Rolling Reissues 2021

There's another Elvis set coming in November. It's only $45; I think I'm gonna grab it.

Elvis Presley Back in Nashville 4CD set

What turned out to be Elvis Presley’s final Nashville session brought music that was originally overlooked. The original recordings found their way on the holiday themed Elvis Sings the Wonderful World of Christmas (1971), the gospel He Touched Me (1972), Elvis Now (1972) and Elvis (1973). Yet, to hear this music, a half century after it was recorded – now wiped of overdubs – reveals some of the most compelling singing of Presley’s career. There may not be a better set of tracks in his catalog that benefits more from un-dubbing the masters. No longer weighted down, Elvis shines. Available on 4 CD’s.

DISC 1
THE COUNTRY/FOLK SIDES
The First Time Ever I Saw Your Face – takes 11-12
Amazing Grace
Early Mornin’ Rain
(That’s What You Get) For Lovin’ Me
Help Me Make It Through The Night
Until It’s Time For You To Go
Don’t Think Twice, It’s All Right – (unedited version)

THE PIANO RECORDINGS
It’s Still Here
I’ll Take You Home Again Kathleen
I Will Be True

THE POP SIDES
Padre (2:34)
Fools Rush In (Where Angels Fear To Tread)
My Way takes 2-3 (Master)
I’m Leavin’
It’s Only Love
We Can Make The Morning
Love Me, Love The Life I Lead
Until It’s Time For You To Go - remake

DISC 2
THE RELIGIOUS SIDES
He Touched Me
I’ve Got Confidence
Seeing Is Believing
He Is My Everything
Bosom Of Abraham
An Evening Prayer
Lead Me, Guide Me
There Is No God But God A Thing Called Love
I, John
Reach Out To Jesus
Put Your Hand In The Hand
Miracle Of The Rosary

THE CHRISTMAS SIDES
O Come, All Ye Faithful
The First Noel
On A Snowy Christmas Night
Winter Wonderland
The Wonderful World Of Christmas
It Won’t Seem Like Christmas (Without You)
I’ll Be Home On Christmas Day
If I Get Home On Christmas Day
Holly Leaves And Christmas Trees
Merry Christmas Baby – unedited
Silver Bells
I’ll Be Home On Christmas Day (remake)

DISC 3

It’s Only Love – takes 8 & 9
Love Me, Love The Life I Lead – takes 5 & 6
We Can Make The Morning – master with backing vocals
I’m Leavin’ – take 1
Johnny B. Goode – impromptu performance
Padre – takes 1 & 11
Lady Madonna – impromptu performance
Fools Rush In (Where Angels Fear To Tread) - take 6
Are You Lonesome Tonight (fragment-impromptu performance)
I Will Be True – takes 1-2
It’s Still Here - takes 1 & 3
Help Me Make It Through The Night – takes 1-3
(That’s What You Get) For Lovin’ Me - take 1
Until It’s Time For You To Go – take 5
Early Mornin’ Rain – takes 1 &11
I Shall Be Released – impromptu performance
Don’t Think Twice, (It’s All Right) – remake
Put Your Hand In The Hand (3:19) – rehearsal and take 1
Amazing Grace – takes 1-2

DISC 4
THE RELIGIOUS OUTTAKES
Miracle Of The Rosary - take 1
The Lord’s Prayer (impromptu performance)
He Touched Me – takes 1-2
I’ve Got Confidence - take 1
An Evening Prayer – takes 1-2
Seeing Is Believing – takes 1,2 & 4
A Thing Called Love -take 3
Reach Out To Jesus – takes 1,2 & 9
He Is My Everything – take 1
There Is No God But God – takes 1-2
Bosom Of Abraham – takes 2-3

THE CHRISTMAS OUTTAKES
I’ll Be Home On Christmas Day – take 3
It Won’t Seem Like Christmas (Without You) – takes 1 & 6
If I Get Home On Christmas Day – take 3
Holly Leaves And Christmas Trees – take 4
Silver Bells – take 1
I’ll Be Home On Christmas Day – take 4
Winter Wonderland – take 7
O Come, All Ye Faithful – take 2
I’ll Be Home On Christmas Day (remake) takes 1,4,5 &10

https://mcusercontent.com/df6fc86c1831abaa57cee6fed/_compresseds/b1976b59-51ea-8d70-c747-7f976a09059e.jpg

For Immediate Release: Don Giovanni Records has announced the reissuing of the long out of print and highly sought after two album discography from late 1970's Indigenous metal band WINTERHAWK. The band's two albums Electric Warriors and Dog Soldier will be issued for the first time ever on CD and digital streaming platforms on October 22nd. The original private press vinyl copies of these albums currently fetch up to four-figures on the secondary resell markets.

The first single "Custer's Dyin'" from Electric Warriors is out now across all digital platforms, and Bandcamp.
Led by Cree Indian Nik Alexander on guitar and vocals, the band is riff heavy, as they were contemporaries of classic hard rock guitar gods such as KISS and Thin Lizzy, while heavily informed by the spirit, harmonics and thematic elements of the indigenous American-Indian communities. Native rhythms and chants are peppered in with the heavy fuzzed out power chords of mainstream rock of the era.

Drummer Alfonso Kolb writes in the liner notes of Electric Warriors:

Winterhawk was more than a band. It had a message. It was Nik’s plan to use the tool of music to bring this message to the youth through his lyrics combined with the type of music to grab their attention. Especially at that time a heavy rock n roll sound was the style he felt would best get the attention of Native kids. The music was loud, strong, powerful and fast. With Native chants and drum beats resembling traditional Native drums. Some critics say it had a 70’s sound, and to some degree it might have. But, there was no 70’s music like this. No music that I have ever heard before. I felt at the time I was involved with a new kind of style. I know there have been other bands before Winterhawk that have had this idea, but I had not heard of a band that was doing this style of music directed toward Native American kids.
Winterhawk has its place in the Native American music world. It has its meaning for our Indian people. I recommend that all Indians give it a listen along with non-natives. It was meant for all of us to hear, and to remind us that … We’re Still Here!
https://www.youtube.com/watch?v=HMICN_mkrBI

https://winterhawk1979.bandcamp.com/album/electric-warriors

Fun vintage Latin pop---first track is too sing-songy for me so far, but all the rest are better, w variety ov distinctions (eventually, cool guitars show up, and reflective reeds after that---rhythm squad is always exuberant, never intrusive):

Leobardo Acosta Quintanar was born in Huetamo, Michoacán in 1925. He was a notable drummer, composer, arranger, and orchestrator.

