Rolling Reissues 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:
http://i1.cmail2.com/ei/r/8A/A19/813/csimport/unnamed-8.181557.jpg

'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

http://files.ctctcdn.com/fad5d549001/ca442dd2-79ed-46d5-9a4c-b4a65779be27.jpg

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.

According to this site, which is the most comprehensive i've found but a pain in the neck to load, 12/14/76 was tom petty and earth opera. 12/14/77 was feelies/erasers.

http://thisaintthesummeroflove.blogspot.com/2012/12/remember-that-one-time-at-cbgbs.html

Thanks! Good thing I didn't already set the time machine. Early Tom Petty and Earth Opera (Rowan and Grisman's group---protest chamber-folk-rock, right?) would be good to check, but Feelies first. Were the Erasers good? Describe please.

Thought Earth Opera were 60s only, hmm. Maybe they weren't 60s at all, chronologically.

Limited to 2000 copies.

grrrr

From Drag City (sunglasses x novocaine for reading)

http://files.ctctcdn.com/0ae5b439401/f126fbf4-d698-4a69-bd98-1141798510e7.jpg

BACK THROUGH

THE GLORY 'HOLE

Kee-ris'! 25 years and counting (say, 27? - numerological ed.) and it's just nothing but wormholes anymore. Everywhere leads somewhere else - and of course, we love it, but it's hard just to say that you love something without also making it sound like you don't. Funny thing! Anyway, by the time we have the reissued vinyl for Hand of Glory ready for you, Royal Trux will have played their Second Coming show at Berserktown on August 16th. Then it's back beyond the blue horizon for them (until someone flashes the GREEN) - but for us here at the motherboard, a quick trip back to not only 2002, but ALSO 1989 and 1990 at the same time. That's the way it goes in the town called Drag City anymore. Hand of Glory is tapes for an album put together while preparing to eventually make Twin Infinitives - a quick listen to "Domos Des Burros (Two Sticks)" will allow the anointed ears of hardcore Truxheads to grok the shared space with TI's "(Edge of the) Ape Oven", which it apparently preceded by some unknown slice of eternity. The flip side of Hand of Glory is a compilation of mixdowns that they were calling "The Boxing Story" back in the day. Before Twin Infinitives, the idea was to put these two pieces together and call it their second album. But other forces intervened and the tapes got lost for a decade, surfacing only as the Trux were calling it a day. Typical perversity made the idea of some of their earliest recordings being released last seem very appealing. So that's how 2002 got into it. Now its thirteen years later, and now the original recordings are - 27? - years old, and that's just weird. The music's just weird, anyway - but it's somehow more amazing than it was when we first heard it around the turn of the century. Royal Trux music has a way of aging extremely well. Come August, reach for the Hand of Glory to help pull you toward the future! On LP and CD one more time.

I'm curious about that Earth Opera reference too. Another group with the same name? The original is Boston late 60s band who should have been long gone by '76? I like their first album a lot.

