Rolling Reissues 2015

Are starting to show up

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JELLYFISH’S BELLYBUTTON AND SPILT MILK,
TO BE REISSUED ON OMNIVORE
AS DELUXE TWO-CD SETS JANUARY 20, 2015
Remastered for first time,
and featuring a staggering 51 bonus tracks
LOS ANGELES, Calif. — Indie pop-rockers Jellyfish only released two albums in their short existence. Following Omnivore Recordings’ vinyl reissues of those titles in 2012, the Jellyfish Army has been reawakened and re-energized. Three never-before-available albums — Live at Bogart’s, Stack-a-Tracks, and Radio Jellyfish —helped keep the legacy alive.
The story now comes full circle with the expanded deluxe CD editions of Bellybutton and Spilt Milk, available from Omnivore on January 20, 2015 in North America.
Both titles have been expanded to two discs and include the original albums in their entirety fortified with a colossal 51 bonus tracks spread among the packages. With tracks from the demos to the albums to the tours, these releases are the ultimate Jellyfish experience.
Jellyfish’s 1994 debut, Bellybutton, has been remastered for the first time for the deluxe reissue. The full-length is joined on the first CD of the set by ten live performances recorded during that album’s tour. These tracks include Jellyfish originals, as well as covers of songs from Paul McCartney & Wings and The Archies. The second disc of the set is composed of demos — nine that would end up on Bellybutton and one eventually recorded for Spilt Milk, as well as others of which studio versions were never cut, and a cover of Donovan’s “Season of the Witch.” This disc will also be available digitally worldwide as The Bellybutton Demos on the same date.
The band’s follow-up, Spilt Milk, is also treated to a revelatory remastering, with the first disc adding eight demos of songs considered for, but not recorded for the release. The second disc contains demos for the album tracks, four live performances from the tour, the last studio recording from the band (a cover of Harry Nilsson’s “Think About Your Troubles”), and a special message from Jellyfish recorded in the studio during the album’s creation and originally sent to fan club members.
Both releases feature expanded artwork with photos and memorabilia. Essays from Ken Sharp (author of books on KISS, John Lennon & Yoko Ono, Eric Carmen and more) incorporate new interviews with Andy Sturmer, Roger Joseph Manning Jr., and Jason Falkner from Jellyfish, as well as the albums’ producers. Sturmer and Manning also provide track-by-track commentary on the original album tracks.
According to the band’s Roger Joseph Manning, Jr., “It's so great to have both albums remastered and available again. We know that the fans have been looking for the tracks that only appeared on a long out-of-print boxed set, so many of those outtakes, demos and live tracks have been added to make these expanded deluxe two-CD sets as comprehensive as possible.”
the Jellyfish trailer:
http://youtu.be/fIuJylga2FI

From Smog Veil:

hearpen.com has a new release this month: a season-appropriate reissue of Monster Walks The Winter Lake by David Thomas and the Wooden Birds. Here's what we know of it: This is the 2014 David Thomas revision of the original 1986 two track digital recordings. Nearly six hours worth of tape were reviewed to come up with the definitive version.

This album was recorded live in the studio to two-track digital tape at Suma on November 18, 20 and 21, 1985. No overdubs or drop-ins. If something went wrong then we started again. Fostex X-15 and Tascam 144 multitrack cassette recordings were used as real time accompaniments for Coffee Train, My Town, Monster Magee and Monster Thinks About The Good Days.
Some audio previews & more info:http://hearpen.com/hr181.html

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Oops out this month! Better news.

I got one more coming up on Acute, should be out in 2015. Probably the last one, at least for a longwhile.

Thanks Dan, please post info whenever's right!

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DAIS RECORDS TO RE-ISSUE
WILLIAM S. BURROUGHS
NOTHING HERE NOW BUT THE RECORDINGS

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In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard.

During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations.

