deluxe treatment.

David Katz wrote a great piece on that era:
http://racketracket.co.uk/music/compass-point-story/

Thanks for all that! Will have to check out The Primevals, and prob Frantz book too, sounds better than expected.
https://soundsoftheuniverse.com/img/RTBDc0tGZ2w5cG5RMEhLWnJvbm05Zz09/brazil-box-set.jpg

Brazil Funk Power - Brazilian Funk & Samba Soul
Limited Edition Record Store Day 7" Boxset
Soul Jazz Records

This release features some of the funkiest Brazilian music ever made - music by Jorge Ben, Banda Black Rio, Tim Maia, Toni Tornado, Cassiano performing some of the best tunes ever to come out of Brazil!

Classics from the superb 70s Afro-Brazilian Funk & Soul era of Brazil’s own Black Power Movement (‘Movimento Negro’) sit alongside a dancefloor-heavy selection of Samba Soul and Boogie, Afro-percussive Brazilian funk and more!

All tracks have been digitally re-mastered and the singles come housed in a thick, heavyweight deluxe card box.

This box set is a one-off pressing exclusively for Record Store Day.

Release Date
29 August 2020

1. Jorge Ben – Meus Filhos, Meu Tesouro
2 Brasil Ritmo – Novo Dia
3 Azymuth – Manha
4 Donato & Deodato – Whistle Stop
5 Tim Maia – Gostava Tanto De Voce
6 Jorge Ben – Taj Mahal
7 Cassiano – Onda
8 Luiz Gonzaga Jr – O Comeco Da Festa
9 Novos Baianos – Tinindo Trincando
10 Dom Um Romao – Kitchen (Cosinha)

More Info & Audio:https://soundsoftheuniverse.com/sjr/press/ic6m0heocly9

I'm sure you must want to know this is coming out but not sure why it is.

Sigue Sigue Sputnik: Flaunt It, 4CD Deluxe Capacity Wallet

£19.99
Released October 9, 2020.

**LIMITED EDITION COLLECTORS BADGE AVAILABLE WITH PRE-ORDER WHILE STOCKS LAST**

 Deluxe 4CD set showcasing one of the most notable albums of the mid-1980s, and the phenomenon that surrounded it.

 The Giorgio Moroder produced album, B-sides, remixes and rarities (including many never before on CD) PLUS A COMPLETE PREVIOUSLY UNRELEASED LIVE SHOW recorded at London’s Abbey Road Studios in front of an invited audience.

 Includes the international hit singles ‘Love Missile F1-11’, ‘Sex Bomb Boogie’, ‘21st Century Boy’ and ‘Massive Retaliation’, plus remixes and versions.

 Produced with input from band members Tony James and Neal X.

 Material remastered from the original tapes.

In the mid-1980s, former Generation X founder Tony James pieced together a pop group like no other. Taking the greatest rock ‘n roll traditions and clichés and fusing them with a utopian vision of modernism, commercialism and the future, Sigue Sigue Sputnik brought together a previously unknown and inexperienced collection of would-be musicians and faces and turned them into the must-see band of the era. Under James’ strategic masterminding, Sputnik were hyped in the media before a note had been released, were courted by major labels and television stations, became regulars on London’s glittering social circuit and developed a reputation for chaos and grandiosity which appealed to the mainstream tabloid press as much as it did the music papers.

Working with studio legend Giorgio Moroder, the band crafted a club-oriented, electronic rock ‘n roll sound littered with immovable basslines, pop culture samples, familiar licks, self-glamorising lyrics and a futurist aesthetic. Marketing and advertising were warmly embraced – the album included paid-for adverts between tracks – and Sputnik resolutely insisted on their own brilliance, whether you liked it or not. THE ULTIMATE PRODUCT FROM THE ULTIMATE GROUP, they declared, and they weren’t far wrong.