In 1970, he recorded a last LP for Capitol with a small combo formed with some of his closest peers. The sound engineer for these sessions, Rogiero Silva, recalls that it happened in the night time. Leo was always very demanding in his studio hours with all of his musicians and that he did not tolerate mistakes or setbacks, but he was fully relaxed and enjoying this one very much. For this last LP, entitled “ACOSTA” but known as "El Leon”, all the compositions are originals, unlike his previous albums where the labels required him to record at least 6 songs that were hits on the popularity charts.

The genius of this album lies in Leo's ability to synthesise the influence of jazz and funk fusions with Latin rhythms, well dominated by him. The stand out “Rencorosa”, has strong influence of “Evil Ways” by Willie Bobo, via Santana. “Noches de Viaje” is a superb mid tempo funk, one of the best examples of its kind and the funny dialogues in “Carga Pesada“ denote the atmosphere of Leo's nightclub life, drum solo included. “Melodía de Amor Eterno" shows a more spiritual jazz side where the Hammond B3 by Mario Patrón and the... more
credits
released August 14, 2021

https://madaboutrecordslabel.bandcamp.com/album/leo-acosta-

https://f4.bcbits.com/img/a3533698104_16.jpg

Woods Band s/t.
I foundout last night that the lp that I've been wanting to get a new remaster of for years actually got given the Eclectic treatment at the end of July. I'm really hoping that new remaster does mean that the sound of a tape being overstretched which the Edsel version sounded like has been corrected. I think the sound is a continuation of what Terry Woods had been doing with the 2nd Sweeneys Men lp Tracks of Sweeney but this is after the first lineup of Steeleye Span has happened. I thought Ashley Hutchings had formed taht band to try to continue some ideas that Sweeneys Men had explored including the shortlived lineup with the electric guitar of Henry McCullough so I need to have another look at why it was the Woods that left that early Steeleye line up and not the Priors

https://www.cherryred.co.uk/product/the-woods-band-the-woods-band-remastered-edition/

sorry, prematurely posted so here's the bumf from the Cherry Red/Eclectic website

· NEWLY REMASTERED EDITION OF THIS PROGRESSIVE FOLK-ROCK ALBUM FROM 1971

· WITH FULLY RESTORED ARTWORK & NEW ESSAY

· REVIEWS IN “UNCUT”, “MOJO”, “RECORD COLLECTOR”, “SHINDIG!”, “PROG” MAGAZINES

· COVERAGE ON RELEVANT WEBSITES & FANZINES

Esoteric Recordings are pleased to announce the release of a newly re-mastered edition of the 1971 self-titled album by THE WOODS BAND.

The Woods Band comprised TERRY WOODS (Vocals, Mandola, Concertina, Electric, Acoustic & Bass Guitar), GAY WOODS

(Vocals, Concertina, Autoharp, Dulcimer, Bodhran), ED DEANE (Electric, Acoustic & Bass Guitars, Keyboards) and PAT NASH (Drums and Vocals). Husband and wife Terry and Gay Woods had been members of the first line-up of Steeleye Span (also featuring ex-Fairport Convention member Ashley Hutchings, Tim Hart and Maddy Prior). The Woods’ departed that group shortly after the release of their debut album to form their own band.

After working with various musicians (including briefly the former King Crimson members Mike Giles and Ian McDonald), The Woods Band finally settled on a stable line-up when Ed Deane and Pat Nash joined the fold. In 1971 the Woods Band signed to the newly established Greenwich Gramophone Company (a “Progressive” imprint of song writer Les Reed’s Chapter 1 Records) and recorded their only album at Morgan Studios in September that year. Produced by former Colosseum bassist Tony Reeves, THE WOODS BAND featured both traditional and original material and utilised both traditional and electric instrumentation and took on more of a rock influence than the early Steeleye Span. Upon its release, the album was well received and The Woods Band undertook a series of concerts with their fellow label mates Samurai and Open Road and began to develop a cult following.

However, Greenwich Gramophone ceased operations in 1972 and this left the band without a recording contract and the Woods Band ended, leaving Terry and Gay Woods to continue recording and working as a duo. Terry Woods was later a member of The Pogues. This Esoteric Recordings edition has been newly re-mastered and features an illustrated booklet with a new essay.

Track Listing:

1. EVERY TIME
2. NOISEY JOHNNY
3. JANUARY’S SNOWS
4. LAMENT & JIG (inc. Valencia Lament & Apples in Winter)
5. DREAMS
6. AS I ROVED OUT
7. PROMISES
8. OVER THE BAR (inc. The Road to Athy)

Speaking of Cherry Red, I've already pre-ordered this Steppenwolf box set:

Steppenwolf: Magic Carpet Ride – The Dunhill / ABC Years 1967-1971, 8CD Box Set
Steppenwolf
£41.99

Released October 29, 2021.
• NEWLY REMASTERED EIGHT DISC BOXED SET FEATURING EACH ALBUM RECORDED BY THE LEGENDARY STEPPENWOLF FOR THE DUNHILL/ABC LABEL BETWEEN 1967 AND 1971
• WITH 26 BONUS TRACKS DRAWN FROM RARE SINGLES AND MONO MIXES
• INCLUDING THE ALBUMS ‘STEPPENWOLF’, ‘THE SECOND’, ‘AT YOUR BIRTHDAY PARTY’, ‘EARLY STEPPENWOLF’, ‘MONSTER’, ‘STEPPENWOLF LIVE’, ‘STEPPENWOLF 7’ and ‘FOR LADIES ONLY’
• REMASTERED FROM THE ORIGINAL DUNHILL/ABC MASTER TAPES

Ltd. Ed---already sold out (for now?), both formats, but worth a read:

Faust
1971-1974
BUREAU B
Boxset contents: 'Faust', 'So Far', 'The Faust Tapes', 'Faust IV', 'Punkt' (1974 album that has never been released), 'Momentaufnahme I' (unreleased studio tracks), 'Momentaufnahme II' (unreleased studio tracks), and two 7" (both on CD8)

"There is no group more mythical than Faust." Julian Cope (Krautrocksampler)

A band's fame can be measured in the sum of myths, legends and stories which are conjured up in their wake. In which case, Faust have been playing in the Champions League for quite some time. Few bands have been as innovative, influential or as irrepressible as FAUST - the way they revolutionized the history of music in the space of just four years puts them right up there with The Velvet Underground. What began in a Hamburg (Sternschanze) bunker in 1970 would send shockwaves around the world. Here's how Stephen Morris (Joy Division/New Order) remembers it: "The first Krautrock record which made a lasting impression on me was the debut album by Faust. The transparent disc looked spectacular and the music was mindblowing, not songs as such, it was something absolutely unique, the polar opposite of everything the Rolling Stones, Beatles and the like were doing. It was right up my street."