By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as “Nothing Here Now but the Recordings”. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Dais Records is honored to have worked with the Estate of William S. Burroughs to finally reissue, for the first time since its original release in 1981, a proper album reissue of William S. Burroughs “Nothing Here Now but the Recordings” in its original vinyl format to celebrate the centennial anniversary of Burroughs. Fully remastered from the original master tapes in a limited edition of 1,000 vinyl copies.

Interview w Genesis P Orridge about this project
https://www.youtube.com/watch?v=1H3NCqEbgjU

Sorry, here's date

Available January 2015

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Lead Belly: The Smithsonian Folkways Collection
Lead Belly SFW40201

Lead Belly: The Smithsonian Folkways Collection, the first career-spanning box set dedicated to the American music icon, will be released on February 24, 2015.

Lead Belly is “the hard name of a harder man,” said Woody Guthrie of his friend and fellow American music icon who was born Huddie Ledbetter (c. 1888–1949). From the swamplands of Louisiana, the prisons of Texas, and the streets of New York City, Lead Belly and his music became cornerstones of American folk music and touchstones of African American cultural legacy.

With his 12-string Stella guitar, he sang out a cornucopia of songs that included his classics “The Midnight Special,” “Irene,” “The Bourgeois Blues,” and many more, which in turn have been covered by musical notables such as the Beach Boys, Creedence Clearwater Revival, Van Morrison, Nirvana, Odetta, Little Richard, Pete Seeger, Frank Sinatra and Tom Waits. Lead Belly: The Smithsonian Folkways Collection brings us the story of the man as well as the musician. 5 Discs, 108 tracks (16 unreleased), 5 hours of music, historic photos, extensive notes, and 140-page book. More info: http://www.folkways.si.edu/leadbelly

That link also has audio previews, incl to the prev. unreleased “Been So Long (Bellevue Hospital Blues).”

This was not my fave track on There's A Dream I've Been Saving..., but LHI/LITA junkies might wanna check his forthcoming Dreams and Images(Jan 13)

https://www.youtube.com/watch?v=C3NOBAYprRE

Press page, w bio & audio samples: http://lightintheattic.net/releases/1556-dreams-and-images

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DEFINITIVE COLLECTION OF STAX RECORDS’
SINGLES TO BE REISSUED

Two volumes, due out December 16, 2014
and Spring 2015, cover 1968-1975.

Volumes to be made available digitally for first time.
The Staple Singers with Booker T. & the MGs
LOS ANGELES, Calif. — Concord Music Group and Stax Records are proud to announce the digital release and physical reissue of two comprehensive box set titles: The Complete Stax/Volt Soul Singles, Vol. 2: 1968-1971 and The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975. Originally released in 1993 and 1994, respectively, these two compilations will be re-released back into the physical market in compact and sleek new packaging. Each set includes full-color booklets with in-depth essays by Stax historian and compilations co-producer Rob Bowman. The volumes feature stalwart Stax R&B artists including Isaac Hayes, the Staple Singers, Rufus Thomas, Johnnie Taylor, Carla Thomas, the Bar-Kays and William Bell, as well as bluesmen Little Milton, Albert King and Little Sonny, and “second generation” Stax hitmakers like Jean Knight, the Soul Children, Kim Weston, the Temprees, and Mel & Tim. Many of the tracks included in these collections will be made available digitally for the very first time.