This celebratory package brings together “Flaunt It” and its many remixes, B-sides and rarities, alongside a brilliant and chaotic live recording made at London’s Abbey Road Studios, providing the perfect counterpoint for the rule-bending studio manipulation found elsewhere. Sputnik’s star burned brightly, and their influence stretched into the late 1980s and 1990s as technology and globalisation

brought their crossover sound and bold visual aesthetic into the mainstream. This set is a must-have for fans of the band and 1980s pop culture, and for believers in a glittering future.

TRACK LISTING

DISC ONE

FLAUNT IT
1. LOVE MISSILE F1-11
(RE-RECORDING PART II)
2. ATARI BABY
3. SEX-BOMB-BOOGIE
4. ROCKIT MISS U.S.A.
5. ADVERTISEMENT:
THE SPUTNIK CORPORATION
6. 21ST CENTURY BOY
7. MASSIVE RETALIATION
8. ADVERTISEMENT: THE SIGUE SIGUE SPUTNIK COMPUTER GAME
9. TEENAGE THUNDER
10. SHE’S MY MAN
11. ADVERTISEMENT: EMI RECORDS
BONUS TRACK
12. FROM THE GUTTER TO THE STARS

DISC TWO

REMIXES
1. TRAILER MIX
2. LOVE MISSILE F1-11 (7” SINGLE MIX)
3. LOVE MISSILE F1-11 (THE BANGKOK REMIX)
4. LOVE MISSILE F1-11 (DANCE MIX)
5. LOVE MISSILE F1-11 (EXTENDED ULTRA VIOLENCE VERSION)
6. LOVE MISSILE F1-11 (VIDEO MIX)
7. LOVE MISSILE F1-11 (JAPANESE REMIX)
8. LOVE MISSILE F 1-11 (WESTBAM REMIX SHORT VERSION)
9. MASSIVE RETALIATION (THE SUPER MASSIVE UK REMIX)
10. MASSIVE RETALIATION (SHUT UP DUB REMIX)
11. SEX BOMB BOOGIE (MAGIC FLUTE) 12. SEX BOMB DANCE

DISC THREE

REMIXES, RARITIES AND B-SIDES
1. HACK ATTACK
2. BUY EMI
3. DANCERAMA (1986 VERSION)
4. SUICIDE (LIVE IN LONDON SEPT’ ’86)
5. 21ST CENTURY BOY (EXTENDED T.V. MIX)
6. 21ST CENTURY BOY (GERMAN REMIX)
7. 21ST CENTURY BOY (DANCE MIX)
8. BUY EMI (£4,000,000 MIX)
9. SHE’S MY MAN (REMIX)

DISC FOUR

LIVE AT ABBEY ROAD
1. SEX BOMB BOOGIE
2. 21ST CENTURY BOY
3. TWIST & SHOUT
4. SHE’S MY MAN
5. SHOOT IT UP
6. JAYNE MANSFIELD
7. ROCKIT MISS U.S.A.
(PREVIOUSLY UNRELEASED)

https://i1.createsend1.com/ei/j/64/D85/925/050025/csfinal/IMG_7524-9900000000079e3c.JPG

Brooklyn, New York (August 25, 2020) - Other Music, a documentary about the legendary NYC record store that closed in 2016 is available today in a wide digital release via Factory 25. The store helped launch the careers of countless indie stars and served as a cultural hub in New York City for 21 years. The film is now available on Amazon Prime, iTunes, Google Play, Kanopy, etc.

The film was slated to have a theatrical run in April which was cancelled just as Covid hit. The filmmakers made lemonade out of lemons by partnering with over 200 temporarily-shuttered record stores and theaters on a Virtual Cinema release, which raised over 25k dollars for those places in a time when it was desperately needed. Tickets to stream the film were sold via the partners with 50% of the proceeds going to the store or theater in need. The cancelled April theatrical release was planned for the week of Record Store Day, and this wide digital release coincides with the week of Record Store Day's rescheduled 'RSD Drops' event.

