Rolling Reissues 2020

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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

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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

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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

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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

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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

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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

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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
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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
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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:

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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.

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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?

xp Thanks for posting that, Austin – it does look cool.

This is cool too, think I listened on YouTube---reposted from upthread cos deserves it:

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Soul Jazz Records’ new Black Riot: Early Jungle, Rave and Hardcore is a brand new collection of heavyweight ragga-influenced hardcore jungle tracks from the early 1990s. Dark and heavy!

Featuring classic and seminal tracks from the likes of Levictus and Krome &Time, alongside a host of rare and little-known ragga & junglist hardcore tunes from the likes of Babylon Timewarp’s hypnotic Durban Poison, Rhythm for Reasons’ mad ‘The Smokers Rhythm’, The Freaky rave-y breakbeat sound of ‘Time and Age,’ Trip One’s super dark ‘Snowball’ and loads more!

Expect super heavy basslines, equally heavy twisted Amen drum loops, even heavier ragga vocals! Original jungle style - roots and culture - from the earliest days of drum and bass.

Included with the album is a free limited-edition graphic mini-novel “Black Riot: The Mysterons save Planet Earth from the Xatheroid Angels.” This is the third collaboration between Soul Jazz Records and writer/illustrator Paulo Parisi, the highly respected author of graphic books on Jean Michel Basquiat and John Coltrane.

This new graphic story continues the story of black electronic dance music – this time set around the birth of Jungle and continues onwards from Soul Jazz’s earlier ‘Invasion of the Killer Mysterons’ (Jamaican electronic Dub, co-compiled by Kevin Martin (The Bug)) and Mysterons Invade the Jackin’ Zone (about Chicago Acid & Experimental House).

More infor, audio:
https://soundsoftheuniverse.com/sjr/product/black-riot

I don't know if I need this, but I kinda want it...

Esoteric Recordings are pleased to announce the release of UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971, a newly remastered 7 CD boxed set featuring all of the albums and singles recorded by the legendary American acid / progressive rock band IRON BUTTERFLY recorded for Atlantic’s Atco label between 1967 and 1971 and additional recordings made at the Fillmore East in New York City in April 1968.

Iron Butterfly first came together in San Diego, California in 1966 with a line-up of Doug Ingle (vocals, organ), Danny Weis (guitar), Greg Willis (bass), Jack Pinney (drums) and Darryl DeLoach (vocals). After performing in the San Diego area the band relocated to Los Angeles in search of a recording contract, with Willis soon departing to be replaced by Jerry Penrod on bass. Jack Pinney also departed and was eventually replaced by Ron Bushy.

The band’s psychedelic and acid rock style was honed during regular appearances at LA venues such as the Whisky a Go Go and the Galaxy Club, which saw Iron Butterfly develop a loyal following and led to the band signing with Atlantic’s Atco label in 1967. In October that year the band recorded their debut album, HEAVY, but the group would endure further line-up changes prior to its release as Jerry Penrod, Danny Weis and Darryl DeLoach departed soon after recording sessions were completed. Faced with the possibility of the album remaining unreleased, Ingle and Bushy recruited 17 year old guitarist Erik Brann and bassist Lee Dorman to the band.

HEAVY was released in January 1968, entering the US Billboard charts and eventually earning gold disc status. The album IN-A-GADDA-DA-VIDA, issued in June 1968, would break the band into star status. Dominated by the side long title track featuring the instrumental dexterity of the new line-up, it was a masterpiece of acid rock and reached a height of number 4 in the US charts and went on to sell a million copies. An edited version of the title track was issued as a single and reached the US top thirty.

The band’s third album, BALL, was released in January 1969 and was even more successful, reaching number 3 in the US and spawning the hit singles Soul Experience and In the Time of Our Lives. The band undertook a punishing touring schedule and a series on concerts were recorded in May 1969, finally to be issued as LIVE in April 1970. Erik Brann departed the band in December 1969 and was replaced by guitarist and vocalist Mike Pinera and additional guitarist Larry Reinhardt.

