Rolling Reissues 2015

A bit more like news, to me, anyway---from Anthology:

Andrew Kidman
Litmus ( 20th anniversary edition)
August 14, 2015
Anthology Recordings

Listen to track "Rain" HERE
https://www.youtube.com/watch?v=h013n-65ZYo&feature=youtu.be

By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture.

Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.

Andrew Kidman
Glass Love
August 14, 2015
Anthology Recordings

Andrew Kidman’s Glass Love (2006) serves as an evolution from his first avant-garde surf film, Litmus (1996). Kidman followed the same filmmaking technique from ten years prior: write and record the songs, then set the mise-en-scène to match the rustic, moody, balletic rock. Thanks to Litmus, experimentation in board design had progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today.

Andrew Kidman
Litmus + Glass Love Box Set
August 14, 2015
Anthology Recordings

Andrew Kidman / Windy Hills will performing music from Litmus / Glass Love with film montage screening:
6.12 - Bird's Surf Shed - La Jolla, CA **
6.13 - La Paloma Theatre - Encinitas, CA **
6.14 - Mollusk Surf Shop - Venice Beach, CA
6.15 - Mollusk Surf Shop - Silverlake, CA
6.18 - Fremont Theatre - San Luis Obispo, CA
6.19 - Rio Theatre - Santa Cruz, CA **
6.20 - TBA - San Francisco, CA **
6.22 - Chop Shop - Long Island, NY
6.23 - Union Pool - Brooklyn, NY **
6.24 - Paramount Theatre - Asbury Park, NJ
6.26 - Pilgrim Surf + Supply - Amagansett, NY **
6.28 - Solid Sound Festival - North Adams, MA

All of the dates include a screening of his latest film, Spirit of Akasha.
** indicates the shows where Kidman will screen Litmus/Glass Love montage + he and his band will perform selections from the films.

xpost

the country music hall of fame is a lot of fun. i don't much like contemporary country music, so i was pleased that anything post-1970 is basically relegated to one big room at the end.

Didn't it get closed down for a while either because of flood or some more important downtown development that forced it out?

So sorry, was thinking of What is your favorite item in the Musicians Hall of Fame and Museum in Nashville? (Not a POLL)

Drag City:

Royal Trux fans, rejoice! Your sick fantasies have actually been true all these years! Royal Trux's Twin Infinitives dry run, Hand Of Glory, is being exhumed from the dim-n-dank crow's nest of DCHQ and is once again seeing the light of day! In these revitalized days of Royal Trux fandom with reissues and reunion in the air, what could be more stim'latin' than a cache of dark age Royal Trux tapes? That's what's coming back - Hand of Glory is a missing piece of the Royal Trux puzzle, circa 1989-90.

Hand Of Glory was originally slated to be released following the seminal "Hero Zero"/"Love Is" 7" single (DC1, yo!). Hand of Glory is both bad-ass and half-arsed, upping the ante on what Royal Trux was capable of by doing LESS, somehow. For longer! With fewer people - therefore fewer people to pay. Newly relocated to San Francisco, Neil and Jennifer took advantage of their strange new climate by ignoring it, spending all their time indoors, pouring TONS of time and energy into this Trux direction. With black, white and blue magic floating around it, the Hand of Glory juju is dark and distinctly American, circa the end of the decade horribalis that was the 1980s (just kidding - the 90s were far worse!).

Sometime in 2000 or 2001, Neil Hagerty went to his parents' home to Virginia,where his father reminded him about a mysterious locked trunk in the basement. When Neil popped the lock on the trunk, he found the Hand of Glory tapes, stashed for around a decade there. "Domo des Burros" was complete and mixed but "The Boxing Story," was still on 4 or 5 little 1/4" reels. They were all supposed to be played on their own tape machines simultaneously. The boxes were marked and notated so he was able to piece them together and mix them down. Drag City even had the original artwork design in the office. First released in 2002 as the final nail in the Trux coffin, this essential, exo-stential collection of material will now be available once again in the confusion and desire that follows the Royal Trux reunion show at Berserktown in August. Reach for a Hand of Glory on August 28th, 2015.

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THE SISTERS OF MERCY

Four-LP Boxed Set Combines The Band's 1985 Classic
First And Last And Always With Three EPs From That Era

180-Gram Vinyl And Digital Versions Will Both Be Available July 24

LOS ANGELES - The Sisters of Mercy mastered the art of dark and foreboding rock in 1985 with the band's influential major-label debut, FIRST AND LAST AND ALWAYS. To commemorate the album's 30-year anniversary, Rhino will release a vinyl boxed set that includes the original album together with three 12" EPs from that era: Body And Soul, No Time To Cry and Walk Away.

FIRST AND LAST AND ALWAYS VINYL COLLECTION will be available at retail outlets on July 24 for a suggested retail price of $74.98. The set contains four LPs, all pressed on 180-gram vinyl, and comes packed in an attractive card slipcase. On the same day, the set will also be released digitally. The album and EPs that make up the set will also be available for download individually.

When The Sisters of Mercy signed with WEA in May 1984, the band consisted of Andrew Eldritch (vocals), Gary Marx and Wayne Hussey (guitars), Craig Adams (bass), and a drum machine named Doktor Avalanche. The group's first release for the label was the 12" EP Body and Soul . Eldritch once described the release as: "a vision of heaven with everyone on speed." Two of its four-tracks-"Body Electric" (1984 Version) and "Afterhours"-have only been available on the original 12". This new release makes these songs available digitally for the first time ever.

In March 1985, almost a year after Body And Soul, The Sisters of Mercy released its landmark album, First and Last and Always . It climbed to #14 on the album charts in the band's native England. Among the standout tracks are "Marian," "Rock And A Hard Place," and the ominous "Black Planet," which was released as a single in the U.S. Even though the album was enthusiastically embraced by goth rock culture, Eldritch has steadfastly rejected the label, saying the band has more in common with classic rock from the Sixties than the post-punk scene of the Eighties.

Also featured in this set are two singles from First and Last and Always that were issued as 12" singles with multiple b-sides. "Walk Away" was backed with "Poison Door" and "On The Wire." With was followed by "No Time To Cry," which was backed with "Blood Money" and "Bury Me Deep."

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Following last year’s represses of Cocteau Twins’ Blue Bell Knoll and Heaven or Las Vegas, this July will see their combined EPs of Tiny Dynamine / Echoes In A Shallow Bay and long out of print, early-80s compilation, The Pink Opaque, officially released on 17th July.

With a history of releasing singles between albums, the two EPs of Tiny Dynamine and Echoes In A Shallow Bay were originally released two weeks apart back in November 1985. Seen as companion pieces, they acted as a precursor to their fourth studio album, Victorialand. 30 years later, they’re now being married together on to one piece of vinyl, completed with reformatted artwork.