This box is the first virtually complete collection of FAUST works from the years 1971-1974. In addition to the debut album, it includes the 1972 album So Far, the legendary 1973 Virgin UK release The Faust Tapes ("Some chose to play frisbee with the LP, others said it changed their lives" as Jean-Hervé Peron noted), Faust IV and, for the first time ever, the mythical, so-called "Munich album" Punkt, which Faust recorded at Giorgio Moroder's Musicland Studios in 1974. For one reason or another, this last album never saw the light of day - until now. The bonus albums Momentaufnahme I and Momentaufnahme II also feature unreleased material, simultaneously affording us a fascinating glimpse of Faust's creativity in their Wümme studio phase. Two 7-inch singles round off the Faust 1971-1974 compendium: Lieber Herr Deutschland is the demo recording they sent to Polydor in 1971, remarkably triggering a contract offer from the label who had something of a conservative reputation at the time. The track later resurfaced as the B-side to their single Baby, a song which had been rejected by the aforementioned label. The second 7-inch single in the box is a rerelease of So Far, the first FAUST single on Polydor, originally issued in 1972.

It is by no means overstating the case to assert that FAUST created and christened a genre (the name would prove emotive) in one fell swoop (track 1 on Faust IV). This box is no more and no less than the holy grail of Krautrock. Even 50 years (or perhaps all the more so) after they took their first musical steps in a bunker near Hamburg's Sternschanze station, Faust still sound revolutionary, timeless, irrepressible and, above all, unique.

Mastered from the original tapes, Faust 1971-1974 is available as a limited edition vinyl set (2,000 copies) and CD (1,000 copies).

Release Date
08 October 2021

7×LP Box set (2.2kg) £170.00
BUY
8×CD
https://soundsoftheuniverse.com/product/19711974
https://soundsoftheuniverse.com/img/N1BpNGh4NmVMYlZyaFErYXhCZjFnZz09/image004.jpg

ImportCDs is offering pre-orders for $80.

I was wondering how much of the non 1st 4 lp material was retitled duplicates of material released elsewhere as Munich & Elsewhere , 71 Minutes, Peel Sessions, Bonus disc of IV (2006 remaster). If i have Wumme do I need this beyond it being a fresh transfer of source tapes plus a bit of bonus which I probably didn't have in current form.
Found the thread on Steve Hoffman and it looks like they haven't reused the material from the Reccommended compilations 71 Minutes and Munich and Elsewhere beyond 2 tracks from the latter which have been remastered from the source multitracks apparently.
Still, think I'm too broke to grab the box so hope some of this stuff is released separately

a photo of the box contents for both vinyl and cd
https://shop.tapeterecords.com/records/bureaub/faust-1971-1974.html

JUst found out that the Faust Tapes set from the forthcoming box is already up on Spotify. Not sure if an MP3 is a good guage of what a lossless media is like but it is there.

ANITA LANE

20TH ANNIVERSARY REISSUE OF
SEX O’CLOCK

AVAILABLE ON VINYL FOR THE FIRST TIME

LISTEN TO “HOME IS WHERE THE HATRED IS”
https://www.youtube.com/watch?v=bCUR7B5i-4Y

Lane’s work immortalises important themes of human experience, holding awkward and difficult feelings up to the light, to see them in all their imperfect beauty and wonder.” – The Quietus

Mute today announces details of the 20th anniversary reissue of Anita Lane’s second studio album, Sex O’Clock, set for release – for the first time on vinyl – December 10.

Initially released in 2001, work began with Anita Lane on the reissue before her untimely passing earlier this year at the age of 61. The album has long been considered under-appreciated with The Quietus recently asserting that Lane’s exploration of sexuality was way ahead of its time.

The album – honest, funny and often melancholic – features stand out tracks “The Next Man That I See,” “Do the Kamasutra” and an acidic cover of Gil Scott-Heron’s “Home Is Where the Hatred Is.” Recorded with long time musical partner Mick Harvey, the album was the final release in a solo career that began in 1988 with the release of the Dirty Sings EP.

Emerging from Melbourne’s post-rock scene, Anita Lane was one of the co-founders of Nick Cave & the Bad Seeds, co-writing “From Her To Eternity,” the title track of their debut album, and “Stranger than Kindness” from Your Funeral… My Trial. Arriving in London in 1980 with The Birthday Party, she’s credited with co-writing several of their tracks – “A Dead Song,” “Dead Joe” and “Kiss Me Black” – before re-locating to Berlin. There followed a series of collaborations that included work with Einstürzende Neubauten, Chrislo Haas, Gudrun Gut and Die Haut. Also of note are a memorable cover of “These Boots Were Made for Walking” with Barry Adamson and vocals for Mick Harvey’s first two Serge Gainsbourg albums, Intoxicated Man and Pink Elephants.

After her unexpected passing in April 2021, tributes were paid from around the world from a host of artists with Nick Cave remembering Lane as “the smartest and most talented of all of us, by far.”

SEX O’CLOCK TRACKLISTING
1. Home Is Where the Hatred Is
2. The Next Man That I See
3. Do That Thing
4. I Hate Myself
5. A Light Possession
6. I Love You, I Am No More
7. Like Caesar Needs a Brutus
8. Do the Kamasutra
9. The Petrol Wife
10. Bella Ciao

Further reading:
https://thequietus.com/articles/29144-anita-lane
Rolling Stone's Tribute:
https://www.rollingstone.com/music/music-news/anita-lane-nick-cave-dead-1162241/
Scotland Herald's Tribute:
https://www.heraldscotland.com/opinion/19310322.obituary-anita-lane-nick-cave-collaborator-major-unsung-talent-time/

For more info, see mute.com

Will also be on CD

From Sounds Of The Universe:

Ritmo Fantasia: Balearic Spanish Synth-Pop, Boogie and House (1982-1992)

https://soundsoftheuniverse.com/img/MnQ0eXVwQXJxTEswVkFFOEh4dEd2UT09/image001.jpg

The 21 track selection curated by Trujillo, a Venezuelan producer, DJ and record collector based in Berlin, explores the forgotten corners of the 1980s and early 90s Spanish music scene. Veering through early bleep and hip house, electro, boogie, Iberian pop and much more, it has broad appeal to both Balearic heads and diggers alike. Serendipitously, the cover art for the compilation is an original work by Yves Uro, a figurehead of Ibiza's party scene from the 70s and 80s and whose visionary poster artwork became representative of the White Isle.