This line-up would record the album METAMORPHOSIS in May 1970 which saw the band take a heavier direction. The dominant track on the record was the excellent thirteen minute Butterfly Bleu which saw one of the earliest uses of a “talk box” on a guitar solo. Following a tour with YES in early 1971, Doug Ingle announced his departure from the band. After releasing a final single, Silly Sally in April 1971. Iron Butterfly disbanded. Although they would reform in the mid-1970s and continue to perform and record sporadically afterwards, their recorded work for Atco Records remains their main legacy.

UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971 features all of the albums issued on Atco, all newly re-mastered from the original master tapes, and additionally includes the rare mono mixes of the albums HEAVY and LIVE, (the only true separate mono mixes of their albums), both previously unreleased on CD, along with two CDs of recordings made at the Fillmore East in New York City on the 26th and 27th April 1968. It also includes all of the band’s US non-album singles and single edits and a lavishly illustrated booklet with a new essay featuring interviews with Ron Bushy and Mike Pinera and a poster.

Erik Brann's approach to vocalizing later seemed like a foretaste of Hetfield's, but maybe better, prob. not worse. Never thought of them as prog, but haven't heard all thee albums---must check xpostMetamorphosis, with Larry "El Rhino" Reinhardt, who I hope also played with Wino, did play w Captain Beyond. Mike Pinera!
Mike Pinera and his group Blues Image were co-founders and house band at Thee Image, a Miami Beach concert venue they opened and co-headlined on weekends, playing with such groups as Cream, Grateful Dead, The Yardbirds, The Animals, Frank Zappa and many more. [1] Blues Image soon signed with Atlantic Records where they scored the major hit "Ride Captain Ride" which Pinera co-wrote and sang
[while he was with Butterly]... he and Lee Dorman produced the band Black Oak Arkansas, which went platinum. In 1972 Pinera and Jimi Hendrix's drummer Mitch Mitchell formed the band Ramatam on Atlantic Records and was produced by the legendary Tom Dowd, who was quoted as saying this album was one of his all time favorites.
In 1973 Pinera helped formed The New Cactus Band. They recorded the album Son of Cactus on Atlantic Records...He was the lead guitarist for Alice Cooper from 1980 to 1982. He is currently performing with his solo band and The Classic Rock All Stars.
Much more here, with links---did not know he did an album for Capricorn, wonder what that's like?https://en.wikipedia.org/wiki/Mike_Pinera

Bassist Lee Dorman also went to Captain Beyond after Metamorphosis

Xgau (from 1972 Zep concert review "A Power Plant," archived on his site):The idea for Led Zeppelin's name, as well as perhaps half of its musical concept, relates to Iron Butterfly, which, on the strength of its classic "In-a-Gadda-da-Vida," remained the premier American heavy rock band until the advent of Grand Funk Railroad. Always heard that the name came from Keith Moon, and some of the musical concept, when he and Beck and Page and JP Jones and Nicky Hopkins cut "Beck's Bolero," but maybe mega-successful early sound of IB was an influence too.

Never trust Christgau on anything relating to heaviness.

Yeah, that's almost complete bullshit on Xgau's part.

I have that Ramatam album. It's pretty good post-Hendrix rock. They had a female guitar player who was rumored to be trans; however the reasoning I've seen on that was sketchy to say the least.

There's a remastered Gun Club Miami coming. Apparently from tapes given to the JLP family estate by Chris Stein.
Not sure how imminent but been told this from somebody involved over last few days.

Does anyone have any experience with Vinyl Me Please reissues? They are coming out with Jorge Ben's Africa Brasil that I am interested in.

Feedback on discogs is mainly positive. No reissue, but I bought a translucent green copy Yaeji's What We Drew recently (didn't particularly look for this version, I just wanted a copy and this was the one they had at my record store) that sounds absolutely fine.