The film delves into the iconic New York City record store's influence with appearances by Tunde Adebimpe (TV On the Radio), Jason Schwartzman, Martin Gore (Depeche Mode), Matt Berninger (The National), Janeane Garofalo, Ezra Koenig (Vampire Weekend) and more.

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

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

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

Contacts, trailer, other links in here:
https://forcefieldpr.cmail19.com/t/ViewEmail/j/7AD4BCF7B23E0C412540EF23F30FEDED/BF4BAE8F94987422F1E87EB810D8F10A

One Little Independent Records has revealed details on the Crassical Collection, a collection of seminal avant-punk collective CRASS’ legendary albums, restored from the original analogue studio tapes.

Set for release in North America on October 30, the Crassical Collection includes Stations of the Crass(1979), Feeding of the Five Thousand (The Second Sitting) (1981), Penis Envy (1981), Christ – The Album (1982), Yes Sir, I Will(1983), Ten Notes on a Summer’s Day(1986) and Best Before 1984(1986). Each of the records have been repackaged and bolstered by rare and unreleased tracks, and stunning new artwork from Gee Vaucher, who has lovingly created what could only be considered a true artifact.

The first six albums include two CDs, with the first disc being the main album remastered by Alex Gordon at Abbey Road Studios and the second being a mixture of rare live and remastered studio recordings. Each package also includes a fold-out poster and a high-quality 60-page booklet featuring all lyrics along with extensive liner notes from band members Penny Rimbaud and Steve Ignorant, which shed light on the making of the records.

The Best Before 1984 Crassical Collection is brand-new and has also been remastered and features five fold-out posters and a 52-page booklet.

“Number seven – the one that almost got away,” CRASS’ Penny Rimbaud notes. “This final Crassical Collection double CD re-mastered by Alex Gordon and Penny Rimbaud at Abbey Road Studios in 2018 contains the original album plus a further album’s worth of related material; good, bad and indifferent. Half the band want it out, while the other half wanted out, but hey, here it is in all its glory.”

Leading up to the release of the Crassical Collection, CRASS has embarked on the ambitious The Feeding of the Five Thousand Remix Project. Beginning in late 2019, CRASS took the step of making the original separate track stems of their seminal debut album The Feeding of the Five Thousand available as a free download. With a call to take the original 16 track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

The resulting Normal Never Was series has just released its third installment, featuring remixes by legendary producer Steve Aoki and Japanese outsider musician Mikado Koko. All proceeds from the Normal Never Was series are being donated to the Refuge charity (www.refuge.org.uk).

Resonance Records To Issue Set of Sonny Rollins Discoveries From the Dutch Jazz Archive, "Rollins in Holland," As a Limited 3-LP Record Store Day Exclusive On November 27

Collection of Unheard "Take-No-Prisoners" Live & Studio Recordings From the Tenor Sax Master's 1967 Netherlands Tour Will Arrive as a 2-CD Set On December 4

On Nov. 27, “Black Friday,” independent jazz label Resonance Records will continue its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, Rollins in Holland: The 1967 Studio & Live Recordings.

Featuring more than two hours of music, this stunning collection, drawn from tenor saxophone master Rollins’s Netherlands tour of May 1967, will also be presented as a two-CD set, due Dec. 4.

In a new interview with Feldman included in the set, the 89-year-old Rollins says, “I’m so happy that Resonance is putting it out because it really represents a take-no-prisoners type of music. That’s sort of what I was doing around that period of time; that was sort of Sonny Rollins then—a wham-bam-thank-you-ma’am approach. It was very much me. And I loved it and I loved playing with those guys.”

The music heard on the Resonance album is drawn from a little-documented period in Rollins’s career. The musician’s 1966 Impulse! album East Broadway Run Down was his final record date before a studio hiatus that lasted until 1972. In 1969, mirroring a celebrated public exit of a decade earlier, he began a two-year sabbatical from live performing.