The story of the great Memphis soul label Stax/Volt can be divided into two distinct eras: the period from 1959 through the beginning of 1968, when the company was distributed by Atlantic and was developing its influential sound and image (chronicled in acclaimed 9-CD box set The Complete Stax/Volt Singles 1959-1968, released by Atlantic in 1991); and the post-Atlantic years, from May 1968 through the end of 1975, when Stax/Volt began its transition from a small, down-home enterprise to a corporate soul powerhouse.
Eddie Floyd
In Stax’s early years as an independent label, founders Jim Stewart and Estelle Axton struggled with the loss of its back catalog to Atlantic/Warner Brothers Records and the loss of the label’s most lucrative artist, Otis Redding, who tragically died in a plane crash months before. In need of funding and new stars, Axton and Stewart sold the label to Gulf + Western, bringing on promotion head Al Bell (who would soon become an equal partner and major figurehead of the label). In his Vol. 2 essay, Rob Bowman recalls, “As the sun arose in Memphis on May 6, 1968 [the day Stax officially became independent of Atlantic], Stax had been essentially gutted. For all intents and purposes it was a new record company poised to issue its first few records.”
Comprised of nine CDs, Vol. 2 focuses on this period, 1968 through 1971, when Stax/Volt was forging ahead as its own entity. The 216-song collection includes all of the singles issued by the label during this time period, and features some of the biggest and best-loved hits of the day, including Isaac Hayes’ “Theme From Shaft,” The Staple Singers’ “Respect Yourself” and Johnnie Taylor’s “Who’s Making Love,” as well as a number of little-known gems by both major and less-familiar artists.
Eddie Floyd
By the end of 1971, Bowman notes, “Al Bell’s dream of [Stax/Volt] becoming a diversified full-line record company was several steps further along the line to being reality. The label now recorded a wealth of different styles and flavors of black popular music, ranging from the jazz and easy-listening proclivities of Isaac Hayes to the blues of Little Milton to the ’70s disco-infused vocal style of the Dramatics to the gutsy soul of the Staple Singers.” Indeed, the early 1970s found Stax/Volt a much bigger entity than ever thought possible during its initial split from Atlantic, with Isaac Hayes as its breakout star. Spurred by the success of Hayes’ GRAMMY Award-winning Shaft soundtrack in early 1972, the label was casting its net across a wide cross section of the entertainment industry, entering into new territory with soundtracks, comedy records, and even investing in a Broadway play. The Complete Stax/Volt Soul Singles, Vol. 3: 1972-1975, out coming Spring 2015, covers this era of success and excess, when Stax’s stars were shining bright, but the label was on the verge of its dramatic denouement. The 10-disc box set contains all 213 soul singles issued by Stax/Volt during this time, including such hits as Shirley Brown’s “Woman to Woman” and the Staple Singers’ “I’ll Take You There.
Shirley Brown
In 1976, faced with involuntary bankruptcy and an unsuccessful distribution deal with CBS Records, Stax was forced to close its doors. In his liner notes for Vol. 3, compilation co-producer Bill Belmont writes, “Stax’s difficult and inglorious end in no way diminishes its vital contributions to rhythm and blues and soul. Today, the music of Stax maintains a strong and steady presence, heard continually in cover versions by major artists, in movies and on television. Simply put, the Memphis Sound lives.” And indeed it does.
With a revival of the label in recent years, through Fantasy Records, the 2003 opening of the Stax Museum of American Soul Music in Memphis, Tenn., as well as several developing theatrical performances around the label, the music of Stax will continue to influence generations of musicians and fans alike.

# # #

For a complete track listing, as well as packaging shots and artist images, please visit our Online Media Kit: http://mediakits.concordmusicgroup.com/p/completestaxsingles/