UFO's Strangers In The Night is being blown up into an 8CD box set containing the original double live album (which I could swear fit on a single CD) plus six complete concerts, as follows:

CD1: Original album
1. Natural Thing
2. Out In The Street
3. Only You Can Rock Me
4. Doctor Doctor
5. Mother Mary
6. This Kid's
7. Love To Love

CD2: Original album
8. Lights Out
9. Rock Bottom
10. Too Hot To Handle
11. I'm A Loser
12. Let It Roll
13. Shoot Shoot

CD3: Chicago, Illinois 13/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle
13. Shoot Shoot

CD4: Kenosha, Wisconsin 14/10/78
1. Hot 'N' Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle

CD5: Youngstown, Ohio 15/10/1978
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out On The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. Lights Out
12. Rock Bottom
13. Too Hot To Handle
14. Shoot Shoot

Advertisement

CD6: Cleveland, Ohio 16/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

CD7: Columbus, Ohio 17/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Too Hot To Handle
9. I'm A Loser
10. On With The Action
11. Doctor Doctor
12. Lights Out
13. Rock Bottom
14. Shoot Shoot

CD8: Louisville, Kentucky 18/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

I love UFO's early to mid 70s Chrysalis albums, but I don't know if I need six full concerts with barely varying set lists.

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From Riot Act Media, Sept. 25:

The first international archival release from Azerbaijan’s gitara psych pioneer Rüstəm Quliyev arrives today on Bongo Joe

"Rüstəm Quliyev’s blazing, psychedelic guitar music sprang from one of the most tumultuous and transformative periods in Azerbaijan’s history, capturing both the spirit and the contradictions of its time. In the years since, Quliyev has become the emblem of Azerbaijan’s gitara music—a unique subculture that developed around the electric guitar. And while his life was cut short by lung cancer in 2005, his legacy endures. 'He was really special,' says Vasif Javadli, Quliyev’s nephew. 'Many people try and follow Rüstəm’s way, but no one can replace him. And no one can play like him."
- Bandcamp Daily - "The Psychedelic Sound of Rüstəm Quliyev, King of Azerbaijani Guitar" by Megan Iacobini de Fazio

Rüstəm Quliyev was born in 1969 in the village of Kosalar, Nagorno Karabakh. At the age of seven he had already mastered the tar before moving on to play the saz. He first encountered guitar during his military service for the USSR in Russia and quickly made a name for himself as a guitarist after returning to Azerbaijan. During the early 1990s, after years of intense fighting, he had to flee his home due to the conflict in Karabakh and settled in the capital city Baku. There his guitar playing took on a new character. He played at weddings, made TV appearances, and recorded numerous cassettes with small local labels.

Rüstəm’s guitar playing not only drew on the rich traditional music of Azerbaijan but his thirst and passion for music also meant that he incorporated styles from across the globe into his repertoire: from Bollywood disco tunes and Afghan pop songs to Iranian street melodies and Spanish flamenco. He crafted a unique sound within an already idiosyncratic subculture of Azerbaijani electric guitar music. Sadly, his career was brought to a sudden end in 2005 after a short battle with lung cancer. His music, however, lives on remaining popular throughout the country.

This release of archival recordings, produced in collaboration with Rüstəm Quliyev’s family and Moutains of Tongues, marks the first international release of this guitar legend's music.
Selections from the archives of Rüstəm Quliyev
Recorded between 1999-2004 in Azerbaijan
Research & Liner notes by Ben Wheeler and Stefan Williamson Fa
Analog Mastering by Tim Stollenwerk
Artwork by Félicité Landrivon
Artistic Supervision by Cyril Yeterian
Vinyl Cut by Adi Flück
Special Thanks to Vasif Javadli and the Quliyev Family, Ben
Wheeler and Stefan Williamson Fa at Mountain of Tongues
Stream: https://rustemquliyev.bandcamp.com/album/azerbaijani-gitara

Soon to drop on Soul Jazz:

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Deutsche Elektronische Musik 4
Experimental German Rock and Electronic Music 1971-83

3×LP + Download Code SJRLP459 £26.00
Expected 16 OctPREORDER
2×CD SJRCD459 £13.00
Expected 16 Oct
Pre-Order
This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘A near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

This latest edition features many of the classic German electronic and Krautrock groups from the 1970s & 80s – including Can, Amon Duul II, Harmonia, Conrad Schnitzler, Agitiation Free, Roedelius – as well as a host of lesser known artists such as Dzyan, Klauss Weiss, Gruppe Between and many more.

Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fan-base included the great Moondog!) and their superb ‘Nearby Shiras,’ taken from their super-rare spiritual/psychedelic private press concept album Crawling to Lhasa, from 1972.

Deutsche Elektronische 4 includes a wealth of German electronic experimental artists – the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother), avant-garde guru Conrad Schnitzler as well as lesser known synthetic artists such as Klauss Weiss, Deutsche Wertarbeit, E.M.A.K. (Electronische Musik Aus Koln), Gunter Schickert and others.

Finally, the album also features an array of heavy and progressive German cosmic rock groups – Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

Deutsche Elektronische 4 comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’, and ‘Krautrock: Cosmic Rock and its Legacy’.

This album comes as a heavyweight triple vinyl edition with full colour inner sleeves, as well as a deluxe double CD edition with outsize booklet and slipcase. Both formats include full liner notes and extensive rare photography.

More info, audio: https://soundsoftheuniverse.com/sjr/product/deutsche-elektronische-musik-4

yeah, just saw that on the boomkat mailout. didn't they say 3 would be the last? no complaints here though.

(boomkat are saying 30th october now)

I missed volume 2 of the Deutsche Elektronische Musik series somehow and now it seems like it's the only really difficult one to find at a reasonable price, on CD or LP

3 is my favorite, though

Lola Versus Powerman and The Moneygoround Part One

50th Anniversary, Multi-Format, Album Re-issues

Out December 18 on BMG

Available to Order Now: https://thekinks.lnk.to/Lola50AnniversaryPR

New Track "The Follower - Any Time 2020" https://thekinks.lnk.to/AnyTime2020PR

Lola Versus Powerman and the Moneygoround, Part One, commonly abbreviated to Lola Versus Powerman, or just Lola, is the eighth studio album by The Kinks, recorded and released in 1970. A concept album ahead of its time, it’s a satirical appraisal of the music industry, including song publishers, unions, the press, accountants, business managers, and life on the road. One of the all time classic Kinks albums.

Let the 50th anniversary celebrations begin, as The Kinks unveil special multi-format release plans for the album as a lovingly produced Deluxe Box Set, 1LP, Deluxe 2CD, 1CD and digitally - to be released on December 18 via BMG.

Limited Edition, Deluxe 10” Slipcased book pack (containing 60 page book, 3 X CDs, 2 X 7” singles, 4 X color prints)
1LP Gatefold
2CD Hardback Book
1CD Softpack
Digital
HD Digital
D2C Limited Edition Exclusives (free with boxset orders): 7” Single, Enamel pin badge

Although it appeared during a transitional period for The Kinks, Lola Versus Powerman was a success both critically and commercially for the group, charting in the Top 40 in America and helping restore them in the public eye, making it a "comeback" album. It contained two hit singles: "Lola", which reached the #9 US, #2 UK and Germany - becoming the Kinks' biggest success since "Sunny Afternoon" in 1966 - and "Apeman", which peaked at #5 in the UK and Germany.

Ray says: “The album is a celebration of artistic freedom (including my own) and the right for anyone to be gender free if one wishes. The secret is to be a good and trusting person and friend.”

Ahead of its time, the track "Lola" was written by Ray Davies in early 1970 and recorded at Morgan Studios in London. The track supposedly tells the romantic tale between a young man and a transgender person whom he meets in a club in Soho, inspired by an alleged encounter by the band’s manager. Released with Village Green Preservation Society outtake "Berkeley Mews" in the UK and the Dave Davies-penned "Mindless Child of Motherhood" in the US, the iconic hook has been sung around the world for decades.

The Lola Versus Powerman and the Moneygoround, Part One release plans follow the recent successful #LolaDay, celebrating 50 years of the seminal hit single. Fans were able to ‘Lolafy’ their individual photos with 10 new custom-made stickers available via The Kinks website. Throughout the day some of the finest acts such as The Amazons released their interpretations of the track via The Kinks’ channels, and various exciting Kinks archive audio, video and printed material was shared with fans.