Rollins in Holland captures the then 36-year-old jazz titan in full flight, in total command of his horn at the height of his great improvisational powers. He is heard fronting a trio, the same demanding instrumental format that produced some of the early triumphs of his long career: the live A Night at the Village Vanguard (Blue Note, 1957) and the studio dates Way Out West (Contemporary, 1957) and Freedom Suite (Riverside, 1958).

During his brief but busy 1967 stay in the Netherlands, the saxophonist was supported by two of the nation’s top young players, bassist Ruud Jacobs and drummer Han Bennink. The pair had together supported such visiting American jazzmen as Johnny Griffin, Ben Webster, Wes Montgomery, and Clark Terry, among others. Jacobs was a celebrated straight-ahead accompanist, while Bennink had developed a reputation as an avant-garde lion, having backed Eric Dolphy on 1964’s Last Date. The pair jelled magnificently behind their celebrated leader.

Rollins in Holland brings together material drawn from three separate appearances by the trio: a freewheeling May 3 concert at the Arnhem Academy of Visual Arts, at which Rollins stretched out in expansive performances that sometimes topped the 20-minute mark; a four-song May 5 morning studio session at the VARA Studio in Hilversum, where Dolphy and Albert Ayler had also cut unforgettable dates; and two live shots captured during the band’s stand that evening on “Jazz met Jacobs,” a half-hour national NCRV TV show presented from the Go-Go Club in Loosdrecht and hosted by bassist Jacobs’s pianist brother Pim and his wife, singer Rita Reys.

In his essay for the collection, Dutch jazz journalist, producer, and researcher Frank Jochemsen notes that while recordings of the Arnhem show (presented here with carefully restored sound) had been passed hand-to-hand by Dutch jazz buffs over the years, the rest of the music was only recently unearthed.

In 2017, the four stereo tracks from VARA Studio were discovered by Jochemsen, and they were authenticated by Ruud Jacobs and Han Bennink as they were being digitized for the Dutch Jazz Archive (NJA). In 2019, Jochemsen also discovered the audio from the “Jazz met Jacobs” appearance in the Dutch Jazz Archive, along with a unique set of photos shot at the sound check and live broadcast of this lost TV show.

Jochemsen says, “I find it an exciting idea that so much has been recovered and documented from this modest tour and that the music is indeed of such high quality. Even more sensational is the fact that the whole world can listen to it now. The great Sonny Rollins at his best, accompanied by a great rhythm tandem, which makes me, as a Dutchman, extra proud.”

Rollins in Holland also includes an in-depth interview by Levy with Han Bennink and Ruud Jacobs, conducted a year before Jacobs’s death from cancer in July 2019. In it, the late bass virtuoso recalled the experience of playing with the American legend as “something spiritual. [There was] a very special atmosphere on the stage where I felt I could do anything.”

Looks great, never heard him in a trio.

https://soundsoftheuniverse.com/img/WC8xSUZ1cHh3b2NCWDkxT2FhTDZBZz09/dudu-phukwana-and-the-spears-dudu-pukwana-spear.jpg

Dudu Phukwana and the Spears: s/t

Original Dudu Phukwana and the Spears album recorded in 1968 and only released in South Africa via Trutone’s Quality label in 1969. Features acetatere recording produced at the same time but never released. 19 tracks. 2xLP £26.00
More info: https://soundsoftheuniverse.com/product/dudu-pukwana-spear-dudu-phukwana-and-the-spears

https://soundsoftheuniverse.com/img/akMxTHVXejhVeFpjSmZPVTRZZDdtdz09/a0836274116-10.jpg

Zorro Five: Jump Uptight
MATSULI MUSIC
Reissue of this killer funk/beat album, 'Jump Uptight' by Zorro Five - a South African band who won the “Best Beat Group” at the 1971 South African Recording Industry Award for this album. The single 'Reggae Shhh!' b/w 'Reggae Meadowlands' was an underground hit in the UK! 12 tracks. LP MM116LP £18.00
https://soundsoftheuniverse.com/product/zorro-five-jump-uptight