A year later The Pink Opaque was compiled to bring together the best of the Cocteau Twins’ early works to become the band’s first official release in the US. Already a cult band on college radio, some classics like ‘Pearly-Dewdrops' Drops’ and ‘Aikea-Guinea’ were given new mixes for this release, while it’s noted for also featuring ‘Millimillenary’, the first run out for incoming band member Simon Raymonde. To this day, it remains a great entry point to a wonderful band.

Using new masters created from high definition files transferred from the original analogue tapes, both these albums will receive 180g vinyl pressings this July. HD audio downloads of both albums will be made available through specialist retailers at the same time.

very nice

http://d31hzlhk6di2h5.cloudfront.net/20150609/75/7d/5d/70/233217ffd3ae78bec9c84d9d_280x280.jpg

THE MUFFS’ CLASSIC POP-PUNK DEBUT ALBUM
REMASTERED AND EXPANDED,
SET FOR AUGUST 14 RELEASE ON OMNIVORE RECORDINGS
Reissue features ten bonus tracks and liner notes by the band.
Special guests include Jon Spencer and Korla Pandit.
The Muffs (photo by Vicki Berndt)
LOS ANGELES, Calif. — The Muffs burst onto the California music scene at the beginning of the ’90s, and after a few independent singles and EPs, they were quickly snapped up by Warner Bros. Records. Entering the studio with David Katznelson and Rob Cavallo (who would go on the helm records from Green Day, Goo Goo Dolls, and more), The Muffs roared from speakers across the country in 1993. According to renowned critic Jim DeRogatis, “You’d have to reach all the way back to Blondie’s Plastic Letters to find punkish power pop this endearing.”
The quartet rips through the album’s 16 tracks, ranging from an Angry Samoans cover to the college-radio smash “Lucky Guy.” In addition, alt-rock superstar Jon Spencer (Pussy Galore and his own Blues Explosion) adds some theremin (“I Need You”), and the Godfather of Exotica, Korla Pandit, contributes Hammond organ (“From Your Girl”). The album includes a 31-second version of the Angry Samoans’ “Stupid Jerk.” The beverage Fruitopia caught the Muffs buzz, using the track “Everywhere I Go” in a popular television campaign.
This reissue, released with full cooperation from the band, contains the original album and adds a whopping 10 bonus tracks: a radio remix of “Lucky Guy,” a version of “Everywhere I Go” that was only available on the cassette of The Muffs album, and eight previously unissued demos from the band’s vocalist and lead guitarist, Kim Shattuck — who filled the role of departed Kim Deal on the Pixies’ 2013 tour. Street date for the reissue is August 14, 2015 via Omnivore Recordings.
Shattuck and bassist Ronnie Barnett provide new liners, and they have opened their archives for photos and other ephemera.
According to Barnett in the notes: “This album did find its audience, if not a huge one. It’s the first album Rob Cavallo produced (his second one was called Dookie by some buddies of ours from the Bay Area who were fans). It has its flaws, but it’s never gone out of print. It may or may not have too many songs, and there may have been too many cooks in the studio, but it is what it is — our first album. It had heart, it had songs, and is the basis for our ongoing — after all of this time — career. Kim and I used to dismiss this album, but I now think it’s time to embrace it.”
Last year the band reunited and issued their first new release in a decade, garnering critical lauds and playing to enthusiastic crowds. Now it’s time to go back to where it all started. It’s time for the Muffs!
Track Listing:
1. Lucky Guy 

2.Saying Goodbye 

3.Everwhere I Go 

4.Better Than Me 

5.From Your Girl 

6. Not Like Me 

7.Baby Go Round 

8.North Pole 

9. Big Mouth 

10. Every Single Thing 

11. Don’t Waste 
Another Day 

12. Stupid Jerk 

13. Another Day 

14. Eye To Eye 

15. I Need You 

16. All For Nothing 


Bonus Tracks:
17. Lucky Guy (Radio Remix)
18. Everywhere I Go (Cassette Version)

Even More Bonus Tracks (4-Track Demos)
19. All For Nothing *
20. Do You Want Her *
21. I Don’t Expect It *
22. My Face *

23. Something On My Mind *

24. Ethyl My Love *
25. Not Like Me *
26. Saying Goodbye To Phil *
*Previously unissued
http://d31hzlhk6di2h5.cloudfront.net/20150609/18/16/96/f6/98fe82fa5bb6d34154d53a55_242x280.jpg
(photo by Vicki Berndt)

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The Fresh & Onlys Premiere "Sunglasses" on Stereogum
Announce Early Years Anthology on Castle Face - 8.31

Listen to "Sunglasses" on Stereogum
http://www.stereogum.com/1804737/the-fresh-onlys-sunglasses-stereogum-premiere/mp3s/

When Tim Cohen and friends formed the Fresh & Onlys in 2008 they certainly weren't the first hazy garage rock band to usher in the revival that would define the SF underground scene of the mid-00's on, but they were one of the best and one of the few earlier acts to grab national attention and help legitimize the application of such a word like "revival" or "scene." It's fitting then that longtime friend and another progenitor of that era, John Dwyer, has gathered some of the Freshies earliest unreleased work here for a look back at one of the Bay Area's finest ongoing outfits.

“These were carefree times.
We were young enough to put our bodies to the test every night on the 7 x 7 mile patch of the bay
The endless wars seemed less at home
Songs were hanging off the branches heavy, plump and threatening to rot on the vine if they weren’t polished and put to tape

The band was on their 3rd live drummer but the line up in The Fresh & Onlys recording tower was a consistent group of pop soldiers writing, working, and whiling away the hours
A beeramid of cheap cans, endless dope smokery and a pretty strong vibe of dudes who would play together into oblivion.
388 rolling
Tape spilling over itself
Drum kit covered in mufflers
A chest of shitty percussion toys
Lots of ideas and multiple secret weapons at their disposal:

Shayde Sartin: the beast from out east, the thud of a heavy slow bomb…the best bass player in the bay
Unaccredited infinite times on records that were made better by his finely crafted skills.
I can pick him out on records instantly.

Wymond “the count”: you can almost smell his hair on his hooks
If there was a stage monitor in your living room his fence-climber boot would be on it
Wymond always had the riff that made the jets of the song take off.
Listen and you’ll see what I mean

Tim Cohen: the man behind the beard
Some would say the leader. In the game as long as Bette Midler
Cohen writes great songs in his sleep I think
Once referred to by a buddy as “like 3 weirdos in one”

Think of these as basement tapes, a companion to the first F+Os castle face release (which itself deserves another listen)
I remember watching some of these tunes get banged out live in a sweat pit in Oakland
The sound guy so gacked out that there was no sound guy basically

ah memories…” John Dwyer, Feb 16th 2015

Early Years Anthology will be out and their debut LP The Fresh & Onlys will be back in print on Castle Face Records August 31st.

I can't help but rmde @ reissuing shit that's less than a decade old

Seaking of xpost St. Jude, a couple of things have turned up on YouTube, kinda glam---I'm not that crazy about his voice, but
overall track, if you're way into this kind of cratedigging:
http://www.youtube.com/watch?t=63&v=NlF3nLLRJiI

overall track is okay, I meant to say.