Release Date
26 November 2021

3×LP £25.00
More Info & Audio
https://soundsoftheuniverse.com/product/ritmo-fantasia-balearic-spanish-synthpop-boogie-and-house-1982199

Cuba: Music and Revolution Vol.2 Compiled by Gilles Peterson and Stuart Baker
Culture Clash In Havana Cuba - Experiments In Latin Music 1975-85 Vol. 2
SOUL JAZZ RECORDS

https://soundsoftheuniverse.com/img/c0pMaHVEM3FGVW83WlIrUTZNOStNZz09/sjr-lp496-cuba-music-and-revolution-2-triple-sleeve.jpg

...exactly the same vein as the much-acclaimed Vol. 1 - exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music every made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records), featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson and Stuart Baker's record boxes!

The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album have never been heard outside of Cuba.

------------------------------------------------------

Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.

-------------------------------------------------------

REVIEWS of CUBA: Music and Revolution vol. 1:

"We already have a strong contender for 'compilation of the year'. Put together by devout crate-diggers and Cuban music enthusiasts Gilles Peterson and Stuart Baker (founder of Soul Jazz Records)" JUNO

"It's abundantly clear that these compilers are at the very top of their game. Everything here was previously unheard outside of Cuba, making this a feast for the curious" Vinyl District

"Priceless comp that goes far beyond Buena Vista!" UNCUT
More info, audio (excerpts of all tracks)
https://soundsoftheuniverse.com/product/hddxscspi

XXp Anita Lane emerged from the Melbourne post-rock scene? Not the punk scene? I think she came to recognition from her relationship with and subsequent work with Nick Cave who I think she met at art school in the late 70s. Is that a typo for post-punk then? I just think there's like 20 years or something between the 2.

Out Now

909s & Sunshine: The Numero Guide to UK Rave. House, Garage, Breakbeat, Acid, Hardcore [1989-1997]
Numero goes straight to spotify, which keeps freezing on tracklist, but it's all on there and other services, looking good to this non-expert

is there a physical release or is this just a playlist?

Good question---may just be a playlist, considering the way it goes straight from Numero (who sent me an email hyping it) to Spotify (also on Apple etc). Sorry, I just assumed there was more.

Smog Veil Clearing The Air #179
November 2021

FINAL SALE!
starting now until 12/31 only
55% off ALL releases on our site!
FREE U.S. SHIPPING

Well folks, it is time to sail on. Smog Veil has had an amazing run, we've released records by our favorite Northeast Ohio underground rock and rollers. We've appreciated all our fans have done for us. But, after 30 years we've decided, let's go out while the getting is good and while we're happy with what we accomplished.

We couldn't have made it this far if it wasn't for the fans, our team, and the amazing musicians that you've listened to on record and on stage. We hope over the years we kept your toes tapping!

So, this is the near to last goodbye. We'll send another newsletter next month, but let the warehouse clearing begin!

While supplies last, everything on the Smog Veil web site* is now 55% off!

Act quick, sales limited to supplies on hand and prior sales excluded! SALE STARTS NOW AND ENDS on December 31, 2021.

NO CODES NEEDED! DISCOUNT TAKEN AT CHECKOUT: 55% OFF THESE TITLES as well as ALL in-stock Smog Veil titles:

ADELE BERTEI'S PETER and the WOLVES

PETER LAUGHNER BOX SET

PETER AND ADELE POWER PAK

PLUS, ENJOY FREE SHIPPING IN THE USA.

We have less than 200 Peter Laughner box sets left in our warehouse and as there will be one and one only pressing. This will be the very last chance to grab these at an amazing price as all box sets will be sold by the end of the year.

OK--so the FINAL tour dates. Adele Bertei has announced a series of readings, accompanied by special guests at various stops, including Lucy Sante, and Mike Decapite. Here's the dates, mark your calendar:

w/Lucy Sante, Mike DeCapite
11/11 — L.A., Skylight Books
11/13 — San Francisco, The MakeOut Room
*To see all remaining stock of CLE (incl. Chris Butler solo, his album w Ralph Carney. Mr. Stress, Laughner box [vinyl only, CD sold out], Adele's book about him & related, Peter and The Wolves, etc. etc.---check here: https://www.smogveil.com/

Dang hadn't realised i'd completely missed the Peter laughner cd set.

Smog Veil says it's still out there "in the Wild," at several Ohio stores, prob online somewhere, like eBay at least. Some PL things on Spotify etc., and Amazon still has digital editions of The Day the Earth Met the Rocket from the Tombs and Rock It Down, with various line-ups.
It was one of those legit boxes, that, by the time it finally came out, I had so much of it on boots and licensed (?) bits that I couldn't bring myself to buy it (though if I'd been more confident about my income...) Wasn't that thrilled by all the acoustic bedroom stuff on Take The Guitar Player For A Ride; I like him a lot better in bands (looks like at least some of that collection is YouTube).

Rock It Down has same "cover" (though digital) as box, might be a sampler.

Nor sure when I would have the dosh to buy a copy but did hope there might be a point when I could. I do like the band stuff.
Hadn't taken in the no repress bit. Or at least don't remember it now til I saw the comment under the vinyl version.

no idea but think there are ilx fans? Better than usual Numero house style hype, somehow:

Duster CDs Are Back
San Jose’s sonic cure-all for the Y2K hangover that never materialized, Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond. Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space.

Grab your copy of Capsule Losing Contact before they disappear into the void for good. More info etc.
https://numerogroup.com/products/duster-capsule-losing-contact

Merge reissuing The Magnetic Fields’ The House of Tomorrow for its 30th anniversary in 2022
Posted 11/9/21
On January 28, 2022, Merge will reissue The House of Tomorrow, one of the earliest releases from The Magnetic Fields. Never before released as a 12-inch, the b-side of this 30th anniversary remastered edition of The House of Tomorrow features an etching of Buckminster Fuller’s visionary D.I.Y. Dymaxion House floor plan. The vinyl is available on opaque spring green as well as basic black, but don’t press bandleader Stephin Merritt to discuss the color’s charms, please. “My favorite shade of green is brown.”
When Susan Anway, who sang on early albums Distant Plastic Trees and The Wayward Bus, left the group, Stephin stepped up to the microphone. “This was my first time singing on record,” he recalls. He sought to sound simple, subtle, and unobtrusive, à la the Japanese concept of shibusa. “But now, listening back, I hear a little too much vocal influence from the Jesus and Mary Chain. (I really should move to Scotland. I belong there.)”