Also Soundcloud: https://soundcloud.com/concordmusicgroup

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CAMPER VAN BEETHOVEN’S 2004 REUNION ALBUM,
NEW ROMAN TIMES, IS EXPANDED
AND REISSUED BY OMNIVORE
February 24, 2015 release to be available on CD, digital
and for the first time ever, LP.
Features new liner notes from band’s David Lowery.
LOS ANGELES, Calif. — Camper Van Beethoven, one of America’s premier indie rock bands since forming in 1983, reunited in 2000 following an inactive period from 1990-99, and seized the opportunity to record and release a pair of records (Camper van Beethoven Is Dead, Long Live Camper Van Beethoven; Tusk). But it was 2004’s New Roman Times that was the “official” document of the band’s reformation.
As David Lowery states in the liners for the New Roman Times reissue, that album was “the one that got all the press and fanfare. And it was a good thing, because it was an extremely ambitious record.”
Omnivore Recordings is proud to celebrate New Roman Times by presenting an expanded reissue on CD, Digital and double LP (with download card). Released in association with the band, and following in the footsteps of last year’s Omnivore reissues of Our Beloved Revolutionary Sweetheart and Key Lime Pie (both still available on CD and LP), New Roman Times features new artwork, extensive notes from Lowery and four previously unissued tracks culled from the sessions. Street date is February 24, 2015.
This definitive edition of Camper Van Beethoven’s “sci-fi alternate-reality rock opera” not only brings the fan favorite to vinyl for the first time, but expands and presents all formats in a way that proves these are indeed New Roman Times.
“New Roman Times is a sci-fi alternate-reality rock opera. It is intended as a political farce, a sarcastic commentary on the whole notion of a red state/blue state America. It is not directly a commentary on the Iraq war, although much of it reads that way,” Lowery explains in the liners.
“With tongue firmly in cheek, I created a world where the Christian Republic of Texas opportunistically intervenes in the Republic of California’s civil war. The story is told through the eyes of a young soldier in the Army of Texas. My sympathy lies more with the Republic of California, but as usual, I wanted to tell the story through the eyes of ‘the other,’ the Young Texan. I was torn. In real life, I was born in Texas but raised in California. So once again, it’s me doing battle with myself. All fiction is autobiographical . . . It was really fun to make this record. Once we had the concept, the record came together quickly. It was nearly effortless. It was like Camper Van Beethoven had not been dormant for 10 years.”
The band continues to perform and tour, often touring with Cracker (containing Lowery and for a time CVB member Victor Krummenacher). In 2005, the two bands launched an annual three-night “Campout” at Pappy and Harriet’s Pioneertown Palace in Pioneertown, Calif. The Campout has hosted appearances by Built to Spill, Neko Case, Magnolia Electric Company, and John Doe, as well as sets from the individual members of the band.
Track Listing:
1. Prelude
2. Sons of the New Golden West
3. 51-7
4. White Fluffy Clouds
5. That Gum You Like Is Back in Style
6. Might Makes Right
7. Militia Song
8. R ’N’ R Uzbekistan
9. Sons of the New Golden West (Reprise)
10. New Roman Times
11. The Poppies of Balmorhea
12. The Long Plastic Hallway
13. I Am Talking to This Flower
14. Come Out
15. Los Tigres Traficantes
16. I Hate This Part of Texas
17. Hippy Chix
18. Civil Disobedience
19. Discotheque CVB
20. Hey Brother
Previously Unissued Bonus Tracks:
21. Los Tigres Dub
22. Alien Ghost Song
23. It’s Gonna Rain
24. Might Makes Right Dub

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RON NAGLE’S BAD RICE ALBUM TO BE REISSUED
IN 2-CD COLLECTION BY OMNIVORE RECORDINGS
ON JANUARY 27, 2015
The San Francisco songwriter, musician and sculptor’s cult solo album,
with guests Ry Cooder and Sal Valentino.
Jack Nitzsche and Bay Area DJ Tom Donahue produced.