The ‘Lolafy’ site has been updated from today to include four new stickers of the band members, Dave, Mick, Pete and Ray.

The 50th Anniversary box set campaign launches with a brand new Ray Davies’ remix / medley of the Kinks track "Any Time" (titled "The Follower - Any Time 2020 Feat: Anytime by The Kinks"). https://thekinks.lnk.to/AnyTime2020PR

Originally written by Ray as a possible B-side for "Apeman", "Any Time" includes previously unreleased versions and excerpts of several Kinks tracks from the Lola album as well as added spoken word and sound effects. It is a concept piece about which Ray states “The isolation caused by Coronavirus can give people time to re-evaluate the world and re-assess their lives. Music can comfort the lonely, transcend time and it’s not the future or the past, yesterday, today or tomorrow. It’s anytime”. He adds, “I saw a way of making this unreleased 1970s track connect to an audience in 2020. I also saw a way of showing that music can time-travel, that memory is instantaneous and therefore can join us in the ‘now’. I put this together as something surreal then realized that it was really happening. The song has found its place - after its 50th Birthday!”

THE KINKS LOLA VERSUS POWERMAN AND THE MONEYGOROUND, PART ONE
Available to Pre-order here: https://thekinks.lnk.to/Lola50AnniversaryPR

RELEASE FORMATS:

DELUXE 10” SLIPCASED BOOK PACK

Rigid, matte laminated, open one end card slipcase, with foil and metallic special cover effects, containing: 60 page hardback book with notes, band quotes, Ray Davies ‘1970 Diary’, rare photos / memorabilia; 3CDs in card wallets containing the remastered original album and bonus audio including many unreleased tracks: front and back pocket pages containing 2 reproduced original international 7” picture sleeve singles ("Lola" & "Apeman") and 4 x printed 5” sq rare band photocards.

CDs x 3

Stereo original album newly remastered from original master tapes, singles (stereo and mono mixes), B-sides, alternate original mixes.

Exclusive to the boxset: new medleys with Ray & Dave Davies in intimate conversation in Ray’s kitchen, plus nine new Ray Davies remixes and out-takes from the original session tapes, previously unreleased session and live tapes, instrumental and acoustic versions, previously unreleased demos and BBC material. Track lists curated and produced by Ray Davies.

7” Singles x 2

"Lola / Berkeley Mews" Italian picture sleeve.
"Apeman" / "Rats" Portuguese picture sleeve, (with alternate version of "Apeman")

Reproduced original artwork, remastered audio, black vinyl.


Book

Deluxe 60 page, 10” square, gloss-art hardback book with extensive notes by renowned Kinks expert Andy Neill, interviews / new band quotes (from Ray Davies, Dave Davies, Mick Avory and John Dalton and John Gosling), rare photos and memorabilia. Includes full, detailed tracklist information and historical background.

Photos

4 x 5” sq, light card, gloss-art photos:

GATEFOLD 1LP
Newly remastered original album (Stereo), original gatefold sleeve, heavyweight vinyl, booklet with notes, new band quotes, rare photos and memorabilia. Officially available for the first time since 1983.

DELUXE 2CD

Newly remastered original album (Stereo), deluxe hardback book 2CD, booklet with notes, new band quotes, rare photos and memorabilia.

1CD

Newly remastered original album + key bonus tracks from the box set. Digi-pack,
booklet with notes, new band quotes, rare photos and memorabilia.