A departure from the largely electronic setup of the first two albums, the arrangements and production of The House of Tomorrow show an increase in Merritt recording using live instruments played by himself and his band members. Despite this, Stephin resisted the typical “rock and roll” sound: “I wanted to have rock instrumentation, plus cello (so ELO without keyboards), but everyone was tracked separately so there was no question of sounding like we were playing together,” explains Stephin. Instead, he chose to highlight the artifice. Voilà! “The drums are like Tusk only more so, the cello sounds like a synth, and the guitars might as well be programmed.”

The House of Tomorrow rose in stature upon re-release on compact disc in 1996, with a new addition, “Alien Being” (previously relegated to the flip of the “Long Vermont Roads” single), boosting its modest track list from four songs to five. The limits of technology had stymied plans the first time: “You can’t fit five two-and-a-half–minute songs on a 7” record, even at 33rpm.”

From World’s Fairs and Disneyland to Tex Avery and Hanna-Barbera cartoons, visions of the home of the future have long been popular. Although this new vinyl edition of The House of Tomorrow includes an etching of Buckminster Fuller’s visionary D.I.Y. Dymaxion House, Stephin laments the sluggish pace of architectural innovation. What is his dream home? “I want to live in Barbarella’s spaceship, with my neighbors being the Jetsons, floating defiantly over Edinburgh Castle.”

The Magnetic Fields wrap up their City Winery residency this month. Stay updated on the band’s official website, houseoftomorrow.com.

The Magnetic Fields on tour:
Nov 11 Atlanta, GA – City Winery
Nov 12 Atlanta, GA – City Winery
Nov 14 Nashville, TN – City Winery
Nov 16 Chicago, IL – City Winery
Nov 17 Chicago, IL – City Winery
Nov 18 Chicago, IL – City Winery
Nov 19 Chicago, IL – City Winery
More info etc.:
https://mergerecords.com/news/5558?goal=0_2644ec69a0-45b30f408b-45532621&mc_cid=45b30f408b&mc_eid=0ce6f2990d

Behold the Dymaxion House cover:
https://dispatch-public.s3.amazonaws.com/d8360d5c0b795b9c71d4315a32fa8e0daf65cb8f_c64607cc1a62aa3d2ebc3ee818372b46abcf93ce_medium_jpg

Scrap Metal series of rare/unreleased 80s Heavy Metal singles shares Hazardous Waste track; Brown Acid curators RidingEasy Records & Permanent Records' new series

"Nine face-melting, gut-busting tracks that run the gamut from New Wave of British Heavy Metal to thrash to glam metal." -- Ultimate Classic Rock

The curators of the popular Brown Acid compilation series of long-lost vintage 60s-70s proto-metal singles share the last pre-release track today from the first edition of a new series titled Scrap Metal. Following chronologically where Brown Acid leaves off, Scrap Metal scours the world for long-lost, rare and unreleased Heavy Metal from the late-70s through late-80s. Hear/share Hazardous Waste's "Danger Zone" via YouTube or Linktree.

Decibel Magazine recently hosted The Beast's 1983 punk-metal hybrid "Enemy Ace" HERE. (Direct YouTube.) Album opener Rapid Tears' anthem "Headbang" premiered previously via Metal Injection HERE (And YouTube.) "69 in a 55", a 1983 track from Bay Area band Air Raid launched via Ultimate Classic Rock HERE (and YouTube.)

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal: Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.

We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.

Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.

About Scrap Metal: Vol. 1:

Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.

Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!…tonight…night.”

Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2-song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.

Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.

Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.

The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.

Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.

The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”

Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.

Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

Scrap Metal: Vol. 1 will be available everywhere on LP, CD and download on November 12th, 2021 via RidingEasy Records. Pre-orders are available for digital at Bandcamp, physical pre-orders at RidingEasy Records. Lotta links in original page:
http://usthemgroup.blogspot.com/2021/11/scrap-metal-series-of-rareunreleased_01551449801.html

I bought a few of those Brown Acid comps and while they're fun to play in the background or in the car I really can't tell any of the bands apart, at least not beyond the limited categories of 1) Sabbath worship, 2) Hendrix worship 3) Deep Purple worship

https://sublime-frequencies.bandcamp.com/album/magical-nights-saigon-surf-twist-soul-1964-1966

I've been enjoying this Phuong Tam record. It's a retrospective of "the groundbreaking Saigon teenager who became one of the first singers to perform and record rock and roll in 1960s Vietnam."

Cool, thanks!

xpost Yeah, but/and these latest descriptions do appeal to me, who has neither background nor car, so I might try this Brown Acid after all, if it's ever streaming somewhere freely.

Meanwhile, the vinyl spew continues across the land ov ears:
Kleenex/LiLiPUT
KRS629 - First Songs - 2LP - Marbled Lime Green Vinyl
Record/Vinyl + Digital Album
*** LIMITED PRESSING ON MARBLED LIME GREEN VINYL ***

2021 repress of "First Songs", a 2LP set of 24 recordings* from the legendary punk bands Kleenex and LiLiPUT. "First Songs" combines all the pre-1982 material, all 3 Kleenex singles, the first 2 LiLiPUT 7"’s and all the originally unreleased material prior to LiLiPUT’s debut LP.

*Download includes all 46 songs from the "LiLiPUT" release.

co-release with Mississippi Records

“You can't dispute LiLiPUT's status as pioneers of feminist art-punk. Along with fellow travelers like the Slits and the Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang of Four and Wire-- propulsive bass, skittering pop rhythms, slashing guitars-- and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccuped in three languages and made- up dadaistic slang. More than 20 years on, it still sounds fresh.” - Lisa Gidley

Includes unlimited streaming of Kleenex / LiLiPUT via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Buy Record/Vinyl $25 USD or more
ships out within 7 days
Aaand, per KRS unfailing generosity, whole thing is streamable here, with all the other tracks on their awes 2001 CD comp:
https://kleenexliliput.bandcamp.com/album/kleenex-liliput
Ditto this live comp, which I didn't know about at the time, or would have listed on Rolling Reissues 2010, if there was one (or even so):
About the Live CD/DVD:
If you've watched any live YouTube footage of Kleenex/Liliput then you know how amazing they were as a live band. If not you're in luck as this CD/DVD set is a testament to their greatness. The CD features two full live sets: Kleenex live in Biel in 1979 and Liliput live in Zurich in 1983, and they include some never before released songs. This is the sound of a world-class band in their prime. The DVD includes the much rumored about document of their European tour in 1982, Roadmovie, as well as live performances of the band on Swiss TV.