OMNIVORE RECORDINGS TO RELEASE DR. JOHN’S
THE ATCO/ATLANTIC SINGLES 1968–1974, FEATURING
LEGENDARY MUSICIAN’S BIGGEST CHARTING HITS — AND B-SIDES
22-song collection features A- and B-sides from all U.S. and U.K. singles,
plus liner notes by Gene Sculatti. Street date is September 18, 2015.
LOS ANGELES, Calif. — Dr. John’s Atco and Atlantic sides were clearly the right-place right-time recordings. They put Mac Rebennack on the map and into the ears and minds of music enthusiasts the world over. On September 18, 2015, Omnivore Recordings will release the 22-song compilation Dr. John: The Atco/Atlantic Singles 1968–1974.
The collection contains the six-time Grammy® Award winner and Rock ‘n’ Roll Hall of Fame inductee’s A- and B-sides recorded for the Atlantic labels from 1968-74, among them some of Dr. John’s best-known songs: “Right Place Wrong Time,” “Iko Iko,” “Cold Cold Night,” “Gris-Gris Gumbo Ya Ya,” “Loop Garoo,” “I Walk on Gilded Splinters” and more. Included also are “A Man of Many Words,” featuring accompaniment from Buddy Guy and Eric Clapton, and the mono short version of “The Patriotic Flag Waver.”
Arrangers and producers include Allen Toussaint, Harold Battiste, Tom Dowd, Jerry Wexler, Eric Clapton, Ahmet Ertegun and Michael Cuscuna. Writers include Willie Dixon, Huey Smith, Buddy Guy Allen Toussaint, Quezerque Gaines, Earl King, James “Sugar Boy” Crawford, Alvin Robinson, Jessie Hill and Mac “Dr. John” Rebennack himself.
Musicologist Gene Sculatti wrote the compilation liner notes.
From Sculatti’s notes: “Dr. John has proven to be one of music’s foremost generalists, a primary-care cat whose practice extends back some 60 years. His expertise encompasses rock ’n’ roll, swamp pop, New Orleans, R&B, funk, jazz, and the Great American Songbook — and he’s made worthy contributions to recordings by the Stones, B.B. King, Van Morrison, Frank Zappa, Buddy Guy & Junior Wells, Buffalo Springfield, Gregg Allman, and others. The awards (six Grammys and counting) and accolades long ago validated the quality of his output, but it’s the range of what he’s done that truly impresses.
“These Atco and Atlantic sides were clearly the right-place right-time recordings. They put Dr. John on the map and into the ears and minds of music enthusiasts the world over.”
Track Listing:
1. The Patriotic Flag Waver (Mono Short Version)
2. Mama Roux
3. Jump Sturdy
4. I Walk On Gilded Splinters (Part I)
5. I Walk On Gilded Splinters (Part II)
6. Gris-Gris Gumbo Ya Ya
7. Loop Garoo
8. Wash Mama Wash
9. Iko Iko
10. Huey Smith Medley: “High Blood Pressure” “Don’t You Just Know It” “Well I’ll Be John Brown”
11. Wang Dang Doodle
12. Big Chief
13. A Man Of Many Words (Buddy Guy With Dr. John & Eric Clapton)
14. Right Place Wrong Time
15. I Been Hoodood

16. Such A Night

17. Cold Cold Cold
18. Life
19. Let’s Make A Better World

20. Me-You=Loneliness

21. (Everybody Wanna Get Rich) Rite Away
22. Mos’ Scocious
# # #
Watch (and feel free to post) the Dr. John trailer:
http://youtu.be/zhEVfT6ZYFI

Could have also mentioned Beck's "Gilded Splinters" sample in "Loser."

Think it's from Johnny Jenkins' cover version (with Duane Allman's accompaniment in the sampled bits)
https://www.youtube.com/watch?v=udAJV4dVNyY

Unwound: Empire

The climactic entry in our four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, Washington, trio. On 1998's Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They'd abdicate entirely just three years later with 2001's Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilarating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked "Who Cares"? The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the '90s, indie rock, Unwound, and civilization as we know it.

While struggling to book European dates during their Challenge tour, Unwound took an invite to record sessions for BBC DJ legend John Peel. On May 24, 1998, the trio taped "Side Effects of Being Tired" and "Hexenszene" from New Plastic Ideas, plus "Kantina/Were, Are and Was or Is" from Fake Train. They're all included on this disc, a pre-order only product pressed for just the top 1000 most rabid Unwound disciples. John Peel, however, was never included. "I think we all thought that's what a Peel Session was: You go and record with John Peel. And it was just some other guy."

Order Now: 4LP or Digital

The Numero Guide to Bonus Records:

Catherine Howe "In The Hot Summer" b/w "Let's Keep It Quiet" 45
Available with the first pressing of NUM012 LP. 21 copies discovered.

Boys: Circuit Overload 10"
Available with NUM024 LP. Still in print.