Round-up of rarities (not bootlegs) from way down in the well of The Sadies, a Canadian combo whose take on "roots" can range from tremolo showdowns to feedback stampedes to the last jukebox and more (live and recording with for inst Jon Langford, Neko Case, and John Doe, as well as all alone). More info, audio here:
http://lightintheattic.net/releases/1831-archives-vol-i-rarities-oddities-and-radio-1995-2015

Hadn't heard of these early Grace Jones + Tom Moulton sides: apprentice works, it sez here, but also worth checking out: http://www.thelineofbestfit.com/reviews/albums/grace-jones-disco

Speaking of disco http://www.worldmusic.net/media/releases/fullsize/RGNET1338.jpg

Release Date: 31 July 2015
Cat No: RGNET1338CD
Barcode: 605633133820
Format: CD & Digital Download

From its underground roots in the nightclubs of 1970s New York, disco music had strong connections to the city’s Latino community. They provided many musicians, producers and labels making the music, as well as a large section of the audience dancing to it. Latin percussion instruments were at the heart of the disco sound and the strong influence of salsa can be heard in many tracks.

Disco music boomed for less than a decade and by the early 1980s it faded as newer musical styles came along. However, disco would not be forgotten and it was the inspiration and foundation for the next great global dance movement to emerge in the late 1980s, namely house music.

From the 1970s, we feature five tracks from the legendary Salsoul Records. These include two from Latin soul singer and disco pioneer Joe Bataan (‘La Botella’ and ‘Latin Lover’), plus two from the Salsoul Orchestra (‘Salsoul Hustle’ and ‘Ritzy Mambo’), the label’s in-house band and huge disco stars in their own right. The final Salsoul track is ‘Dancin & Prancin’’ from master Cuban percussionist Candido, released in 1979 at the peak of disco’s popularity.

Of the non-Salsoul 1970s classics, we include ‘Sunny’ by New York salsa/funk band Yambu (a cover of the Bobby Hebb song), US-based Cuban flute legend Fajardo’s hustle inspired single ‘C’mon Baby, Do The Latin Hustle’, and Colombian artist Wganda Kenya’s cover of Carl Douglas’s 1974 disco-soul hit ‘Kung Fu Fighting’, translated into Spanish as ‘Combate A Kung Fu’.

Post-2000, with the nu-disco movement in full swing, a host of new young artists began to produce music heavily influenced by the classic 1970s Latin disco sound. We present four of these new generation bands on the compilation – three from the UK (Grupo X, Malena and Los Charly’s Orchestra), and one from California (Jungle Fire). These tracks feature the trademark Latin disco sound – a four-to-the-floor beat, fingerpopping basslines, scratchy syncopated rhythm guitar, heavy Latin rhythms and sweeping strings. All proof that Latin disco is still alive today four decades on since it first exploded in the clubs of 1970s New York.
https://soundcloud.com/world-music-network

Track List

Listen
Joe Bataan: La Botella (The Bottle) (3:35)
Listen
Salsoul Orchestra: Salsoul Hustle (5:12)
Listen
Yambu: Sunny (4:31)
Listen
Jose Fajardo: C'mon Baby, Do The Latin Hustle (4:58)
Listen
Wganda Kenya: Combate A Kung Fu (2:42)
Listen
Salsoul Orchestra: Ritzy Mambo (7:41)
Listen
Candido: Dancin' & Prancin' (6:53)
Listen
Joe Bataan Mestizo Band: Latin Lover (4:49)
Listen
Grupo X: X-Perience (6:36)
Listen
Malena: No Llores Mas (7:12)
Listen
Jungle Fire: Firewalker (3:52)
Listen
Los Charly's Orchestra: Everlasting Love (4:23)

https://www.youtube.com/watch?v=B5VjUoedUeo

Real Gone Music is putting out a 2CD compilation of all Steppenwolf's ABC/Dunhill singles in August, with track-by-track liner notes by John Kay.

Here's the relevant section of the email:

What was the hardest-rocking band ever to notch three Top Ten hits? By most any yardstick, it’s Steppenwolf. Formed from the Canadian band The Sparrow (including Dennis Edmonton a.k.a. Mars Bonfire), and led by vocalist John Kay, Steppenwolf scored with “Born to Be Wild,” “Magic Carpet Ride” and “Rock Me” in the space of nine months back in 1968-1969, and hit the charts eleven more times up though the mid-‘70s. Often tagged as a biker band—mostly due to their prominent presence on the soundtrack to Easy Rider—Steppenwolf was actually a socially-conscious, highly political outfit, never more so than on their controversial LP Monster, one of 14 charting albums released by the band over a 20-year period. This ability to enjoy commercial success on both the single and album fronts puts them in a very rare category in the annals of rock and roll; and, unsurprisingly, their albums have been well represented in the CD reissue era. Their singles, however, have largely been unavailable on CD in their original 45 mixes, as the tapes for the singles have long been missing (legend has it Dunhill label chief Jay Lasker discarded all the label’s multi-track tapes and mono masters after having deemed them too expensive to store). But, just like on our critically-acclaimed Grass Roots singles set, engineer Aaron Kannowski has, after a worldwide search, rounded up the best sources available and put together The ABC/Dunhill Singles Collection, a two-CD set that doesn’t just include the A and B-side of every Steppenwolf single on the ABC/Dunhill label (featuring, for the first time ever, a decent-sounding “Magic Carpet Ride”), but of every John Kay solo single as well! And, speaking of John Kay, he sat down with co-producer Ed Osborne for a thorough, track-by-track review for the liner notes (John also requested that we use the album version of “Monster” rather than the single version, because the single is such a pieced-together “Frankenstein” job…pun intended). At 38 tracks, and featuring photos by long-time band photographers Henry Diltz and Tom O’Neal nee Gundelfinger, this is the ultimate Steppenwolf collection—one long dreamed of by the band’s fans—and it’s finally here after years of preparation from Real Gone Music.

Oh yeah, that's intriguing. Never heard a lot of it, especially the solo stuff, although I seem to recall a fairly gnarly version of "I'm Movin' On," solo-wise. The first Steppenwolf album had some good stuff besides "Born To Be Wild"---I think, although I mainly remember "You know the Dealer is the man/With the love grass in his hand/But the Pusher is (something something)"--chorus: GOD! DAMN! The Pusher-Man" (repeat several times).

In a somewhat different vein, from Tell All Your Friends PR:
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'Best Of Laurice Vol. 2' LP Out June 16th On Mighty Mouth Records
Similar to Nikola Tesla, Leif Erikson and Kalashnikov – trail-blazers who received either nothing or ridicule for the pioneering efforts – Welsh musician/producer Laurice went unnoticed and was forced to watch from the terraces as an entire genre’s worth of musicians made millions passing through the hole he opened in the border fence separating tuff psychedelia and camp glam rock. Known to collectors for a handful of some of the most aberrantly catchy yet lyrically un-commercial 45s of all-time (sample titles: ‘Flying Saucers Have Landed,’ ‘I’m Gonna Smash Your Face In', Laurice’s signature style and approach anticipated both punk thrash and post-punk disco trash. And, unlike Bowie and Bolan, Laurice wasn’t just pouting and putting on make-up for the camera.