Live Recordings, TV-Clips & Roadmovie contains previously unreleased tracks (Lust, Take A Taste of My Mind, Geierwally, Pink Hit, Where Do You Find the Time) and previously unreleased video footage including television studio quality sound and video, and a super-8 film created during Liliput tour, 1982. Also, on May 18, 2010, Kill Rock Stars will be re-releasing Liliput as a four LP set! KRS originally released the record as a double CD back in 2001.
The Ballad of Kleenex/Liliput
The fact that punk rock could capture the imaginations of young people around Europe and America in the late '70's was embodied in the five-year output of Switzerland's Kleenex (later renamed Liliput). The music meant empowerment for many people to take chances and not worry about consequences. This was especially so for women like guitarist Marlene Marder and bassist Klaudia Schiff, the two constants/mainstays of the group

When punk groups began springing up in Zurich, it was a very small scene with a handful of bands that all knew each other, not many places to play and virtually no support from radio stations or the press there. Marder (originally a saxophonist) had played with a group called the Nasal Boys. Two experimental film-makers, Schiff and drummer Lislot Ha had been bouncing around the idea of forming group before hooking up with the appropriately-named vocalist Regula Sing and a male guitarist who had much more ambitious musician plans. Marder liked what she heard from the band and was glad to step in to replace him. Indeed, the group's aim was to have fun, more than to become rich and famous. Armed with a repertoire of four-songs and three chords, Kleenex wowed the local crowds with their simple, child-like rock ditties, filled with joyful chants and nonsense words in the tradition of Little Richard's "Tutti Frutti" but musically more in the noisy, exuberant spirit of their British comrades the Sex Pistols.

Kleenex had local friends who decided to start up a label (Sunrise) where the band put out their first (self-financed) EP in 1978, which included the same four songs from their live sets ("Beri-Beri," "Ain't You," "Hedi's Head," "Nice"). The response was such that the first pressing sold out in weeks. A copy of the EP managed to get to John Peel, the famous English DJ, who fell in love with it and played it over and over for his radio listeners. Rough Trade got wind of their strange, wonderful music and signed the group to a record contract. Their first single ("Ain't You" and "Hedi's Head" from the EP) made a splash with the UK press and led the label to organize a group of dates around Europe with label-mates Scritti Politti and Red Krayola. Not even a year after their formation, the group was already an international sensation even though, at the time, they still held various clerical jobs back in Zurich.

Coming to England, they were unimaginatively dubbed the 'Swiss Slits' by the press and made their next single ("You"/"U", 1979) with Krayola leader/Rough Trade producer Mayo Thompson. Soon, they were off headlining an English 'package tourí with local favorites like the Raincoats, Swell Maps, Subway Sect and Spizz Energi.

After the tour ended in late '79, Sing left the group to be replaced by Chrigle Freund, a recent high school dropout, much younger than the rest of the group. With the loss of their original singer and threats to destroy all their records by the tissue company, which they took their name from, the group rechristened itself as Liliput in 1980, soon adding saxist Angie Barrack to their ranks. This five-piece line up recorded their next single 'Die Matrosen/Split' with its famous nonsense cheers/shouts ('Hotch-potch, Hugger-mugger, Bow-wow, Hara-kiri!'), making a splash on the UK indie/alternative charts.

Despite their success, Ha and Barrack left the group, reducing them to a trio. Their next single, 1981's politically-motivated 'Eisiger Wind' (with its Hugo Ball parody sleeve) caught the attention of noted American rock critics Robert Christgau and Greil Marcus, who praised the innovative trio. By the time the single was released, the band was in the middle of another personnel crisis with Freund now leaving the group. Marder and Schiff closed ranks and assembled a new band with singer Astrid Spirit, drummer Beat Schlatter and saxist Christoph Herzog. After a successful German tour, the later two left the band (though Schlatter continued to help on drums) and the group was a trio again.

After four years, the group finally released a full-length album ('Liliput') for Rough Trade in 1982, leading into another tour. After another single ('The Jatz'/'You Did It', 1983), Marder and Schiff were tired, not having fun anymore and ready to quit. Spirit rallied them to do another record with an advance from Rough Trade Germany. Their second album (Some Songs, which Marder thinks is some of their best work), with various guests helping out and Spirit now playing violin, turned out to be their swan song. Spirit decided that she wanted to raise a family instead of being in a band, spelling the end of the group in late '83. Marder had her own record shop, worked at a jazz club and had a band in the late '80's called Danger Mice. Schiff returned to painting, which she had done for many flyers and sleeves for the band.

Ten years later, Marder (now working for the World Wildlife Federation) and the same people behind the original Kleenex releases put out the 2-CD LiLiPut retrospective on the local Off Course label, including all of the material that the band had released. Though it received rave reviews (including a 'A' from Christgau and a spot on his year-end top 10 list), it was soon out-of-print. Collectors were paying hundreds of dollars in auctions for this material.

released March 23, 2010
https://kleenexliliput.bandcamp.com/album/live-recordings

(Other previously unmentioned-by-me KRS oldies on bandcamp: all of Essential Logic's fab gear Fanfare In The Garden and a monster Delta 5 comp I haven't checked yet.)

Seconding the Phuong Tam record. (and that Delta 5 comp!)

Speaking of bounteous bandcamps, omg Analog Africa
---top row incl. 2021 releases, incl. this:

https://f4.bcbits.com/img/a3598651924_16.jpg

Yaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was filled with music spots but surprisingly there were no infrastructure to immortalise those musical riches. The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their first few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it.

At the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist himself..and what happened next? With no distribution nor recording companies around this was a legitimate question. More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.

But who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad difficulties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnificent tunes.

The songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.
credits
released September 3, 2021
https://analogafrica.bandcamp.com/album/cameroon-garage-funk
--and going back to the earliest Analog Africa comps I've ever heard/heard of/seen---

Three Earthless albums are being reissued in January via Nuclear Blast — Sonic Prayer, Rhythms From a Cosmic Sky, and From the Ages, all previously on Tee Pee. They've got a new album, Night Parade of One Hundred Demons, coming out a week later. I pre-ordered the whole batch.