DELUXE DIGITAL

Newly remastered original album (Stereo) plus other key tracks from the box set, including the IGs / e-singles

D2C EXCLUSIVES (LIMITED EDITION, FREE WITH BOX SET ORDERS)

"Lola / Berkeley Mews" original Danish picture sleeve 7” single: Remastered, reproduced original artwork, clear vinyl
Bespoke round metal & enamel pin badge featuring album cover art.
# # #

PRESS CONTACT:
Jim Merlis
Big Hassle Media
jim at bighassle.com

Put this on Tompkins Square a while back, just got reminder, worth putting here:

Robbie Basho - Song of the Avatars : The Lost Master Tapes - 5CD set Available December 4th, 2020

All tracks previously unreleased

PRE-ORDER

HEAR / POST A TRACKhttps://soundcloud.com/tompkinssquare/american-sunday

Robbie Basho (1940-1986) is widely regarded as one of the progenitors of what's commonly known today as American Primitive guitar. Growing up in Maryland alongside neo-traditional guitar explorers John Fahey and Max Ochs, Basho's path would take a decidedly different turn, bringing Hindi, Indian, Japanese and Native American musical traditions into his work. His albums for Takoma and Vanguard have left an indelible trail of influence across generations of musicians, from William Ackerman and Pete Townshend to Ben Chasny and William Tyler.

Liam Barker first became aware of Basho having purchased Tompkins Square's reissue of Venus in Cancer, released in 2006. This led him on an incredible fact-finding expedition, unraveling the many layers of mystery surrounding Basho's life and death, all deftly compiled and depicted in his documentary film, Voice of the Eagle : The Enigma of Robbie Basho.

During the research process, Barker came across a large cache of unheard Basho tapes recorded throughout his career, ranging roughly from 1965-1985. By arrangement with Basho's Estate and the original custodians of the tapes, Tompkins Square is set to release Song of the Avatars : The Lost Master Tapes, a 5CD set of previously unreleased material, on December 4th, 2020. The set includes notes by Barker, Henry Kaiser, Steffen Basho-Junghans, Glenn Jones and Richard Osborn, as well as many unseen photographs. The box set package featuring gold foil inlay, poster and extensive booklet, was designed by Barbara Bersche, known for her work on the 2009 Grammy-nominated Alan Lomax in Haiti box, as well as the new Dust-To-Digital Harry Smith B-Sides box.

TSQ 5715 - Robbie Basho / Song of the Avatars : The Lost Master Tapes - 5CD set

Tompkins Square is distributed by INgrooves/Universal and Revolver in NA, Cargo UK for Europe

Tompkins Square 15th Anniversary playlist
https://open.spotify.com/playlist/4uiu05uzg7qB17xNRBee7c?si=a_B35QixTxCJSFeSRo0qug

New Decembrists vinyl editions, more info and streams here:
https://thedecemberists.bandcamp.com/

from fania.com via Downbeat email:

Ray Barreto, Barreto Power---

Featuring ALL-ANALOG mastering by Kevin Gray
at Cohearant Audio, this 50th Anniversary reissue marks the first
return to vinyl since its original 19T0 release.

GRAMMY-winning Nuyorican bandleader and
conguero Ray Barretto was an incomparable force
in Latin and jazz music. He was a long-time
member of the Fania All-Stars, and played conga
in recording sessions for major artists including
the Rolling Stones and the Bee Gees. Barretto
appeared on albums with jazz giants such as
Gene Ammons, Red Garland and Sonny Stitt,
and recorded regularly with Kenny Burrell,
Dizzy Gillespie and Wes Montgomery.

Synthesizer Evolution: From Analogue to Digital (and Back)
by Oli Freke
Book (350g)£18.00
Expected 25 NovPREORDER
Synthesizer Evolution: From Analogue to Digital (and Back) celebrates their impact on music and culture by providing a comprehensive and meticulously researched directory of every major synthesizer, drum machine and sampler made between 1963 and 1995. Each featured instrument is illustrated by hand and shown alongside its vital statistics and some fascinatingly quirky facts.

From its invention in the early 1960s to the digital revolution of the 1980s right up until the point that analogue circuits could be modelled using software in the mid-1990s, this book tells the story of synthesizers from analogue to digital – and back again.

Tracing that history and showing off their visual beauty with art-book quality illustrations, this a must for any self-respecting synth fan. The book has 128 pages, is 23cm x 17.4cm in size and printed on high quality 130gsm matt art paper.