Cosmic Discotheque Vol. 3: 12 Junkshop Disco Funk Gems from the 70s
Various Artists
NAUGHTY RHYTHM RECORDS
After the second volume's Afro oriented atmospheres, this new chapter will take us right back to the heart of 70's disco-funk/proto-disco/cosmic. A glorious decade made of lots of "cheap" records, obscure B sides, and forgotten or even unreleased instrumental versions. Tons of often ignored and yet stellar studio productions...
12 tracks. LP NRR003LP £19.00
https://soundsoftheuniverse.com/product/cosmic-discotheque-vol-3

https://soundsoftheuniverse.com/img/QkNKcmd4cklvbUkxUGgxVEpEVTdodz09/musical-bones-sleeve-front.jpg

The Upsetters with Vin Gordon
Musical Bones
Recorded at The Black Ark Studio in 1975
STUDIO 16

Very rare Upsetters & Vin Gordon album 'Musical Bones' was first released in the U.K. in 1975 only on a white-label pressing without a sleeve on Dip records (£400+). Only 300 were made at the time.

Superb Studio One rhythm recuts, deep, deep funk cuts - sparse, raw and edgy - CLASSIC Lee Perry!

The title is a play on word 'Trombone' being the instrument of the lead artist Vin Gordon. Produced by Lee Perry at The Black Ark, Kingston, raw Jamaican roots music 1975. Don't miss... 10 tracks.
More info, audio: https://soundsoftheuniverse.com/product/musical-bones

https://soundsoftheuniverse.com/img/d01WK09mandwU1BQbXB3UkoxdzBKZz09/cs787323-01a-big.jpg

Horace Tapscott Quintet
The Giant Is Awakened
FLYING DUTCHMAN
This album has been out of print for near on 50 years and is a 100% essential cornerstone deep, deep spiritual jazz release - don't miss out!

Seminal spiritual jazz masterpiece from 1969! Horace Tapscott's debut (and only) release for a major label - Flying Dutchman - occurred at the height of the civil rights/black power movement in the USA. Soon after the Watts Riots (65), Tapscott was the central figure at the heart of the community music scene (a precursor to that of Thundercat, Kendrick Lamar, Flying Lotus almost 50 years later).

Flying Dutchman was the only major label that Tapscott trusted to release his music - a testament to founder Bob Thiele who had produced John Coltrane's seminal Impulse releases throughout the 1960s. At the same time as Tapscott, Flying Dutchman signed Gil Scott Heron and Leon Thomas.
More info, audio: https://soundsoftheuniverse.com/product/horace-tapscott-quintet-the-giant-is-awakened_2

Musical Bones was reissued on this 2CD set by Sanctuary in 2005, but credited to Lee Perry.

Sound Of The Universe: ltd. quantity August releases re Record Store Day, vinyl only? We shall see, when I've made all my extremely selective selections from a boatload:

Hawkwind At The BBC 1972

https://soundsoftheuniverse.com/img/TGlyS1FTYnpQQVVDa0o3eG5UVDliQT09/418462495684-360.jpg

Recorded live by the BBC on 28th September 1972 at the BBC’s famed Paris Theatre in London, this is the classic “Space Ritual” era Hawkwind featuring Dave Brock, Nik Turner, Lemmy Kilmister & Stacia Blake. This 11 track, hour long show of the stereo version features Hawkwind classics “Born To Go”, “Seven By Seven” & "Master of the Universe". The release also includes two bonus tracks recorded for Johnny Walker’s BBC Radio 1 show the same year; “Brainstorm” & “Silver Machine”. 13 tracks, 2 LPs.
More info: https://soundsoftheuniverse.com/product/at-the-bbc-1972

