Rolling Reissues 2021

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

Orders ship from US
digital album releases December 3, 2021
item ships out on or around December 2, 2021

https://f4.bcbits.com/img/a3581257954_10.jp

Telex – This Is Telex
(released April 30)

Telex formed at a time when electronic pop was regarded as novelty, with suspicion, as a harbinger for future dystopia and alienation. This is Telex features singles from across the Belgian synthpop pioneers' career. The collection of newly mixed and remastered tracks includes their best-known work, “Moskow Diskow,” alongside unreleased covers of The Beatles’ “Dear Prudence” and Sonny & Cher’s “The Beat Goes On.”

"Delightful...a fine introduction to Telex’s quirky spirit and breezy sound." – PITCHFORK
Stream it here:
https://thisistelex.bandcamp.com/

May have to get this, on CD prob--- all formats"expected 03 Dec.":

https://soundsoftheuniverse.com/img/WVNOQmJoWm14KzBJVFA4U1ZLZncvZz09/r-836910-1385644872-8432-jpeg.jpg

Soul Jazz Records’ classic ‘Studio One Groups’ collection is being re-released in three new one-off limited-edition coloured pressing 15th anniversary format editions!

Firstly a heavyweight special limited edition one-pressing only red 2xLP vinyl + download.

Secondly, there is also a new special limited-edition one-off pressing edition red-pressed CD enclosed in jewel case and slipcase.

And thirdly there is a very limited unique new one-off pressing unique super high-quality RTM tape red cassette format (200 copies only)!
(Fourthly: MP3.)

15 years on from its original release, Studio One Groups remains one of the toughest of all Soul Jazz/Studio One releases and features some of the biggest groups in the history of Reggae music including Bob Marley and The Wailers, Toots and the Maytals and The Heptones who all began their careers at 13 Brentford Road, under the guidance of the great producer and label owner Clement ‘Sir Coxsone’ Dodd.

Featuring many, many classic and killer tunes from The Wailing Souls, Carlton and His Shoes, The Gladiators, The Ethiopians, The Mad Lads and more. Studio One Groups brings together numerous classic artists alongside a number of rarities and delves into Studio One’s musical output in its prime in the 1960s and 70s featuring Ska, Roots, Rocksteady, Dub and more. Clement Dodd’s role in launching and nurturing Reggae groups and singers is unsurpassed and Studio One’s success was due to Dodd’s ability to see talent, surround himself with it and nurture artists.

Launching Bob Marley and The Wailers career at Studio One also meant housing Marley in a flat in the studio compound, as well as employing Marley in an A&R role, checking out the latest American soul and jazz 45s that came out for Studio One artists to cover. In similar fashion Leroy Sibbles, lead vocalist with the Heptones, became the key in-house bass player after being taught from scratch by Jackie Mittoo.

Studio One Groups were at the heart of the label’s success. The sweet three-part harmonies, so close to the heart of Jamaican music, can be heard throughout every stylistic change of Reggae music – Ska, Rocksteady, Roots and beyond - all of which are featured here in all their vocalised glory.

The album comes with excellent informative sleevenotes by the author and Studio One discographer Rob Chapman, and exclusive photography including the stunning colour picture of Bob Marley and the Wailers on the front of the release.

REVIEWS:

‘The Soul Jazz label once again proves how smart they are with excellent Studio One Groups, an almost overwhelming set of killer cuts from bands and singing groups affiliated with Clement Coxsone Dodd’s ‘University of Reggae.’ There’s an amazing, deep history to be explored and even when you focus on just the groups, one disc isn’t enough to tell the whole story, but this collection functions as both a killer mixtape and exciting introduction for novices.’ All Music

‘Featuring Bob Marley and the Wailers, Toots and the Maytals, the Heptones - just three of reggae’s greatest groups who all started at Clement Dodd’s Studio One records’ Rough Trade
More info, audio:
https://soundsoftheuniverse.com/sjr/product/studio-one-groups

^^ Indespensible for lots of reasons but most of all the 12" version of the Silvertones' Cheating and Lying.

was hoping this would get a reissue!

(link appears broken, FYI - likely temporary)

That link is still broken, but this one works:
https://soundsoftheuniverse.com/product/studio-one-gro

Well, now it doesn't! Seems like the best way is to the site search Studio One Groups.