Now, nearly 50 years later, Laurice shows no signs of stopping and is back with a second installment of demo material deemed unfit for mass consumption in the soft, straight, progressive 70s. These songs have finally been given their green light to assault the virginal ears of the world. Amazing, self-spun gems cut as demos in studios like Apple and Abbey Road. And don’t think the divine Mister L doesn’t have more in his personal peepshow booth to tease you with either. Later this year, Laurice will unleash an album of all-new material, reverently and respectfully entitled G.A.Y.D.A.R. Look for it from Mighty Mouth Music.

From the man himself:

Hi There and Welcome!

Enter the amazing world of LAURICE, known primarily in North America for his dance and smooth jazz hits. Formerly Canada's Number One male dance vocalist for two years running, what is not generally known is that before he left the UK for greener pastures in North America in the mid-70's, LAURICE recorded a lot of incredible rock material that he wrote for various record companies as a session singer, songwriter and producer in London.

His most notable success, of course, was the underground 1973 pre-punk hit When Christine Comes Around/I'm Gonna Smash Your Face In that he recorded under the band name Grudge for the Black label, and has become an underground punk rock classic to this day. LAURICE has always said that he was doing punk before punk was really thought of, and current record sales of this classic bear this out.ventured into rock/blues territory with That's Nice, scream rock with Ain't Got Enough To Give and romantic rock with Shy Baby, all having a heavy updated retro 60's rock sound that only enhanced their popularity. You can hear the sheer force and vitality of these 70's classics on this album.

LAURICE was influenced by the works of rock leather icon Lou Reed with his Walk On The Wild Side and Vicious hits. So a move to Toronto, New York and Los Angeles in the mid 70's had this versatile artist challenging himself further with macho rock gems such as Rock Hard, highlighting very controversial material for the time in the form of He's My Guy, Born to Serve (S&M) and Wild Sugar, with highly sexualized lyrics and singing style. Much of this material was aimed at the leather subculture and is included on this album. Lou Reed would have been proud.

LAURICE went on to conquer the dance and smooth jazz worlds of the 70's, 60's and 90's, but his treasure trove of early to mid 70's rock standouts can't all be fitted onto this one album by any means, so look out for further LAURICE releases from MIGHTY MOUTH RECORDS in the near future.
http://www.lauricenow.com/

'Best Of Laurice Vol. 2' LP Tracklisting

1. Flying Saucers Have Landed
2. Wondrin'
3. You Gotta Take The Good With The Bad Times
4. Baby Tomorrow
5. Dark Side Of Your Face
6. Diamonds Are Forever
7. A Little Bit Of Lovin'
8. Spaceship Lover
9. Take Me Down To The Riverside
10. Boston City
11. Goin' Home

My notes on first listening to this collection:

Laurice is a trip, kind of a Freddie Mercury voice, but I had several things pegged as 60s, not 70s (listening before I read the press sheet, to get the freshest impression). Especially "Baby Tomorrow," and "Dark Side of Your Face," which seemed like they could be lost Lee Hazlewood compositions (desolate, bitter, B-movie imagistic, more than a touch on the morbid side). And "You Gotta Take The Good With The Bad," with its hyperventilating hook on the chorus, had me thinking of Gene Pitney (and even pre-rocker Johnnie Ray, The Atomic Swami,The Prince of Wails, as they called him in the early 50s). Also like the airport-suitcase spin of "Boston City," the soldier song "Goin' Home" (Freddie Mercury/Gene Pitney as hell), "Flying Saucers Have Landed," some others may grow on me.

Similar to Nikola Tesla, Leif Erikson and Kalashnikov

that's pretty good press-release trolling

Yeah. Boy, this xpost Rough Guide To Latin Soul is pretty damn good, for the most part. So far, the first three tracks feature compressed busywork, and seem like generic knockoffs, kinda timid, but "C'Mon Baby Do The Latin Hustle" is confident and tight, with good flute, synth, guitar picking---purposeful and spacious enough for detail, with no filigree.
"Combate A Kung Fu" is the right flavor of cheese, and the shortest track, a true appetizer.
"Ritzy Mambo": cross-influences w Dr Buzzard crew?
"Dancin' & Prancin': just enough electronics for texture: the vibrant contours of all things tonight
"X-Perience," "the song already in your mind," approximately, the answers already half-known, the me you recognize, disco mystic parts the invisible curtains, sax and timbales build (fade, no climaxes disturb the groove)
"No Llores Mas," luminescent babe voices, second wind between the strata, moving right along to (two rhythm guitars w own distinctive sounds) "Firewalker," and "Everlasting Love," which is not the one you're thinking of, I don't think.
Dancing in my headphones: "Must---get---timbales!" Yes.

Latest on the Ork box, orig mentioned on National Record Store Day thread:

Where in the mythos of punk is there room for a frizzy-haired cinephile San Diegan? How could the defining rock attitude and look of the late 1970s get brainstormed by two go-nowheres from a boarding school in Hockessin, Delaware - a D student and kid voted Most Unknown by his senior class?

Forget the worn-out yarns about London gobbers and safety-pin piercings - the true story of the birth of punk rock on 45 is the story of Ork Records, captured by Numero Group on four hefty LPs (or two shiny compact discs) and told across 120 high-gloss pages filled with insider photos and sordid details. Naturally, this piece of history will be released on Orktober 30th.

It is a story populated by iconic names like Television, Alex Chilton, Lester Bangs, Richard Hell, the Feelies, Patti Smith, Talking Heads, Brian Eno, Blondie and the Ramones. And it's a tale told from the hallowed grounds of CBGB, Max’s Kansas City, and Ardent Studios.

This a story so glorious and important that it’s shocking to think that it’s never been told until now. Only the Numero Group could properly tell it, as it is a tale of imploding ambitions and underdog hustlers with a litany of heartbreaks and financial straits—a tale of indispensable rock 'n' roll made by people unjustly dispensed by history and the masses. For all the Record Geek Valhalla names mentioned earlier, there are even more forgotten heroes involved in this narrative that measure up to those Hall of Famers.

The legend began on wax with Television’s “Little Johnny Jewel,” the poetic head-splitter spread across two sides of a 45 in 1975. But it all began, in fact, with Terry Ork, a Jewish SoCal film nerd enthralled by Andy Warhol’s posse as they made a transgressive surfing flick, who moved cross-country to manage a movie memorabilia shop on the grubby streets of the Lower East Side. Made in the shadows of disco and dereliction in late-‘70s Manhattan, Ork Records: New York, New York is not just the genesis of punk, it is the birth of the New York City scene and indie culture as we know it.