Kuumba-Toudie Heath:
Kawaida

https://soundsoftheuniverse.com/img/YjhOMk9TRmMzSElWS2JMd2U3ZkkrQT09/download-75.jpg

Limited 40th anniversary edition. An essential piece of spiritual jazz history featuring legends Herbie Hancock and Don Cherry. Pressed on heavyweight vinyl in original gatefold sleeve format. 5 tracks. More info: https://soundsoftheuniverse.com/product/kawaida

This is out of stock at the moment, but worth checking back:

Linton Kwesi Johnson: Bass Culture / LKJ In Dub

https://soundsoftheuniverse.com/img/eWxnZlNyK2ppMHpWZldPNjViSFpyUT09/linton-kwesi-johnson-bass-culture-lkj-in-dub-cover-art-320x320.jpg

40th anniversary 2-LP edition of 'dub poet' Linton Kwesi Johnson's classic 1980 album, released on Island Records, with additional LP - 'LKJ in Dub', featuring dub versions of tracks from Bass Culture and previous studio LP 'Forces Of Victory'.Produced by Linton Kwesi Johnson and the legendary Dennis Bovell ('Blackbeard'), the album is a fierce, politically-charged view of Britain at the time.The music however is both highly accessible and experimental, going beyond traditional reggae arrangements to include free jazz and avant-garde elements.Remastered at Abbey Road, released on heavyweight coloured vinyl:GREEN for Bass Culture / RED for LKJ In Dub.Features expanded artwork in a bespoke gatefold sleeve.Both albums out of print on vinyl for years.Includes download card.
More info: https://soundsoftheuniverse.com/product/bass-culture-lkj-in-dub

Kuumba-Toudie Heath
This was Tootie Heath’s name at the time? I have heard of this project through some of the other guys involved like Herbie Hancock, still need to listen to it.

Dunno! Reminds me: now that my library has partially re-opened, better snake in there and check out that Heath brothers memoir/

Ennio Morricone---Peur Sur La Ville OST

https://soundsoftheuniverse.com/img/MXVwdmJnOFJuM2NGMFQrYlhuaTJMZz09/peur.jpg

Wewantsounds is delighted to announce the very special reissue of one of Ennio Morricone's most striking soundtracks composed for Henri Verneuils' 1975 film Peur Sur La Ville (Fear Over The City). This special edition includes the original score released in 1975 plus a second vinyl worth of bonuses which have never been out on vinyl. These includes two tracks making their official debut after 45 years.

Approved by Ennio Morricone and remastered from the original tapes with liner notes by fellow musicians AM and JB Dunckel (air). Gatefold sleeve designed by Eric Adrian.
2 LPs, 31 tracks.
More info: https://soundsoftheuniverse.com/product/peur-sur-la-ville-ost

https://soundsoftheuniverse.com/img/UlBtNjB3dHVRYUdGeWhLdzlqT3JLdz09/annotation-2020-07-30-211048.jpg