Don't know where to put this, as this is a collection and not a straight reissue, but the new Joel Vandroogenbroeck comp on Drag City, out today, is fantastic

oh yeah, forgot to post:

TAKING THE FAR VIEW WITH JOEL VANDROOGENBROECK

Looking at history the wrong way round through the telescope, objects may appear closer than they actually were! Yeah, life's a Rashomon even in reverse. Sometimes you have to take the long view - or in this case, the Far View, which compiles tracks from Joel Vandroogenbroeck’s legendary Coloursound library music series — a uniquely trippy catalog of sonic vignettes, freshly remastered from the original analog reels and long overdue for their day in the library music sun!

The late Joel Vandroogenbroeck was among that rare breed of musician who defy all categorization, using music conventions to explore the far reaches of human and cosmic consciousness. After traveling through the realms of jazz, rock, traditional and experimental music in 1950s, 60s and 70s, notably with Brainticket thoughout the 70s, Joel found new outlets for his expansive vision with Swiss library music label Coloursound in the 1980s. Far View draws tracks from those releases, whose fusion formed a unique entry in the genre of library music. For the uninitiated, this is just one way to begin a musical trip through Vandroogenbroeck’s undersung career.

Joel Vandroogenbroeck passed away in December 2019, while work was being done assembling this collection. Curated by David Hollander, whose Unusual Sounds album and book of the same name extensively explore the library music world, Far View draws from ten of Joel’s Coloursound albums with lovely cohesion. Featuring brilliantly remastered sound, liner notes from Hollander and album art designed by Robert Beatty, Far View is a special entry point to Joel Vandroogenbroek’s mind-bending body of work — sonic soma to expand your consciousness and vibrate with the cosmos.

What's a good definition for library music? Seems to vary by context ov reference, which may be the point---still, just in case I refer to it, or should---

Yeah, I can never pin down exactly what it is, except that it seems to always run the gamut from psych funk to fuzak to ambient and even rock, occasionally. I think as a genre name it's useless because it seems like it covers anything that was recorded for a specific - but initially unknown - purpose, but I know there are some people here who are experts on this stuff and I am decidedly not so I will cede the floor

Vandroogenbroeck's Coloursound series is remarkably consistent for music that is, by its very nature, eclectic. But I think the tracks on the LP are well-chosen and it flows together beautifully

Library music is music created for and licensed to an organization that provides these recordings to film and TV producers for use in their works. It's used when a production doesn't have a composer of original music or isn't using commercially available recordings, for budgetary or other reasons. The library recordings are not available commercially, but are provided to producers categorized by genre or musical description. The process has probably changed in the post-physical media era.

Holy shit, Dead Magick is finally getting a reissue on Fuzz Club. Gonna sell out faaaaaaaaaast

http://images.squarespace-cdn.com/content/v1/512ec1a7e4b08130491d3482/1631030586760-KGF1JJR43GPY649PJE1I/WCR+118+-+Bush+Tetras+-+Digital+Cover+w%3A+Bigger+Words.jpg?format=750w

BUSH TETRAS - RHYTHM AND PARANOIA: THE BEST OF BUSH TETRAS

Box Set Details

VINYL BOX SET SPECIAL FEATURES:

Rigid Lift-Off Box w/Lift Ribbon
3 x 180 Gram Vinyl LPs
46-Page LP-Sized Perfect Bound Booklet w/Never-BeforeSeen Photos & Orignal Essays
29 Remastered Tracks

CD DIGIPACK SPECIAL FEATURES:

2 x CD / 4-Panel Digipack
40-Page Booklet w/Never-Before-Seen Photos & Original Essays
30 Remastered Tracks

Tracklist

1. Too Many Creeps !
2. Snakes Crawl !
3. You Taste Like the Tropics !
4. Punch Drunk !
5. Cold Turkey [Live in London] !
6. Things That Go Boom in the Night !
7. Das Ah Riot !
8. Cowboys in Africa !
9. Rituals !
10. You Can’t Be Funky !
11. Moonlite !
12. Dum Dum !
13. Stand Up and Fight !
14. Page 18 !
15. Color Green !#$
16. Mr. Lovesong [Alternate Version] !#$
17. World @
18. Motörhead !
19. Pretty Thing !
20. You Don’t Know Me !
21. Heart Attack !
22. Ocean !
23. Nails !#
24. True Blue
25. Red Heavy
26. Out Again
27. There Is a Hum
28. Seven Years
29. Sucker Is Born
30. Run Run Run [Live in San Francisco] @+
31. Cutting Floor @+

! OUT OF PRINT
+ ONLY AVAILABLE DIGITALLY
@ PREVOUSLY UNRELEASED
# PREVIOUSLY UNRELEASED (VINYL)
$ PREVIOUSLY UNRELEASED (DIGITAL)

This can be preordered at their Bandcamp page:
http://bushtetrasnyc.bandcamp.com/album/rhythm-and-paranoia-the-best-of-bush-tetras

https://www.youtube.com/watch?v=MXlNtNV362o
Lots of organ. No guitar. The Mam’selles, Sharon Walker, Janice and Pat Plinzke will triple your pleasure as they present you possibly the must unique band to record in Nashville’s historic Woodland Sound Studios. These three versatile girls pack a power house of diversified talent. All the girls can switch instruments from drums to Cordovox, Bass, all three are talented pianists, and Sharon is second to none on trumpet, as you will hear for yourself.
https://sundazed.com/mam-selles-the.aspx

Trost Records has been reissuing a bunch of Peter Brötzmann's albums for the Okka Disk label. The latest one to reappear is The Wels Concert, featuring Maleem Mahmoud Gania on guimbri and vocals and Hamid Drake on frame drum, tablas, and drums. Digital only for now, but maybe a CD later?

From Numero duh---adjust yr. shades, jades:
Basement Beehive - The Girl Group Underground

Who do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double CD are 56 (28 on the 2LP) foiled escape attempts, now free to soar in girl group heaven.
We hear who these girls, these young women are, who they become behind that mic. Voice big, authoritative, divining sure devotion, dejection, and longing. The joy cuts through the rawness. Some of these women, that is all we know of them; all we know is their voice. Not a name. Were they a group, a fantasy, did they go on to other glory, were they receptionists in the studio or some cousin from around the way?

That’s what fascinates me about these Beehive girls, what I imagine most. What was this moment to them, this minute or three we hear them on here. For some we know it was a transformative moment, a first, this space and place, this point in time where they reached out for something with their big voice and the world met them. For some of them it was sheer ambition, others it took goading, others we encounter here at a moment that feels like the dawning of an obvious fate before they swept up the charts or became a voice we would hear sampled for decades. So did because they liked to sing with their friends. You could do it anywhere.