Here's some more:

Essiebons Special 1973 – 1984: Ghana Music Power House
Various Artists
ANALOG AFRICA

https://soundsoftheuniverse.com/img/WnE0d0p1RUlINnRZYWh2VWM0UUw5QT09/image005.jpg

2×LP£29.00
In stock
CD + Book (200g)£20.00
In stock

1. Kofi Psych - Ernest Honny
2. Dee Mmaa Pe - Joe Meah
3. Yeaba - CK Mann & His Carousel 7
4. Shakabula - Santrofi-Ansa
5. Tinitini - Seaboy & Nyame Bekyere
6. Ahwene Pa Nkasa - Joe Meah
7. Ernest Special - Ernest Honny
8. Africa - Seaboy
9. Medley - Nyame Bekyere
10. Say The Truth - Ernest Honny
11. Wonnin a Bisa - Black Masters Band
12. Egye Tu Gbe - Sawaaba Soundz
13. Fa W‘akoma Ma Me - CK Mann Big Band
14. Odo Mframa - Ernest Honny

For most of the 1970s Essilfie-Bondzie's Dix and Essiebons labels were synonymous with the best in modern highlife, and his roster was a who's-who of highlife legends. C.K. Mann, Gyedu Blay Ambolley, Kofi Papa Yankson, Ernest Honny, Rob 'Roy' Raindorf and Ebo Taylor all released some of their greatest music under the Essiebons banner.

Essiebons Special features a selection of obscure workouts from some of the label's heaviest hitters. But in the course of digitising his vast archive of master tapes, Essilfie-Bondzie found a number of Afrobeat and Instrumental masterpieces tracks from the label's mid-70s golden age that, for one reason or another, had never been released. Those songs are included here for the first time.

More info, audio:
https://soundsoftheuniverse.com/product/essiebons-special-197

Wow, that one's messed up too! I swear the page exists. Maybe this computer? Not having trouble with links to other sites, though.

Meanwhile

https://soundsoftheuniverse.com/img/Snd4ZGpoQ0tTRkpCeVdIWTBUeWJQZz09/sjr-lp507-life-between-islands-sleeve.jpeg

Life Between Islands
Soundsystem Culture : Black Musical Expression In The UK 1973 - 2006
SOUL JAZZ RECORDS
3×LP£28.00
Expected 28 JanPREORDER
2×CD£13.00
Expected 28 JanPREORDER
1. Black Slate – Sticks Man
2. Dee Sharp – Rising To The Top
3. Asher Senator – One Bible
4. Cymande – Fug
5. Digital Mystikz – Misty Winter
6. Winston Curtis – Be Thankful For What You've Got
7. Trevor Hartley – It Must Be Love
8. Shut Up and Dance featuring The Ragga Twins – Java Bass
9. Brown Sugar – Black Pride
10. The Terrorist – RK1
11. Black Harmony – Don't Let It Go To Your Head
12. Pebbles – Positive Vibrations
13. The Ragga Twins – Ragga Trip
14. Janet Kay and Alton Ellis – Still In Love
15. Funk Masters – Love Money
16. Cosmic Idren – Compelled
17. Harry Beckett – No Time For Hello
18. Sandra Reid – Ooh Boy
19. Tabby Cat Kelly – Don't Call Us Immigrants
20. Brown Sugar – I'm In Love With A Dreadlocks

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

Soul Jazz Records’ ‘Life Between Islands’ shows how these many styles are interconnected. The album comes as a heavyweight triple vinyl (+ download), deluxe double CD with slipcase and digital release. Lloyd Bradley (author of the classic book on reggae ‘Bass Culture’, and ‘Sounds Like London’), provides the excellent sleevenotes, which are also accompanied with exclusive and striking photography.

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

"There is probably no better or more appropriate way to celebrate the Tate Britain’s exhibition, Between the Islands: Caribbean-British Art 1950s – Now, than with an accompanying compilation album. As with the art itself, music has all the possibilities to reflect its surroundings through an array of lenses limited only by the creator’s imagination. Hence this astutely conceived and compiled soundtrack is as beautiful and as varied as the art itself, offering stories of immigration and settlement that can exist without filters or outside interference, providing a vivid snapshot of one of the cornerstones of black British culture.” Lloyd Bradley

Life Between Islands: Caribbean-British Art 1950s-Now is at Tate Britain 1 Dec 2021 until 3 April 2022.