WATCH A TRAILER FOR ORK RECORDS: NEW YORK, NEW YORK
http://youtu.be/G_fQsTyh4xA

That looks cool, anyone have the tracklisting?

Here's the press release I posted on National Record Store Day, for the ltd. ed. 7" version. I assume the LP/CD version has a lot of this, maybe all, maybe more, but check numero's site.

https://files.ctctcdn.com/62ea251b001/0d95d805-db75-4023-945c-775a75dd2367.jpg

NUM707

Ork: Box

At the epicenter of New York's most significant music scene was an instantly-forgotten record label; Ork Records, the first punk label and the original "indie." For the first time ever, the monumental output of this explosive imprint's 1975-1979 run is all in one place. Sixteen singles that birthed punk, no-wave, power pop, and the next four decades of indie rock, including the debut releases from Television, Richard Hell, Richard Lloyd, Cheetah Chrome, Alex Chilton, the DBs, and Chris Stamey, future nuggets by the Revelons, Student Teachers, Prix, Marbles, Idols, Mick Farren, and Link Cromwell, and previously unreleased singles from the Feelies and Erasers. This is a limited edition of 2000 carefully replicated 7" sleeves ensconced in a custom box modeled on period-specific Ork mailing labels.

01. Television - Little Johnny Jewel Pt. 1

02. Television - Little Johnny Jewel Pt. 2

03. Richard Hell - Another World

04. Richard Hell - Blank Generation

05. Richard Hell - You Gotta Lose

06. Marbles - Red Light

07. Marbles - Fire And Smoke

08. Alex Chilton - Free Again

09. Alex Chilton - The Singer Not The Song

10. Alex Chilton - Take Me Home & Make Me Like It

11. Alex Chilton - All The Time

12. Alex Chilton - Summertime Blues

13. Prix - Girl

14. Prix - Everytime I Close My Eyes

15. Prix - Zero

16. Mick Farren - Play With Fire

17. Mick Farren - Lost Johnny

18. Link Cromwell - Crazy Like A Fox

19. Link Cromwell - Shock Me

20. Chris Stamey - Summer Sun

21. Chris Stamey - Where The Fun Is

22. Chris Stamey & The dBs - I Thought You Wanted To Know

23. Chris Stamey & The dBs - If And When

24. The Feelies - Fa Ce'La

25. The Feelies - Big Plans

26. Richard Lloyd - Get Off My Cloud

27. Richard Lloyd - Connection

28. Erasers - Funny

29. Erasers - I Won't Give Up

30. Idols - You

31. Idols - Girl That I Love

32. Revelons - The Way You Touch My Hand

33. Revelons - 96 Tears

34. Cheetah Chrome - Still Wanna Die

35. Cheeta Chrome - Take Me Home

36. Student Teachers - Christmas Weather

37. Student Teachers - Channel 13

I've talked about this before to some degree, the engineer who recorded those Ork Feelies sessions is Brooke Delarco. She came over years ago and played me that stuff and more and I tried really hard to get the band to let Acute release a pre-Crazy Rhythms Feelies comp, and this was before the reunion or the reissuing of the original LPs, but they decided against it at the time. So I've always considered myself at least lucky enough to have been able to hear this stuff. The version of Forces at Work I have seems different than the one here, but both of them are drastically different than what appeard on Crazy Rhythms, and totally killer. There was another song from that session called Big Plans that's not listed here. I see it listed on a press release for the singles box, was it on that or did they replace it with Forces at Work?

Also from the catalog of Acute failures, I emailed w/ David from the Student Teachers back in 2003 and gathered all their stuff but in the end didn't feel like the quality was good enough (fidelity-wise) and gave up on it. Happy to see it here and happy to get my hands on Channel 13, which has been one of my favorite songs ever since hearing it on a Chuck Warner comp.

Damn, may have to buy this after all. Forgot about those Marbles trax!

Tracklisting was linked to in a thing I got from Facebk yesterday so I'll up it when I get to my computer. Can't cut & paste on this phone.

Dan, it was replaced with Forces At Work, I think there was some discussion on the Feelies thread maybe?

Sorry forgot about this this morning, wound up reading a few things while my previous post apparently wasn't posting so by the time I came to my computer my mind was on other things but this is what Rolling Stone has

http://www.rollingstone.com/music/news/early-television-richard-hell-songs-to-feature-on-new-box-set-20150624
Ork Records: New York, New York Track List:

1. Television - "Little Johnny Jewel"
2. Feelies - "Fa Ce La"
3. Richard Hell - "(I Belong to the) Blank Generation"
4. The Revelons - "The Way (You Tough My Hand)"
5. Erasers - "I Won't Give Up"
6. Alex Chilton - "All of the Time"
7. Chris Stamey and the dBs - "(I Thought) You Wanted to Know"
8. Prix - "Zero"
9. Marbles - "Red Lights"
10. Alex Chilton - "Take Me Home & Make Me Like It"
11. Prix - "Girl"
12. The Idols - "Girl That I Love"
13. Mick Farren and the New Wave - "Lost Johnny"
14. Cheetah Chrome - "Still Wanna Die"
15. The Idols - "You"
16. The Student Teachers - "Christmas Weather"
17. Erasers - "It Was So Funny (The Song That They Sung)"
18. Richard Hell - "(I Could Live With You) (In) Another World"
19. Chris Stamey - "The Summer Sun"
20. Alex Chilton - "Free Again"
21. Richard Lloyd - "(I Thought) You Wanted to Know"
22. The Student Teachers - "Channel 13"
23. Chris Stamey - "Where the Fun Is"
24. Prix - "Everytime I Close My Eyes"
25. Feelies - "Forces at Work"
26. Marbles - "Fire and Smoke"
27. The Revelons - "97 Tears"
28. Cheetah Chrome - "Take Me Home"
29. Richard Hell - "You Gotta Lose"
30. Chris Stamey and the dBs - "If and When"
31. Mick Farren and the New Wave - "Play With Fire"
32. Richard Lloyd - "Get Off My Cloud"
33. Alex Chilton - "The Singer Not the Song"
34. Richard Lloyd - "Connection"
35. Alex Chilton - "Summertime Blues"
36. Mick Farren and the New Wave - "To Know Him Is to Love Him"
37. Link Cromwell - "Crazy Like a Fox"
38. Link Cromwell - "Shock Me"
39. Kenneth Higney - "I Wanna Be the King"
40. Lester Bangs - "Let It Blurt"
41. Alex Chilton - "Bangkok"
42. Peter Holsapple - "Big Black Truck"
43. Prix - "She Might Look My Way"
44. Alex Chilton - "Can't Seem to Make You Mine"
45. Prix "Love You All Day Long"
46. Alex Chilton - "Shakin' The World"
47. Prix - "Love You Tonight"
48. Lester Bangs - "Live"
49. Kenneth Higney - "Funky Kinky"

Thanks, Stevo! Glad that Numero did indeed add more tracks for this second edition of the box.
Speaking of the Feelies thread, I posted comments there re hot live sets downloadable on ilxor Tylerw's blog:
http://doomandgloomfromthetomb.tumblr.com/Tumblr's search function doesn't always work so well, but look 'em up on Google Advanced Search, good stuff.