Pieces "A Flower For All Seasons" b/w "In The Summer The Grape Grows"
Available with first pressing of NUM029 LP. Out of print.

The Deacons "Sock It To Me" b/w Fabulous Fascinators "Is It Because I'm Black" 45
Available with NUM032 LP. Out of print.

Sonny Wimberly & the Sunglows "Moe And Joe Part 1 & 2" 45
Available with NUM033 LP. Out of print.

LIZARD! CD
Available with NUM034 CD or LP. 67 copies discovered.

Mod Squad: Live From Trejbal Dairy LP
Available with NUM035 LP. Out of print.

Special Fourth Class Disc CD
Available with NUM035 CD. 52 copies discovered.

Soul Walkers "I'm Tired of What People Say Or Do" b/w "Never Say You Don't Have It"
Available with NUM045 Box. Out of print.

Supa Chief "Red Brained Woman" b/w "Animal Woman"
Available with NUM048 Game. Still in print.

Twin City Rappers "Twin City Rap" 45
Available with NUM050 LP or CD. Still in print.

Eccentric Soul: The Way Out Label Bonus LP
Available with NUM053 LP. Still in print.

Codeine "Pick Up Song" b/w "New Year's" 45
Available with NUM201 LP. 29 copies discovered.

Unwound: 7/26/2001 LP
Available with NUM202.2 LP. 21 copies discovered.

Unwound: Faked Train LP
Available with NUM202.3 LP. Fewer than 50 copies.

Unwound: Reykjavik, Iceland 6/30/1999 LP
Available with NUM202.4 LP. Fewer than 100 copies.

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/081227954239.jpg

FACES: YOU CAN MAKE ME DANCE, SING OR ANYTHING
(1970-1975)

The Collection Includes Newly Remastered Versions Of All Four Studio Albums
With A Bonus Disc Of Rarities And Will Be Available On August 28 From Rhino

Limited Edition Vinyl Version Boasts Remastered Sound Cut From The Original Analog Masters And Packaging That Meticulously Recreates The Original Albums

LOS ANGELES - Faces squeezed a lifetime's worth of rock 'n' roll into just five years. But despite their relatively short time together, Kenney Jones (drums), Ronnie Lane (bass/vocals), Ian McLagan (keyboard), Rod Stewart (vocals) and Ronnie Wood (guitar/vocals) have earned a spot on the short list of the world's greatest rock bands.

Rhino Records will release a boxed set with newly remastered versions of all four of the Faces' studio albums, plus a bonus disc of rarities. All of the music has been remastered from the original analog tapes, making the collection the best-sounding version of the band's music ever released. YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) will be available on August 28 from Rhino Records for a list price of $54.98 on CD and $39.99 digitally.

A beautiful limited edition vinyl version of the collection will also be released the same day. To deliver superior audiophile quality, each album was cut from the original analog master tapes directly to lacquers and pressed on 180-gram heavyweight vinyl. The records will come packaged in sleeves that accurately recreate the original release. For instance, when you push the sleeve for Ooh La La, the man's eyes move and his mouth opens, creating a look that's reminiscent of Terry Gilliam's animation work with Monty Python. This special set will be available for a list price of $129.98.

The YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) CD set includes: The First Step (1970), Long Player (1971), A Nod Is as Good as a Wink...to a Blind Horse (1971), and Ooh La La (1973), and features unreleased bonus tracks included with each album. Despite their hard-partying reputation, the band was a formidable powerhouse and could play it all-blues, soul, funk, country and boogie. These albums showcase that incredible range from bar stool anthems like "Had Me A Real Good Time," "Miss Judy's Farm," and "Stay With Me," to tender ballads that will leave you crying in your beer like "Ooh La La," "Love Lives Here" and "Glad And Sorry."

In addition to the studio albums, the collection also features a bonus disc that gathers up nine essential tracks that didn't appear on proper albums, including the 1973 single "Pool Hall Richard," a live performance of the Temptations' "I Wish It Would Rain" from the 1973 Reading Festival, and "Dishevelment Blues," a song that came free as a flexi-disc in copies of the British music publication, New Music Express.