Basil Kirchin
Abstractions Of The Industrial North
TRUNK RECORDS

https://soundsoftheuniverse.com/img/ZDNablpSdUxnU2RVbEp3K2JqTDN4dz09/80684743010054.jpg

10"£20.00
In stock
1. Prelude & Dawn
2. Heart Of The North
3. The Observer
4. Conclusion
5. Neutral Background
6. Reflection
7. Packing Printing & Light Assembley
8. Research Laborator
9. Communication
10. Lunch Hour Pops
11. Heavy Machinery
12. Mind On The Run
13. Where To Go
14. Paranoia
15. Two And Two Are One (part 1)
16. Viva Tamlin Motown
17. The Lonely Ones
18. Pageing Sullivan
19. Interaction
20. Four Against Seven
**Repressed in replica 10" De Wolfe sleeve!**

Haunting melancholic, deep, avant garde British jazz from 1966 by the legend of British library music, Basil Kirchin!

Smog Veil Going Out of Business sale update:
To check links for these, view this as Webpage:
https://myemail.constantcontact.com/Smog-Veil-Records-Clearing-The-Air-December-2021.html?soid=1102941868062&aid=n7HpJk6r1kw

Smog Veil Clearing The Air #180
December 2021

FINAL SALE! NEW WAREHOUSE FINDS!
continues until 12/31 only
55% off ALL releases on our site!
FREE U.S. SHIPPING

Thank you fans for the amazing response to our closing shop 55% OFF FINAL SALE!

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!

While supplies last, everything on the Smog Veil web site is now 55% off! PLUS: free shipping in the USA!

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

Please note that all of the Peter Laughner box sets are sold out. You may still find them in the wild at your favorite record shop, online retailer, or by download and stream.

NO CODES NEEDED! DISCOUNT TAKEN AT CHECKOUT: 55% OFF THESE TITLES as well as ALL in-stock Smog Veil titles, HERE's LINKS TO EVERYTHING WE HAVE REMAINING IN STOCK:

WAREHOUSE FINDS--VERY FEW OF THESE REMAIN:

Easter Monkeys "Splendor of Sorrow" CD/DVD

Pagans "Blue Album" CD **NEW FIND!**

Guns double LP retrospective **NEW FIND!**

x_x "Albert Ayler's Ghosts Live at the Yellow Ghetto" LP

REGULAR STOCK, ACT QUICK FIRST COME FIRST SERVED ON THESE TITLES:

ADELE BERTEI'S PETER and the WOLVES book

CLEVELAND STEAMERS:
"Best Record Ever" LP
"Who's Next" CD
"Terminal" LP or CD
"Mega MAGA Moron" 7"

Chris Butler "Got It Togehter" CD

Ralph Carney & Chris Butler "Songs for Unsung Holidays" LP

Lair Matic Assembly 7"

Pink Holes 7" (pink vinyl, note that orange vinyl copies are sold out)

Mr Stress Blues Band "Live at the Brick Cottage 1972-1973" LP

Obnox "Bang Messiah" CD

Schwartz Fox Blues Crusade "Sunday Morning Revival" LP

If a link doesn't work, that means the release is sold out.

Thanks everyone, enjoy the holiday weekend!

Pretty sure it's their third album, not their second, but anyway, rejoice:

Australian trio Dirty Three began astounding / confounding listeners in 1992 and have not let up since. Violinist Warren Ellis (who is also a member of Nick Cave And The Bad Seeds), guitarist Mick Turner and drummer's drummer Jim White make wholly unique post-rock that is as beautiful as it is unsettling.

Originally released in 1996, Horse Stories is Dirty Three's second album and arguably their best. Like the soundtrack to a postmodern Western, these wistful and feedback-ridden instrumentals are simply gripping.

Touch & Go's limited 25th Anniversary Edition surely won't last long. Don't sleep.

https://www.strandedrecords.com/collections/touch-go/products/dirty-three-horse-stories-2xlp?mc_cid=a00eca4a6f&mc_eid=0f24ac7b12

xp Reading Peter and the Wolves right now (and listening to the Laughner box) and I'd highly recommend, she's a great writer. Look forward to reading Why Labelle Matters, her other book.

Fuck yes, Dead Magick is shipping!