Raw Meat track premieres from forthcoming compilation of long-lost proto-metal/stoner rock
L.A.'s Permanent Records & RidingEasy to issue collection of vintage 60s-70s heavy rock tracks

Hear & share Raw Meat's "Stand By Girl" HERE.
https://soundcloud.com/easyriderrecords/a6-raw-meat-stand-by-girl/s-4pOYu

http://files.ctctcdn.com/c58a551d001/4c3d3f98-9752-4c9e-b8db-1dbb194fb00d.jpg

Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid: The First Trip.

Lance Barresi, co-owner of L.A.-cum-Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the 11-track compilation. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long.

"I essentially go through Hell and high water just to find these records," Barresi says. "Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved." Rather than simply bootlegging the tracks, when all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

"All of (these songs) could've been huge given the right circumstances," says Barresi. "But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were."

Raw Meat, for example, one of the stomping standouts from the compilation, is a band about which precious little is known even by the owner of the label and producer of the band's original 1969 single, Richard Paul Thomas -- two of its tracks reissued as a 7" teaser single for the compilation on July 14th, 2015 via RidingEasy Records. The trio was from north of Milwaukee, WI, but not much more information remains available. "They were one of the tightest trios around at the time and had a fairly large repertoire of their own material," Thomas says. "The only thing that sticks in my mind was the band's bumper sticker 'Raw Meat Is Good For You'. Our offices were on Lincoln Avenue just next door to the Federal Meat inspectors offices."

Brown Acid: The First Trip opens with the slithering buzzsaw guitars and hard-rock howl of Zeke's' "Box", a monster that gives Blue Cheer a run for their leaden blues. Snow sways into "Sunflower" with a touch of Steppenwolf's swagger and wind-in-their-hair wildness. Elsewhere, Zebra proves they were "Wasted" with a soul-inflected groove, while Bob Goodsite leans in on his wah-wah and phaser pedals, determined to out-Hendrix Jimi himself on "Faze." Raw Meat's "Stand By Girl" serves up a fierce, stomping riff intercut with Iron Butterfly style operatics. Bacchus kicks out a hostile sounding boogie, demanding to "Carry My Load." Josefus caps it all off nicely with a hooky power-pop meets Bob Seger System meets Lollipop Shoppe anthem with the undeniably catchy chorus, "hard luck - keep truckin'!"

It's a solid set of unknown hits you can't believe failed to connect back in their heyday due to various unfortunate circumstances. But now in 2015, Brown Acid: The First Trip gives these long-lost gems their well deserved moment to shine.

Brown Acid: The First Trip will be available everywhere on LP, CD and download on August 11th, 2015 via RidingEasy Records.

http://files.ctctcdn.com/c58a551d001/6bd8b1ae-b1b8-4c09-989f-e42ba5844634.png

01. Zeke's "Box"

02. Snow "Sunflower"

03. Tour "One of the Bad Guys"

04. Zebra "Wasted"

05. Bob Goodsite "Faze 1"

06. Raw Meat "Stand-By Girl"

07. Punch "Deathhead"

08. Bacchus "Carry My Load"

09. Lenny Drake "Love Eyes (Cast Your Spell On Me)"

10. The Todd "Mystify Me"

11. Josefus "Hard Luck"

Cool looking comp. Raw Meat and Josefus have been comped before but looking forward to it anyway.

man those covers are ugly tho

although i like the concept. i had a friend in college who played this kind of stuff on his radio show a lot, way before any of it was on CD.

yeah, the execution looks like somebody got their kid to do it

Lance is good people - love stuff on Permanent & really look in forward to snagging this.

Yeah notice the partnership with RisingEasy, think the '69 visual aesthetic connects with that of Easy Rider Magazine, for and/or about bikers; also thinking of those drive-in movies like Hells Angels On Wheels, and Raw Meat peers like Blue Cheer, who had biker connections, I think.
So that xpost Muffs debut reissue: "pop-punk," some call them, and I've seen comparisons to Joan Jett and the Blackhearts, but Kim Shattuck sometimes relies more on on vocal scrunchies than hooks---still, good some good chord changes and textures, with a few guest sounds, like theramin and organ: part of the variety of arrangements *eventually* shaking up the 16 tracks of the original album.
But the 10 bonus tracks, mostly four-track demos, provide a lot more breathing room for vocals and guitar, like maybe the studio sessions were more labored, sometimes (not so many direct comparisons; several of these songs didn't show up on the finished product). It might help that most of the demos have only a tambourine behind the slightly echoing, gnarly jangle (but one of the best, "Ethyl My Love," has what sound's like a full trap set). I'd say that, if you like the original album or the band as you knew them, or, even if you haven't heard them, but are into what turns out to be indeed pop-punk, with even a bit of power-pop---but more get-lost gusto than moony romance---then the demos make this worth checking out, for sure

I like most of the orginal album too. But could've been 12 instead of (these) 16 tracks, I suspect. Guess it was just unthinkable to use a 4-track demo as a master in those days, eh?

ROSE McDOWALL (STRAWBERRY SWITCHBLADE)
TO RE-ISSUE CUT WITH THE CAKE KNIFE LP
LISTEN TO THE TITLE TRACK SET TO A SLIDESHOW OF ARCHIVAL PHOTOS
VIA THE FADER
https://www.thefader.com/2015/07/01/strawberry-switchblade-rose-mcdowall-cut-with-the-cake-knife-sacred-bones
OUT 9/18/15 ON SACRED BONES (U.S.) & NIGHT SCHOOL (UK/EU)

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/e3400ce8-dd26-4334-95cf-e24a565938a5.jpg

Born in times of difficulty and adventure, Cut With The Cake Knife is the debut album from Rose McDowall, solo-artist and ex-member of cult pop group Strawberry Switchblade. Originally recorded in 1988-89 and now re-mastered and getting the re-issue treatment from Sacred Bones Records (U.S.) & Night School Records (UK, EU)

Marking the beginning of an extensive archive project spanning Rose’s 34 year career, Cut With The Cake Knife will include unreleased recordings alongside unseen photographs and detailed new sleeve notes.

Recorded in various locations around the UK and Iceland following the break up of Strawberry Switchblade, the original 9-track Cut With The Cake Knife album featured songs written and demoed for the group’s fabled second album.

Rose McDowall began her career in her hometown of Glasgow, operating within the nascent punk scene with her first group The Poems. After a meteoric rise to pop stardom, which saw Strawberry Switchblade achieve chart success, world tours and global fame, McDowall’s relationship with partner and friend Jill Bryson disintegrated. The aftermath of her pop career saw McDowall earn a new reputation as an underground artist, collaborating with Coil, Felt, Current 93 and Nurse With Wound among others. Cut With The Cake Knife was recorded against this tumultuous backdrop and is one the most affecting collections of direct pop songwriting committed to tape.