LOS ANGELES, Calif. — After a stint with San Francisco rock group the Mystery Trend in the mid-’60s, and before his later work with musical partner Scott Mathews (together known as Durocs), artist and maverick songsmith Ron Nagle made one, now legendary, solo album.
Released in 1970, Bad Rice remains a classic showcase for Nagle’s trademark blend of Stones-y raunch, Beach Boys lilt and Newman-esque black humor.
Now Bad Rice will be reissued — on CD for the first time — by Omnivore Recordings, in expanded form. The set includes alternative mixes and outtakes from the album, along with an entire second disc of 14 period demos drawn from the archives of Ron Nagle, as well as detailed liner notes by longtime Nagle observer Gene Sculatti, with new interviews and many previously unseen photos. Street date is January 27, 2015.
The record included guest appearances by Ry Cooder, and Sal Valentino of the Beau Brummels. It was produced and arranged by the legendary Jack Nitzsche (Phil Spector, Neil Young, Rolling Stones), along with Nagle’s mentor, legendary S.F. DJ Tom “Big Daddy” Donahue. Though released to great critical acclaim at the time, Bad Rice came and went without much impact. Those who trusted the roll that the white-hot Warner Bros. label was on at the time picked it up and have lauded the album’s unique song craft and picaresque character sketches ever since. Thus, the cult of Bad Rice came about.
A true renaissance man, Nagle has subsequently become one of the world’s foremost sculpture artists, winner of numerous awards and grants, while keeping a hand 
in music as a songwriter for others (Barbra Streisand, The Tubes, Sammy Hagar, Dave Edmunds, and Leo Kottke, among others). Additionally, Ron worked as a sound designer in film (Cat People, The Exorcist).
“How can you trust someone to be the least bit rational about a record that’s been the object of his unwavering affection for over 40 years?” asks annotator Sculatti in the set’s expansive liners. “Actually, there are plenty of folks just as untrustworthy as me. In the late ’90s, when Billboard magazine asked its readers which vinyl LPs they most wanted reissued on CD, Bad Rice topped the list. It showed up again in 2004 in the obscure-albums book Lost in the Grooves, which declared the album “a true original of Americana pop” and praised
 Ron Nagle’s ‘brilliant writer’s eye for the details of strange people’s lives and times.’

“A lot of us never stopped believing. We’ve clung to our battered copies of Warner Bros. WS 1902 all these years. But many potential fans were denied the pleasures of Bad
 Rice altogether. Until now.”
Disc One: Bad Rice
1. 61 Clay
2. Marijuana Hell
3.Frank’s Store
4. Party In L.A.
5. That’s What Friends Are For
6. Dolores
7. Capricorn Queen
8. Sister Cora
9. Somethin’s Gotta Give Now
10. Family Style
11. House Of Mandia
12. Berberlang
13. Francine
14. Frank’s Store (Alternate Mix)
15. Dolores (Alternate Mix)
16. Bad Rice Radio Spot 1
17. Bad Rice Radio Spot 2
Disc Two: Pre-Cooked / Converted: The Bad Rice Demos
1. From The Collection Of Dorothy Tate
2. 61 Clay
3. People Have Told Me
4. Out In The Hall

5. Showdown

6. Say My Name

7. Half As Much

8. Who You Gonna Tell
9. So Long Johnny
10. Sleep For Me
11. Rudy My Man
12. Wasted Paper
13. Alice Valentine
14. Saving It All Up For Larry
# # #
Watch (and feel free to post) the video trailer:
http://youtu.be/SQNJr_viD2A

Bad Rice has some the ugliest album art you wish you never saw.

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The Rough Guide To Psychedelic India
Various

Rough Guide, RGNET1332DD, 26 January 2015

Indian music was hugely influential on Western psychedelia and the feeling was mutual. On this mind-expanding Rough Guide, hallucinatory sounds drift in and out of drones and ragas, ranging from the lysergic sitar of Ananda Shankar and trippy Bollywood vibes of the 1970s to more recent concoctions by Sunday Driver and The Bombay Royale.

Compiled by: DJ Ritu

he first musical whispers of India’s burgeoning influence on Western popular music were heard in 1965 when The Beatles’ George Harrison added the sounds of a sitar to the Rubber Soul album track ‘Norwegian Wood (This Bird Has Flown)’. Soon everybody from The Yardbirds and The Rolling Stones to Sergio Mendes and The Byrds was reflecting an Indian influence. During these years in India, drug culture wasn’t flooding its shores, but the country was undergoing its own transformation – the 1960s saw the advent of a DIY garage band scene.

When compiling this Rough Guide, DJ Ritu cast her psychedelic net wide into the diaspora and the modern day. This album pays homage to the swinging 1960s history whilst forging the journey onwards into psychedelia’s present-day incarnations.