The Faces came together in 1969 when former Small Faces Ian McLagan, Kenney Jones and Ronnie Lane hooked up with ex-Jeff Beck Group vocalist Rod Stewart and guitarist Ronnie Wood. The group's impact on music has only deepened since its break up in 1975. In recognition of the Faces' influence, the Rock and Roll Hall of Fame inducted the group in 2012.

YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975)
Track Listing:

THE FIRST STEP
1. "Wicked Messenger"
2. "Devotion"
3. "Shake, Shudder, Shiver"
4. "Stone"
5. "Around The Plynth"
6. "Flying"
7. "Pineapple And The Monkey"
8. "Nobody Knows"
9. "Looking Out The Window"
10. "Three Button Hand Me Down"
11. "Behind The Sun" (Outtake) *
12. "Mona - The Blues" (Outtake) *
13. "Shake, Shudder, Shiver" (BBC Session) *
14. "Flying" (Take 3) *
15. "Nobody Knows" (Take 2) *

LONG PLAYER
1. "Bad 'n' Ruin"
2. "Tell Everyone"
3. "Sweet Lady Mary"
4. "Richmond"
5. "Maybe I'm Amazed"
6. "Had Me A Real Good Time"
7. "On The Beach"
8. "I Feel So Good"
9. "Jerusalem"
10. "Whole Lotta Woman" (Outtake) *
11. "Tell Everyone" (Take 1) *
12. "Sham-Mozzal" (Instrumental - Outtake) *
13. "Too Much Woman" (Live) *
14. "Love In Vain" (Live) *

A NOD IS AS GOOD AS A WINK...TO A BLIND HORSE
1. "Miss Judy's Farm"
2. "You're So Rude"
3. "Love Lives Here"
4. "Last Orders Please"
5. "Stay With Me"
6. "Debris"
7. "Memphis"
8. "Too Bad"
9. "That's All You Need"
10. "Miss Judy's Farm" (BBC Session) *
11. "Stay With Me" (BBC Session) *

OOH LA LA
1. "Silicone Grown"
2. "Cindy Incidentally"
3. "Flags And Banners"
4. "My Fault"
5. "Borstal Boys"
6. "Fly In The Ointment"
7. "If I'm On The Late Side"
8. "Glad And Sorry"
9. "Just Another Honky"
10. "Ooh La La"
11. "Cindy Incidentally" (BBC Session) *
12. "Borstal Boys" (Rehearsal) *
13. "Silicone Grown" (Rehearsal) *
14. "Glad And Sorry" (Rehearsal) *
15. "Jealous Guy" (Live) *

BONUS LP
1. "Pool Hall Richard"
2. "I Wish It Would Rain" (With A Trumpet)
3. "Rear Wheel Skid"
4. "Maybe I'm Amazed"
5. "Oh Lord I'm Browned Off"
6. "You Can Make Me Dance, Sing Or Anything (Even Take The Dog For A Walk, Mend A Fuse, Fold
Away The Ironing Board, Or Any Other Domestic Short Comings)" (UK Single Version)
7. "As Long As You Tell Him"
8. "Skewiff (Mend The Fuse)"
9. "Dishevelment Blues"

* previously unreleased

JAWBOX S/T BACK ON LP AND CD SEPTEMBER 22

Jawbox was formed in Washington, DC in 1989 by guitarist/vocalist J. Robbins, bassist Kim Coletta, and drummer Adam Wade. The trio released their debut 7” in 1990 as a split between Dischord Records and their own label, DeSoto. Over the next three years, Jawbox put out two albums and three 7” singles. Grippe, released in ’91, was the band’s first full-length. Second guitarist/singer Bill Barbot joined the line-up in time to record ’92’s Novelty. Both albums were released on Dischord. Zach Barocas took over drumming duties that same year, performing on For Your Own Special Sweetheart, which was released in 1994 on Atlantic Records.

Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band’s fourth and final album.

If Sweetheart presented the band’s music in a straightforward and unembellished state, Jawbox found the group more open to experimentation. Arrangement-wise, it contains some of the band’s densest compositions (“Chinese Fork Tie”), but also some of its most concise and tuneful songwriting (“Excandescent”). While the basic tracks were recorded more or less live, the songs were later augmented with sounds – toy drum kit, Hammond B3 organ, and saxophone – that were outside of the band’s established palate.

“I feel like that’s our kind of kitchen sink record,” says Robbins. “Sweetheart was bare-bones – just the best, most perfectly played representation of the band playing those songs. By the end of that recording process, we had a groove on who was going to do what and we thought, ‘now we can consciously incorporate our weird influences from other places.'"

By the time S/T was released via the Atlantic subsidiary TAG in 1996, it had become clear that Jawbox was beginning to wind down. “That record coincided with us starting to really burn out,” says Robbins. “We didn’t even know what label we were on at that point. We had toured the USA to the extent that we were ever going to feel like we were doing something new.”

The band toured the album throughout the remainder of the year, but ultimately decided to call it quits, performing its final show in Rochester, NY on February 14th 1997.

“I think that we thought of it as our best record,” says Robbins. “Every other Jawbox record was, like, ‘We have 12 songs, lets go record.’ This was the one record where we had the sense that ‘Are we ready?’ – we had a vision about how things should be, followed it through, and pushed the envelope aesthetically for ourselves.”
Long out of print, Jawbox has been remastered by Dan Coutant at Sunroom Audio and will re-issued on vinyl, CD, and digital download on September 22nd by Dischord and DeSoto Records.

Tracklist:
1) Mirrorful
2) Livid
3) Iodine
4) His Only Trade
5) Chinese Fork Tie
6) Won't Come Off
7) Excandescent
8) Spoiler
9) Desert Sea
10) Empire of One
11) Mule/Stall
12) Nickel Nickel Millionaire
13) Capillary Life
14) Absenter

RASTAFARI - THE DREADS ENTER BABYLON 1955-83

http://www.soundsoftheuniverse.com/img/news/492/w/rastafarislve.jpg

Soul Jazz Records new album Rastafari: The Dreads Enter Babylon 1955-83 charts the many links between reggae music and the Rastafarian religion.

Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Ras Michael and The Sons of Negus, Bongo Herman, Roy Ashanti (The Congos), Earth & Stone, Mutabaruka and many more, this is an in-depth look at some of the most unique and righteous music ever made and comes complete with a 40+ page outsize booklet, containing exclusive photography and extensive historical and contextual sleevenotes.

The new religion of Rastafari emerged in Jamaica during a time of intense political and social change in the 1930s. The first stirrings of anti-colonialism and workers’ rights were in motion, while Marcus Garvey’s Back-to-Africa movement was beginning to wane. But the pivotal catalyst to the birth of the Rastafari faith was the crowning of a black king in Africa in 1930.

One of the earliest mentions of Ethiopia in Jamaican music can be found on mento singer Lord Lebby and the Jamaican Calpysonians’ 1955 recording ‘Etheopia’. In the song Noel Williams, aka Lord Lebby, discusses Ethiopianism, the political movement that calls for a return to Africa for black people.

The 1960s saw the emergence of the first Rastafarian music on record with Count Ossie’s Rastafarian drummers. The visit of Haile Selassie to Kingston in 1966 was like an electric current throughout Kingston’s music scene – many of who had become adherents to the Rastafari faith. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, led by the success of Bob Marley and The Wailers.

At the source of the music of Rastafari is the figurehead master drummer and leader Count Ossie, who first bought the deeply spiritual nyabinghi and burro rhythms heard and played at sacred Rastafarian grounation (reasoning) sessions into popular Jamaican music through his many collaborations and performances with artists – from The Skatalites to The Folks Brothers - and producers – including Clement Dodd, Prince Buster and Harry Mudie.