The album opens with one of McDowall’s most heartfelt, honest moments: Tibet; a simple song written with absolute truth about the loss of friendship. For errant Switchblade fans it’s a prime example of why McDowall’s legacy is so important: shorn of unnecessary ornament, it’s one of many songs here that speak loudly and clearly about universal emotional states. Production values throughout lie somewhere between glossy, 80s studios and home-recorded demos but it’s a sound that only heightens the poignancy in McDowall’s voice: her best instrument and one that can evoke vulnerability, as in the near-angelic harmonies on Sixty Cowboys or swirling excitement as in the number 1 hit that never was, Crystal Nights. But perhaps her prowess is best summed up by the album’s title track, written for the 2nd Switchblade album yet thriving here, in which Rose projects a powerful protagonist, tinged with violence but still playful. At the heart of even the most upbeat, transcendently “pop” moments is a beautiful melancholy, a nagging heartache McDowall can call her own.

As Rose writes in the 2015 edition sleeve notes: “They’re real sad songs, about real life.”

Cut With The Cake Knife is out September 18th on Sacred Bones (U.S.) / Night School (UK / EU)

https://www.youtube.com/watch?v=u8K1UDOr9TY&feature=youtu.be

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/25f3e8f9-5c99-40f8-a919-f62ed0175124.jpg

1. Tibet
2. Sunboy
3. Wings Of Heaven
4. Sixty Cowboys
5. On The Sun
6. Cut With The Cake Knife
7. Crystal Nights
8. Soldier
9. So Vicious
10. Don’t Fear The Reaper (Bonus Track)
11. Crystal Days

oh hell yeah

https://c1.staticflickr.com/1/317/19346504142_d0d95dbc08_z.jpg
http://mapacherecords.com/shop/mike-fiems-i-would-dream/ Produced by Vernon Wray and released on his own Vermillion Records in 73? I like this record.

Wow, sunshine folk pop from Arizona, goes with the picture--intriguing, thanks. Kind of an acquired taste for me, but I'll have to alert Edd Hurt, who enabled my acquisition (he's probably all over it, but still)

Er, that xpost Fresh And Onlys Early Years Anthology is---one for the fan club, I guess, as the title suggests, but didn't convert me. Starts with the sympathy-inducing "Tongue In Cheek," which the singer acknowledges is so firmly lodged, "If I had a secret I could keep it," confessional and regretful--he knows he ain't that deep---so they turn up the music, but bringing in elements of "I Can't Turn You Loose," and he orders, "Push it down, push it out," determined to find *something* in there after all, which, in hindsight, is not so wise, because a lot of the following tracks highlight words that don't sustain interest (and standard jaded/resigned mid-Atlantic male hipster vocals don't help), Can still listen around the words, and do okay that way, sometimes, but best when the words are challenged by onslaughts (or semi-onslaughts, but at least noisy, in a good way), especially on "Don't Look Down" and, best of all, "Deviants Within," with hordes of other voices pressing in from thee other side).
Otherwise, you'd be better off going over the Pavement family tree again, ditto Spoon, Black Lips...

But! Good musical use of alienation and ennui--times palpable anger, so much more de facto flower punk than these FAO tracks usually manage---can be found on the xpost Litmus soundtrack. The movie, which I haven't seen, is a supposedly "avant garde" vintage surfing doc, with recordings by the auteur's Val Dusty Experience blending seamlessly and variously with newer contributions from Galaxie 500, Yothu Yindi, The Screaming Orphans, maybe more (no annotations yet).
There's an eerie flute, calmly noting the smoggy sunrise, while a female voice is calling---

a sun bouncing like a red rubber ball over dang-a-dang human juice harp, not waiting to be told about no Tuvan throat-singing---

a big ol' smogfest for Wicker Man fans, with females making something else out of "Black Is The Colour"---

a nerdy male folkie voice (prob the filmmaker's; he's all over the terminally plaid "folk-rock" soundtrack of Glass Love, the Litmus sequel) is put to good use here: he bleats "Wanna be a cow," while a sardonic surfer voice (the manly, nasal kind heard so much in that other surfing doc, The Endless Summer) drawls out all the things that can happen to a cow nowadays(an increasingly tasty list, I say).

There's also (female voice again)"Elizabeth, you're so gorgeous and tall," tyme to get real, in a world of world-destroying illusions (think Lou Reed would like this and others, however grudgingly, given his view of "California trash").

Also a very poised, somewhat grizzled Brit male voice, very tuneful and articulate re sailing away from lands where "the ghettos are concentration camps," and all the captains have gone missing, but no prob on the horizon, the voyage is under way. Sufficient gravitas, but much less solemn than "Wooden Ships," also no "sil-ver/pee-pul," nothing "ver-ree free 'n' easy," none of that stoner shit, just the sea and all that goes with it ("Come along if you can," is the implication, of course).

Speaking of The Wicker Mansoundtrack, there's a new repress (on white vinyl) of the very ltd. 40th Anniversary Ed. from '13:
http://lightintheattic.net/releases/1765-the-wicker-man-40th-anniversary-edition

https://light-in-the-attic.s3.amazonaws.com/uploads/release_image/17455/image/thumb_325_tmp_2F1430345135128-p5sjfv0qdk5ljtt9-eef3897c3644d6021bd4c7142922de0f_2F738572144074.jpg

oh numero tweeted en passant that they're reissuing the Scientists, but too cool to mention dates yet(just some time in August); will let yall know when they do

more on site
http://cdn.numerogroup.com/images/artist_images/web/the-scientists.jpg

The Scientists went through many incarnations in their 9 year history but are remembered mostly for the lineup that existed from 1981 to 1985. Kim Salmon, Tony Thewlis, Boris Sujdovic and Brett Rixon together had the peculiar chemistry that produced the classics, Swampland, Happy Hour, the Blood Red River mini LP and We had Love. With a sound that was swampy, primal and modern-urban all at once - as much in the tradition of rock and roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. They were about what it was like to be young and living in modern times in an Australian urban/suburban environment. The themes of getting wasted on alcohol and drugs, driving round in hotted up cars, being trapped in crap jobs and paranoia were their subject matter. Machine throb bass and drums with jagged car wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures along with other peoples modes of embellishment. They rejected the contemporary sound and look and so consequently were never able to carry around baggage that would allow them to date.