What we encounter in these girls and their life stories is the mutability of young womanhood. We get a survey of the prospects and possibilities of teenage girl life. We see all the impossible doors that had to open again and again for them to even have something small, and as importantly we see what a superhuman feat it was to surmount all the sureness of these sealed girlfates. The young married mothers went on the road and stayed, I wonder what were the circumstances that availed that, when the same circumstances stopped another girl’s career cold. To be your own person as well care for your family, your husband, and then babies of your own was not a thing that was easily reconciled then. Until the mid-’70s, for young women to pursue a careers was still unconventional. You might do secretarial work or study until you got married. If you worked after you were married it might be at your husband’s discretion. It’s hard to imagine the teen-geniuses you heard in this box of Beehives all living grim lives, but merely suggest we consider the baseline state of girl existence then, the premium put on keeping one’s girlhood respectable and modest, as well as the racialized expectations that enclosed their lives.

Girl groups specialized magic was the energized projection of chastity—they stood starkly against all the reckless resolutions and temptation inherent to rock n’ roll. Young women were often essentially passed from their father to their husband, who were tasked with their protection and keep. How far your dreams extended outside your head were pursuant to parental permission, their attitudes and relationships with music, how far your singing strayed from church singing. Marriage and babies were a predetermination, the regular route; straying from it was a sign of a moral corruption, selfishness, or infirmity.

What circumstances had to align for the girls who got further? A husband who loved their voice? A husband in a band? Did her hope float on his ambition? A husband who saw the little bit of ends she was making and deemed the effort worthwhile? A brother who needed a singer for his songs? A mom or sister at home who could take that baby while she toured? A mom at home who lived to see her daughter thrive? A father who did not fret about what applause and stage lights might draw his daughter into?

Did these girls threaten and cajole? Did they bargain? Did they plot? Did they do it anyway? What were the stakes and the trade-offs and the risks? And what of the girls with their dreams deferred, muted by marriage and babies and band break-ups? Did those dreams live out in church choirs and lullabies? What becomes a dream in a time when the fullness of your talents, your desire, the mere existence of your ambition is not yet permissible—how do you live? How do you stake this for yourself? What of yourself do you mute? What ways do you origami-fold your dreams into being?

Girl dreams need a thousand contingencies.

Girl dreams need a thousand contingencies because they had to pass through other people’s expectations. What good girls do. What’s the wrong idea you could give someone about who you are in a song. What is good enough. What is godly enough. Girls are the guardians, but not the gatekeepers, of their own dreams. These girls dreams were liable to be crushed soon as their leapt from their throats.

For decades we have cited the looming Svengalis, high hair, the tender camp of chaste tragedies of the songs, these tenth grade loves and wedding-bell fantasia made brilliant by the eager young voices that carried it; But how much consideration have we ever given of their girls own cunning and their artistry? The premium work being one of authenticity, and authenticity always seemed to mean it has to be yours, it had to come from you, your experience. Not crafted in another room and applied as a loose pop science in a studio. But what about these girls, their groups was this not as real? How to accord them what is due to them, for what imagination they capture these songs? Who do these women, these artists, become in our minds and in music history when we believe what they are expressing is their own thought and feeling?

Girl groups were considered unsellable, unmarketable, and a fad. Managers and many record labels believed they were a gimmick, despite evidence to the contrary. Though the Chantels were the first girl group to prove they had the longevity of more than one hit, and the Bobbettes before them made it to the Top 10 and #1 on the R&B charts simultaneously, with their own composition “Mr. Lee,” yet these precedents didn’t become standards, or accord teen girls their own genius. The Svengalis around girl groups were often the ones that insisted that they perform and record gimmick songs and novelty answer backs; and yet teenage girls were supposed to trust these men’s expertise. Ageism, racism, and sexism of the era often combined to keep these young women from being able to advocate for their own talents.

Careers were run by managers and label men who believed that the role of girls was relegated to fandom; to scream for Frankie Lyman, to scream for their Beatle, to scream for Dion. Their conception was that girls wouldn’t sell to other girls, no matter the image. They did not account for what girls see, they can be; girls as iconic to other girls is the very origin of this thing, but they also provide a sense of permission. Sometimes loving Frankie Lyman is not enough, and you want those screams for yourself. Girls were supposed to be the frenzy, not cause it.

We claim and reclaim these girls post-facto; in 2018 an awakened reconciliation for these talents, talents that were considered interchangeable to the point of disposability then, is progress. We read the stories again and again of names not even being right and try to root them out and, better still, know them. Even here, we have mystery girls, their identities lost to history (Will they ever hear their voices? What would it be to find yourself here decades later?) Often the only verifiable truth of the thing is the tape; the only history is what’s audible, what they conjure in those notes.

What these girls gave in situations where there was no credit, little or no money, a finite chance. What they gave so fully are their voices and their talents, claiming this chance to harmonize along with their sisters, cousins, friends, classmates. To give it everything despite knowing what would likely elude them: credited by name, a chance to pursue opportunity with the same doggedness as the men in their backing band, dynamic material that reflected their lived experiences, the ability to make music the substance of their lives, their hope. Is that not the very definition of true artistry? To abandon the outcome and sing the song for the sheer sake of giving life to the thing? They sing because it’s all they can do. You don't know that.
More info:
https://numerogroup.com/products/basement-beehive-the-girl-group-underground

Should have excerpted that, sorry. Their conception was that girls wouldn’t sell to other girls, no matter the image. Not necessarily: in their joint autobio, Lieber & Stoller emphasize that their Girl Group peak era colleague George Goldman, a middle-aged gambling addict in bespoke Loodon suits, was prized in the biz for having musical taste and ears of a 14-year-old girl (at oldest).

*London* suits, sorry George (prob was, they hadda flee partnership when his gambling debts led to goodfellas using conference rooms etc., also partnership)

https://f4.bcbits.com/img/a4060362389_16.jpg
Live in Brighton 1975 is the second installment of the CAN Live album series. On this particular release, which unfolds over seven sections, listeners are invited to join an interstellar journey: from a rare and evocative Michael Karoli vocal on “Brighton 75 Drei,” to Jaki Liebezeit’s incredible drum lead emerging through a fog of audience noise to take centre stage on “Brighton 75 Vier,” before the final track lands us in an incredible “Vitamin C” jam for “Brighton 75 Sieben.
CD, LP, Digital---more info:
https://canofficial.bandcamp.com/album/live-in-brighton-1975-2