Milton Nascimento---Ultimo Trem

First time on vinyl! Following the release of Milton Nascimento's Maria Maria, Far Out Recordings proudly presents Nascimento's 1980 follow up.With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, 'Ultimo Trem (Last train)'.This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast."The military government shut down the route and the whole region began to fade away," explains Milton."I love train rides" adds the composer, "But today there are almost no trains to Brazil.So when I go to the US and Europe, any time I can, I go by train.The longer the journey the better." Featuring much of the same all-star line-up as Maria Maria - including legendary Brazilian musicians Nana Vasconcelos, Joao Donato, Paulinho Jobim and members of Som Imaginario, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saidas E Bandeiras' and 'Ponte de Areia'. The title track, 'Ultimo Trem' - performed exquisitely by ZezE Mota with a choir and piano - is a mournful lament about the human consequences of the axed line.The ballet brought great media attention to the campaign against closure."Most of Fernando's lyrics have some political tone," says Milton, "This one helped the area a lot because the politicians grew concerned about the subjects." Fernando's and Milton's shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premiered in 1980.'A Viagem (The trip)', launched with a train's steam whistle, sees Milton's guitar moving to a train's rhythm.In contrast to the usual lyricism, 'Bicho Homen (Beastly man)' and 'Decreto (Degree)' are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers' renderings of Bach.'E Dai? (And so what?)', and 'Olho d'Agua (Water's Eye)' were both drawn from 'Clube Da Esquina'.'Olho d'Agua' is mellow and delicate and Milton's homage to the great voices of Brazil whilst 'E Dai? (And so what?)' is a stunning mosaic of voices.The unusual 'O Velho (The Old Man)' conjures up an image of an old shaman singing alone into the wind against the cries of nature.Perhaps the most affecting songs are Nascimento's 'Itamarandiba' and 'OraCao (Prayer)'.The latter is a cry for a change in the situation whilst 'Itamarandiba' ends with an upbeat, whirling Hammond organ and guitar timepiece.The closing track 'Ponta de Areia (Sand Edge)', was based on one of Fernando's newspaper stories and became one of Milton's most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire.It reappeared as a ghostly 45-seconds memory on the 'Milton e Gil' album, his millennial collaboration with Gilberto Gil. After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria.Set for its first ever vinyl release for this year's Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret. 2 LPs, many tracks.
More info:https://soundsoftheuniverse.com/product/ultimo-trem

Sir Joe Quarterman & Free Soul: s/t
https://soundsoftheuniverse.com/img/YUtuOWdEOFpkdjdaN2pqM0ovd2k4UT09/quarterman-480x.jpg

Official Mr Bongo re-issue for Record Store Day 2020 with a gatefold cover.The self-tiled Sir Joe Quarterman & Free Soul album from 1973 was the only album recorded by the group.The success of the hit song and album enabled the band to share the stage with big-name acts such as James Brown and Earth Wind & Fire.The album track '(I've Got) So Much Trouble In My Mind' even became a regular feature on the legendary TV show, Soul Train.These triumphs also drew the attention of record company executives who wanted to sign Joe as a solo artist; an offer he refused as he was not willing to abandon the band.The group members for the recording were neighborhood musicians and school friends from the Washington D.C area - George "Jackie" Lee (Guitar), Gregory Hammonds (Bass), Charles Steptoe (Drums), Karrissa Freeman (Keyboards), Johnny Freeman (Trombone), Leon Rogers (Sax/Vocals) and Joe (Trumpet/Vocals).The simple cartoon-like almost pre-Basquiat style record cover artwork has become iconic in its own right, but this was not the original intention.Joe had prepared a quick illustration for a photographer to depict in a collage for the album art, however, the label ended up using his original sketches for the final cover.Whatever was in the water, things all came together and aligned at the right time, and a true soul-funk classic record was born. 9 tracks.
More info: https://soundsoftheuniverse.com/product/sir-joe-quarterman-free-soul

Still in stock at the moment, unlike some other Exclusives:
Soul Jazz Records Present Studio One Rockers
Record Store Day Exclusive
SOUL JAZZ RECORDS
https://soundsoftheuniverse.com/img/UEJPYllVdzlva2V5dVFIQUp6a1doZz09/r-160104-1385645399-2153-jpeg.jpg

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day edition EXCLUSIVE coloured vinyl + download code.

This new edition is a one-off pressing exclusively for Record Store Day

Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.

Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out
"Compilation of the year. A compilation of unbelievable quality. Awesome” DJ
"A who's who of Jamaican music” The Times
"An essential slice of musical history" Wire 15 tracks.
More info, audio: https://soundsoftheuniverse.com/product/studio-one-rockers-studio-one-rockers_2

Uriah Heep are releasing 50 Years in Rock, a giant box set with all 18 of their studio albums plus their 1973 live album, 4 compilation CDs curated by individual members, a book, a couple of Roger Dean art cards, and an LP of The Magician's Birthday (aka "the one with 'Easy Living' on it").