"The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!"—Jon Spencer

"They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?"—Warren Ellis

"The Scientists proved to me that rock n roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real."—Thurston Moore
The Scientists Appears on:

The Scientists S/T LP, MP3, FLAC
The Scientists BLOOD RED RIVER FLAC, MP3, LP
audio samples:
http://www.numerogroup.com/artists/the-scientists

"Every known composition":
http://www.factmag.com/2015/07/09/nicolas-jaar-to-release-live-recordings-from-teenage-jesus-and-the-jerks/

Oh and now a couple of shows (go):
https://numerogroup.wordpress.com/2015/07/09/australian-punk-icons-the-scientists-announce-melbourne-and-sidney-shows/

That Scientists thing is interesting but http://cdn.numerogroup.com/images/artist_images/web/the-scientists.jpg" class="noborder"> isn't the line up being talked about. That guy at the back of the photo was the drummer they had after Brett. I think his name was Phil and he came from Canada.
He was playing with them in '85 when I saw them at the Paradiso in Amsterdam.
I think Brett who had long hair like the other band members and seemed to have perfected a near motorik drumming style quit a bit earlier.

From Soul Jazz Records:

http://www.soundsoftheuniverse.com/mailouts/img/main/657/w/sjrcd311disco2cover.jpg

Released worldwide this Fri 17th July in all good retail and internet stores on 2CD/2 volumes of 2xLP/Worldwide Digital or direct from us right now!

This is a second selection of independent disco records featuring rare and classic tracks originally released in the USA between the halcyon years of 1977 and 1985.

This release features only the finest disco, modern soul and boogie and is compiled by Disco Patrick who put together for Soul Jazz Records the mighty 'Disco - An Encyclopedic Guide to the Cover Art of Disco Records' 400+ page deluxe book, as well as the first installment of 'Disco - A Fine Selection of Independent Disco, Modern Soul and Boogie.'

If you want to know how rare these are check out Anita Maldonado's 'What Can I Do To Make You Dance' selling for $2,600 on e-bay last month! Here

This album is released as a double CD, as well as two separate volumes of double vinyl (plus free download codes) and a worldwide digital release.

Rare, classic and in-demand tracks from the mighty vaults of labels such as New York's Salsoul and Miami's TK Records - which during the main disco era became the main competitors to the major established record industry - through to killer virtually unknown tracks released on tiny bespoke one-off labels, now impossible to find either in the history books or record shops of the world.

All the music on this album has been sonically and digitally remastered with love and is presented complete with sleevenotes, original label artwork and full-length extended disco editions.

Full Tracklisting:

CD1/2xLP RECORD 1:

1. Stevo - Pay The Price (4:24)

2. High Frequency - Summertime (6:32)

3. Dunn Pearson Jr. - Groove On Down (8:20)

4. Mad Dog Fire Department - Cosmic Funk (6:20)

5. Needa - Rock-A-Freak (4:57)

6. Cream De Coco - Disco Strut (7:55)

7. Anita Maldonado - What Can I Do To Make You Dance (16:47)

8. The Shades Of Love - Come Inside (7:51)

9. Skip Jackson & The Natural Experience - Micro Wave Boogie (8:27)

CD2/2xLP RECORD 2:

1. Jahneen - Everybody's Dancin' (7:17)

2. Montego Joe - Freestyle (5:16)

3. Timmy Thomas - Africano (4:37)

4. Paper Doll - Get Down Boy (7:34)

5. Jazz - I Feel Like Love (TBA)

6. Paco and Flaco and Coco - He's Here (6:17)

7. Ripple - Victorious (4:29)

8. Universal Love - Moon Ride (7:23)

9. Panache - Jam On (6:17)

10. Otis Brown's Grade A - Strut On (13:11)

more info, audio etc here:http://www.souljazzrecords.co.uk/index.php

That's the sequel to this (more audio etc) http://www.souljazzrecords.co.uk/releases/?id=39893

From Forcefield PR:

Wolf Eyes share rare albums via Bandcamp,
announce East Coast tour dates

STREAM: "Undertakers Pt. 2 - Side Two"

SoundCloud https://soundcloud.com/wolfeyes-tripmetal/wolf-eyes-undertakers-pt2-02-undertakers-pt2-side-two

/ Bandcamp https://wolf-eyes.bandcamp.com/

http://files.ctctcdn.com/fad5d549001/4db0df9e-da21-422a-a848-f689d208f00a.jpg

Photo Credit: ALIVIA ZIVICH - (Click Image for High Res)

From the depths of the history-basement archives like a possessed witch trapped sleeping in a hidden cabin: locked & unfed in the jam-dungeon ala WOLF BASEMENT (from volumes of primitive studios all over eastern Michigan throughout the late 90's to present) has been thrown some raw rough scraps and is slowly creeping black to LIFE- Barnabas Collins style. From nearly half a thousand releases secretly sleeping in dust in private vaults: a new WOLF EYES Bandcamp emerges: full re-releases from WOLF EYES home base labels = AMERICAN TAPES, HANSON, AA, GODS OF TUNDRA and OTHERS -dating back to some of the earliest experiments to current demos. There will be FIVE a month leaking out radiation style into the digital world and soaking into the street seams of daily electronic social life to morph your brain permanently. All taken from the master tapes & direct audio: the closest you can get to a FULL ORIGINAL DOSE OF BURNING YOUR HOUSE DOWN = the onslaught tidal wave of WOLF INZANITY has begun!!! ALWAYS THE SAME: ALWAYS DIFFERENT: NEVER ENOUGH - NEVER AN END. Dive in and EX/IMPLODE!!!!

Bandcamp Reissues - July

LIVE SCUM (Hanson Records)
LIVE FRYING: Boston Radio February 19 2001 (American Tapes)
UNDERTAKERS PT.2 (Polyamory)
LUNG MALFUNCTION (Gods of Tundra)
LOWER DEMOS (AA)
POWERLESS (American Tapes) - FREE

WOLF SUMMER LIVE FROM THE BOILER TOUR 2015 -

The Wolf Eyes has taken MICHIGAN BOIL to the east coast this month for a full fester of new songs and ideas that have mis-grown thru the radiation of SPRING - now ready to POLLINATE society from the stage via MICHIGAN SLOW DAMAGE. Many first time compositions hit the pavement and if live ELECTRONICS from the year 2298 when music has been over sine 2088 if your platter, stuff your gullet with this dose of HOMEMADE RADIATION.

Tour Dates:

7/16 - Columbus, OH - Mint Collective

7/17 - Pittsburgh, PA - Spirit Hall
7/18 - NYC, NY - Union Pool [Free Show]

7/18 - Brooklyn, NY - Aviv (TRIP METAL INZANE ALL-STARZ only)

7/19 - Portsmouth, NH - Artspace

7/20 - Albany, NY - The Low Beat

7/21 - Buffalo, NY - Sugar City
7/22 - Cleveland, OH - Now That's Class

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With regards to the Ork Records New York, New York compilation mentioned earlier, info on the Numero Group release page also contains this:

Bonus 45 features two previously unreleased tracks by the Feelies. "The Boy With The Perpetual Nervousness" is an unreleased studio cut from 1978, while the flip is a cover of the Bacharach and David classic "My Little Red Book,” recorded live at CBGB December 14, 1976. Limited to 2000 copies.