Author Oli Freke says: “This book has grown out of a life-long obsession with synthesizers and electronic music, and it’s fantastic to be able to share this with my fellow synth obsessives and music fans who celebrate the synth’s role in modern music.”
Ships in Mid-November
More info, cover, pages: https://soundsoftheuniverse.com/product/jriocxsu

(i work with oli freke)

is this book good?

i have no idea. he's in the same department as me, different team, but i've not seen any of them for 7 months, except via zoom.

he's been selling the poster version of the book, with all the illustrations, for some time but i guess this has writeups of the individual synths as well (based on the 3 pages on that link)

https://www.synthevolution.net/

Your link's missing the final letter btw
https://soundsoftheuniverse.com/product/jriocxsus

Sorry, thanks!
Related docudrama:

LE CHOC DU FUTUR
(aka The Shock of the Future)

The story of the forgotten female pioneers of electronic music

Coming to DVD and Digital Formats on November 10th

PRE-ORDER HERE - TRAILER BELOW

"This day-in-the-life portrait of a struggling electronic musician circa 1978 is never happier than when it gets to fix a loving, lingering gaze on the drum machines, synths, sequencers and reel-to-reel tapes that crowd its heroine's apartment."
- Variety
On November 10th, Cleopatra Entertainment will release Marc Collin's directed electronic music drama LE CHOC DU FUTUR (The Shock Of The Future), which premiered at the 2020 SXSW Film Festival. The DVD release also includes an exclusive interview with Collin, a slide show, and other bonus features.

LE CHOC DU FUTUR takes place in the Paris of 1978, when old formulas do not charm listeners anymore, creating the need for new music to arise in its place. In an extremely male-dominated industry, Ana (Alma Jodorowsky) uses her electronic gadgets to make herself heard, creating a new sound that will mark the decades to come: the music of the future.

Mixmag, the world's biggest dance music and clubbing destination, says "As electronic music ages and develops, more moves are being made to look into the cultural history that initially bred it. This film aims to shine a light on the under-appreciated and somewhat forgotten female pioneers of electronic music."

PRESS QUOTES:

"Driven by a great turn from Alma Jodorowsky, it celebrates the creation and possibilities of music through a distinctly female filter.
- Empire

"A beguiling central performance and a near-numinous belief in the transformative power of music are the highlights of this modest yet perfectly formed French-language drama about the origins of synthesizer pop."
- The Times (UK)

"Explores the thrilling possibilities of electronic music in a drama with a timely feminist slant."
- The Guardian
Relieved it's not an untimely Feminist slant.
Hmm, Cleopatra can have some pretty cheesy offerings, but maybe---links to trailer, press contact etc. in here: http://campaign.r20.constantcontact.com/render?m=1102557630070&ca=b0abd388-e055-4ea3-9ec4-11bfb569281c

https://redirect.haulix.com//R0q_T4qcda14kEJYon_ChRt2O3vvmcRzzzkK7iTMMJE%3d/PromoAccessory_165765.jpg

Fourteen years ago, four young Atlanta women picked up instruments without any prior musical experience or lofty aspirations and decided that they were going to start a band so that they could play a friend’s party. The house-show led to more shows around town, and the fiery live sets of this feisty new band known as The Coathangers begat a self-titled album. Recorded during a single graveyard shift at a local studio and mixed the following night, The Coathangers was a raw, rowdy, and revelrous affair. What it lacked in polish it made up for in its undeniable energy and charisma. “We didn’t think anyone was going to listen to it,” says vocalist/guitarist Julia Kugel. “We knew our friends in Atlanta would get it, but we didn’t think it was going to go anywhere. We were just excited to make a record.” Little did Kugel or her bandmates—vocalist/drummer Stephanie Luke, bassist/vocalist Meredith Franco, and keyboardist Candice Jones—know that their scrappy house show-anthems would catch on, prompting years of international tours, a slew of excellent LPs and singles, and, eventually, a deluxe re-mastered version of their boisterous, long out-of-print debut, The Coathangers.