I really like Uriah Heep's early albums and their 21st century albums, but am largely ignorant of everything from roughly 1975-2000. I'm still not gonna buy this box set.

NightFlightPlus streaming service has a new documentary about TV Party, also individual episodes---here's synopsis of doc:
n 1978, two revolutionary trends emerged in New York City, public access cable TV and punk rock. These two phenomena came together spectacularly in Glenn O'Brien's TV Party. Hipsters tuned in to follow the antics of the TV Party gang and such guests as Iggy Pop, David Bowie, P-Funk's George Clinton, The Clash's Mick Jones, Kid Creole, Klaus Nomi were featured; also live performances.

Synopsis of an ep:There were two TV Party Heavy Metal Shows: one taped at the Mudd Club, now lost, and this live studio sequel featuring a "Mock Penis Envy" backdrop by Jean-Michel Basquiat, and a guitar line up of Chris Stein, Lenny Ferrari, Patrick Geoffrois of the Contortions, plus Glenn, Basquiat, Snuky Tate and Walter Steding on guitar and vocals, and Bradley Field on electronic drums. As Glenn and Walter send up rock clichés and discuss the nature of electricity, the band churns out a harrowing electronic miasma. Highlights include an actual fight between Fab Five Freddy and Jean-Michel Basquiat over a guitar and Walter Steding destroying his "extra wide deluxe" guitar.

one more:he first 10% of this show sums up what we don't get on TV anymore. Technical difficulties. TV Party was live and improvised, and this meant casual disaster. This early episode gets off to an artistically agonizing start--the sound person is late, overdosing on drugs or both. Or it was the broken down equipment. Once the sound kicks in the show gets lively. Compton Maddux, a droll singer songwriter, is backed up by Debbie Harry and Glenn; the unique futurist countertenor Klaus Nomi does one of his post-modern arias; Adny Shernoff, of the Dictators, plays the Beach Boys' "Be True to Your School" backed up by pom pom girls Tish and Snooky, the Manic Panic designers. Downtown legend director Eric Mitchell announces the opening of the now famous New Cinema theater and shows a clip from his film "Kidnapped" with Arto Lindsay, Duncan Smith and Anya Phillips. Brit director David Silver and photographer Kate Simon do the "white people talk about reggae" segment. Blondie's Chris Stein and Debbie Harry and the Patti Smith Group's Richard Sohl drop in to smoke a reefer and take calls from all the crazies in cable land. Chris explains all this isn't chaos, it's art.
Before signing up, if you can stand to wait, can watch some TV Party, and the Debbie Harry/Amos Poe film Unmade Beds, via this:https://mailchi.mp/nightflight/tescovee-971158?e=42851f1305

Getting toward autumn, maybe tyme for these Drag City reissues:

https://images-na.ssl-images-amazon.com/images/I/61LtXJfSaKL.jpg

The first Espers album (2004) is back in print and circulation and the world. As a trio with some featured guests Meg Baird, Greg Weeks and Brooke Sietinsons created delicate-yet-full-toned arrangements strewn with classical and traditional touches, acid leads and a melancholy, folkish air. Espers idealism was rooted in an ongoing flow of ideas that continue to this day, and their debut album retains their mystic air, early two decades later.

Und also,

In the wake of their celebrated first album, Espers recruited a few more members in 2005 and set to making an album interpreting some of their favorite inspirational songs — not just traditional folk numbers, but songs by Nico, Michael Hurley, Durutti Column, Blue Öyster Cult and even Espers! After years out of print, The Weed Tree has grown back again.

https://images-na.ssl-images-amazon.com/images/I/61TWXipNOwL._SY355_.jpg

https://www.omnianmusicgroup.com/products/strum-thrum-the-american-jangle-underground-1983-1987

this looks fucking rad.

Anyone know when Matador’s reissue of Mary Timony’s first solo album is coming out?