At the start of the 1970s Count Ossie formed the Mystic Revelation of Rastafari with saxophonist Cedric Brooks, which immediately became the most significant group of the Rastafari faith, bringing together authentic rasta nyabinghi drumming together with spiritual and avant-garde jazz influences of Sun Ra, John Coltrane and Albert Ayler into a truly unique and groundbreaking sound.

As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.

This album comes in three separate formats: Deluxe CD with slipcase and 40-page outsize booklet, deluxe limited-edition heavyweight gatefold-vinyl edition + free download code (w/full sleeve notes etc) and as a worldwide digital release.

Tracklisting:
1. Count Ossie and The Rasta Family - Africa We Want Fe Go (1.27)
2. Johnny Clarke - None Shall Escape The Judgement (3.37)
3. Laurel Aitken - Haile Selassie (3.14)
4. Count Ossie and The Mystic Revelation Of Rastafari - Tales Of Mozambique (5.37)
5. Ras Michael and The Sons Of Negus - Booma Yeah (5.39)
6. Mutabaruka - Say (1.13)
7. Bongo Herman and Jah Lloyd - African Drums (3.32)
8. Ashanti Roy - Hail The Words Of Jah (3.49)
9. Count Ossie and The Mystic Revelation Of Rastafari - Sam's Intro (3.36)
10. Bongo Herman, Les and Bunny - Salaam (3.05)
11. Winston and Ansell - Zion I (3.44)
12. Techniques All Stars - Zion I Version (3.21)
13. Lord Lebby and The Jamaican Calypsonians - Ethiopia (2.59)
14. Count Ossie & Leslie Butler - Soul Drums (2.47)
15. The Heaven Singers - Rasta Dreadlocks (3.02)
16. Rod Taylor - His Imperial Majesty (3.12)
17. Q.Q. - Betta Must Come (3.48)
18. Earth & Stone - Jah Will Cut You Down (3.22)
19. Count Ossie & The Mystic Revelation Of Rastafari - Narration (9.03)
20. Ronald Downer and Count Ossie - A Ju Ju Wa (3.34)

Holy Moly, gotta check that, esp. any w Cedric Brooks.

On Monday, July 20th, we received the tragic news that Dieter Moebius had passed away. We at Grönland have had the pleasure to have worked very closely with Dieter in recent years and we will miss him dearly. We knew about his illness and despite this, he continued working closely on the box set with us. He and Grönland always wanted the box to be a statement of this incredible music and of life itself.

Dieter was not only an extraordinary musician, but also a wonderful person with a very special sense of humor.

Our thoughts go out to his family.

Grönland Records

********************

July 22, 2015
For Immediate Release

HARMONIA ANNOUNCE COMPLETE WORKS VINYL BOX SET, OUT OCTOBER 23RD ON GRÖNLAND

CONTAINS 5 RECORDS (ONE PREVIOUSLY UNRELEASED), 36-PAGE BOOKLET,
POSTER, POP-UP AND DOWNLOAD CODE

http://www.harmonia1973.com/

Few bands match the pastoral beauty and majesty of Krautrock supergroup Harmonia, the visionary German band that existed from 1973 to 1976 and brought together Dieter Moebius and Hans-Joachim Roedelius of Cluster, and Michael Rother of NEU!. Though Harmonia was not very well known during their lifetime in their native Germany, their music soon captured the attention of Brian Eno, David Bowie, and other high profile admirers overseas. Eno was so captivated by Harmonia — he once famously called them the “world’s most important rock group” — that he briefly joined the band, recording music with them in 1976.

On October 23rd, Grönland Records will release the entire Harmonia back catalog as a five vinyl box set, including previously unreleased material recorded 40 years ago at Harmonia HQ: Forst, Lower Saxony, Germany.