The first thing the listener hears when the needle drops on The Coathangers is a sample of a man’s voice asking “Why this record? Why should you listen to a full-scale discussion of the magic of thinking big?” Given the band’s modest initial aspirations, the soundbite was obviously tongue-in-cheek, and yet given the triumphs and accolades bestowed upon the band in the thirteen years since the album’s initial release, there is something a little prescient in that opening statement. Revisiting the album in hindsight, it’s surprising to hear both how little has changed and how much The Coathangers have grown. On the one hand, the band has always been multi-faceted, able to switch from their rousing rockers like album opener “Tonya Harding” to caustic no-wave scorchers like “Don’t Touch My Shit!” to Americana-tinged pop songs like “Buckhead Betty.” This diversity stems from having multiple songwriters in the band who each brought their own tastes and styles to the group. “It’s cool too to see how genre-fluid we‘ve always been,” Kugel says. “We got labeled as punk, and that was cool because that set us up as being against something, going against the grain. But it’s always been a weird dynamic of different tastes, and it still ultimately comes across as a bunch of girls having fun.”
Fun is key. While the mash-up of approaches continues to be a part of the band’s repertoire, there is a reckless abandon and irreverence to The Coathangers that was dialed back on subsequent albums. That brings us back to the initial question posed on the album: why this record? If The Coathangers have evolved into more nuanced sounds and sophisticated lyrical commentary, why dust off and revisit the fledgling anthems of their youth? The answer is simple. We live in difficult times, and there is a spontaneity and carefree spirit on The Coathangers that is as invigorating and inspiring now as it was thirteen years ago. The band may have merely been a vehicle for having a good time, but in the process of making music they also made a space for friendship and laughter, created an environment for people to be free and independent, and helped foster a sense of community in the Atlanta music scene.

“We were just brash and making fun of things,” Kugel says. “We weren’t thinking about lyrics. We weren’t thinking about the industry. There was no thought about ‘making it’ or how people were gonna perceive it.” Consequently, the album was treated more as a private conversation between friends, full of various in-jokes and frivolities that reflected the group’s insular audience and casual approach. “With this band I’ve felt like we have to speak for all woman-kind and as the records went on it became more and more at the forefront, but with the first record it was more like ‘ugh, these fuckin’ haters!’ It’s stuff we thought was hilarious and that felt really good to say because we felt safe. We didn’t think anyone was going to listen to it.” This was The Coathangers at their most spontaneous and unfiltered. From the deliciously fractured kiss-off garage rocker “Shut the Fuck Up” to the jubilantly nasty “Nestle in My Boobies,” there’s a wild, untamed heart at the center of every track on the album. It’s a record that celebrates being young, independent, and full of life.
Ultimately, the eponymous debut album by The Coathangers is a whirlwind ride of a band at the most frenzied, celebratory, and free moment of their existence. As a standalone record, it’s a brash and bawdy rocker sure to please anyone who likes their rock n’ roll sweaty and messy. As a piece in the band’s legacy, it’s an exhilarating reminder of the band’s youthful carefree beginnings. Suicide Squeeze Records is proud to offer up the deluxe version of The Coathangers to the world on December 4th, 2020. This latest version of the album includes the bonus tracks “Wife Eyes” from the Hard Candy EP and the title track from the Never Wanted You EP. The Coathangers will be available on vinyl featuring expanded artwork with an initial pressing of 1000 copies (500 on Confetti Crush Splatter Vinyl, 500 on Neon Strawberry Banana Pinwheel Vinyl). The album will also be available on digital formats.

(one for the striking covers thread)

Matador just announced a lavish Gang of Four box set.

Btw - I preordered that American Jangle Underground 2CD. Will let ya know how it is...

It's... ok. Very samey sounding (by design I imagine) and the best bands are very well known to those of us into that scene (28th Day, Salem 66 - but they picked a weak track). Lots of off-key singing, lots of energy, and some great discoveries like Primitons and Holiday. Worth hearing but not a keeper for me. I was hoping for something akin to "Yellow Pills: Prefill".

Hmm, I trust your judgement... maybe I should cancel the order? (FWIW, I don't have any real familiarity with the scene.)

Ahhh, I really don't want to dissuade you. Look up a handful of those tracks on Youtube first - one's man trash something something.