The box set includes all available records ever made by Harmonia:

Musik von Harmonia (1974)
Digitally remastered

Deluxe (1975)
Digitally remastered

Harmonia and Eno ‘76’s Tracks and Traces
Double vinyl including the "lost" Brian Eno recordings, which were found and originally released in 1997

Live 1974

Documents 1975
Previously unreleased recordings from Hamburg gigs and two studio tracks from Forst

Plus extras:
A lush 36-page booklet including previously unreleased photography documenting the history of Harmonia
The original Harmonia live poster
A beautiful pop-up artwork presenting the Harmonia headquarters in Forst
A download code for all of the songs in the box set


The story begins in 1971, when Dieter Moebius and Hans-Joachim Roedelius moved from Berlin to the wilds of Forst, deep in the countryside of Lower Saxony, next to the Weser River. In Forst, they made their homes within three grand, crumbling houses built several centuries ago. Michael Rother visited Forst in in early 1973. As he recalls, “When Klaus Dinger and I tried to put NEU! on stage in ’72 in Düsseldorf after releasing the first album, it was impossible to find the right musicians for touring because nobody understood our ideas. I remembered Cluster and their track ‘Im Süden,’ and because I saw similarities in the harmonic approach I decided to pay them a visit in Forst.” Rother brought his guitar along, and jammed with Roedelius. “The two instruments we played together immediately clicked, and so I decided to put NEU! on hold. Roedelius and Moebius were equally excited about the idea of the three of us working together and so six weeks later, I left Düsseldorf and NEU! behind and moved to Forst.”

Life in the rambling, rural environs of Forst was as much about surviving with little money as it was about making music. “It’s a very important part of the game that we were able to live at that place, in that beautiful island of silence and beauty, surrounded by cows and horses and geese and pigs,” says Roedelius. “Going to the forest and cutting wood and doing the gardens, that was part of it.” Indeed, the music of Harmonia is part and parcel of the lush landscape of Forst, and its communal spirit.

The differences in musical temperament between the three were clear from the outset. Rother was the only one who had something resembling musical training. Moebius, meanwhile, had noisier, more anarchic inclinations. Roedelius was more overtly romantic and melodic, but his approach to making music had more in common with Moebius than with Rother.

Harmonia released their debut album, Musik von Harmonia, in 1974. They recorded and mixed the album themselves in Forst. "We had three [tape] machines, Revox type, and a very primitive mixer,” says Rother. “The advantage was we could work whenever we wanted and didn‘t have a studio clock ticking away. The record sales, however, were very disappointing, our love for the music was not echoed by the public." The striking Pop Art cover of a detergent bottle, designed by Moebius, gave the band an instantly iconic and modern look.

Harmonia’s second album, Deluxe (1975), was co-produced by the brilliant producer and engineer Conny Plank, who had worked with NEU!, Cluster, Kraftwerk, and many other bands. Deluxe was recorded on Plank’s equipment in Forst in the summer of 1975, and mixed at his studio near Cologne soon afterwards. As described by Rother, “We didn‘t have to push [Conny] to experiment; we were all on the same level. Everybody was looking for new expressions, a new way of creating the sound . . . I remember some really wonderful moments, because he was so talented in picking up your ideas. We never theorized about music, we were intuitive players, musicians.” Deluxe is a breathtaking album, a clear departure in style. It was the most “pop” that Harmonia ever became, with tighter song structures than the more sprawling landscapes of Musik von Harmonia.

After struggling for months about the direction the music of Harmonia should take, Harmonia split up in 1976, but the group briefly reunited later that year to record in Forst with Eno. After the sessions with Eno, the group went their separate ways. Their music has inspired generations of musicians and these days it appeals to audiences, young and old, in a way Roedelius, Moebius and Rother couldn’t have imagined in the 1970s. Despite the differences, there was a shared vision with Harmonia, too. “We were all different individuals — that was clear from the beginning,” says Rother. “But we were similar in our wish for freedom: freedom in the way we chose to live, and in our wish to be independent from record companies and to live a free life.” Harmonia lives on as a document of that magical time in Forst.