Beginning the mix was easy; Ritu knew instinctively Ananda Shankar’s ‘Dancing Drums’ was first on her list, the LP was a rare find, hotly desired on the Asian Underground scene. Other vintage finds on this album include R.D Burman’s Bollywood hit ‘Dum Maro Dum’ from the film Hare Rama Hare Krishna. In the film the protagonist, sung here by the inimitable Asha Bhosle, takes deep drags on a large chillum before dancing floppy limbed amidst a throng of her beatnik friends. ‘Dance Music’ is another throwback Bollywood number by brother composer duo Kalyanji & Anandji.

Other tracks on the album root the listener firmly back in the present day and launches into the music of India’s vast diaspora. Sunday Driver set out their Indian shades of influence against a backdrop of Sgt. Pepper-ish Victoriana. The Bombay Royale are an eleven-piece Australian band inspired by old school Bollywood soundtracks.
More introspective expressions come from Ray Spiegel Ensemble with their low tempo track ‘Moksha’. Paban Das Baul performs music of the Bauls, the wandering spiritual musicians of Bengal and is heard on ‘Kaliya’.

Lose yourself in this collection of far out sounds – soaring sitars, tremulous tabla, distorted deep-set drones and unbound improvisations, all twisted through a rock and roll edge.
https://soundcloud.com/world-music-network

Track List

01 Kalyanji & Anandji: Dance Music (Instrumental)
02 Ananda Shankar: Dancing Drums
03 Sunday Driver: Satyam Shivam sund4ram
04 The Bombay Royale: Bombay Twist
05 Simon Thacker's Svara-Kanti: Rakshasa
06 Tiger Blossom: Brishtir Pani
07 Asha Bhosle: Dum Maro Dum
08 Paban Das Baul: Kaliya
09 Jazz Thali: Chamber Of Dreams
10 Jyotsna Srikanth: Thillana
11 Ray Spiegel Ensemble: Moksha
12 Debashish Bhattacharya Feat. John McLaughlin: A Mystical Morning

Total Playing Time: 67:45

https://www.youtube.com/watch?v=qXBw2Y-K1lg#t=447

CD Available: February 2, 2015
LP Available: March 6, 2015

Every artist has a piece of work that niggles them—something that they wish they could redo, given the chance. It’s why Paul McCartney once reproduced Let It Be and why Kate Bush re-recorded Wuthering Heights for her best-of album. For the prolific Michael Chapman, that album is Window, the missing link in the series of Chapman’s early albums being reissued by Light In The Attic Records. Window sits just after the previously released Fully Qualified Survivor and Rainmaker, right before Wrecked Again.

In 1970, signed to the hip Harvest label (home to Kevin Ayers and Syd Barrett, among others), Chapman was still an artist waiting for that first big success, perpetually skint and permanently touring to make ends meet. With that in mind, he aimed to make Window in as little time as possible because being in the studio meant not being on the road. Producer Gus Dudgeon–who’d been working with Elton John–had other ideas and booked Chapman and his band into one of the UK’s most expensive studios, Trident.

The singer-songwriter and prodigious guitarist was in transition from his folkier origins to his heavier future and heading for a whole mess of trouble with the same year’s Wrecked Again. Given the touring bust-ups and tortured recording sessions to come, Michael’s wife Andru Chapman remembers the recording of Window was noted for a “lack of hiccups. No one threw their toys out of the pram, unlike Wrecked Again.” Recorded with U.S. guitar player Phil Greenberg, violin player Johnny Van Derek, and pianist Alex Atterson, the album has a blend of electric and acoustic instruments, both traditional and experimental at once, synthetic sounds melding with finger-picked guitars.

The trouble came later. Immediately after recording finished, Michael took the band back out on the road with the understanding that as soon as he got back, he’d put the final acoustic guitar tracks down to replace what he’s always said were only guide tracks. Unfortunately, Harvest’s parent label decided the album was finished and pressed it up anyway. And Chapman, as a result, hates it. Indeed, 34 years later he even set out to right the wrong, re-recording parts of the LP and noting it was a strange experience listening to “dead people on the between-track studio chatter” (Dudgeon, engineer Robin Cable, and drummer Richie Dharma have all since passed).

As part of Light In The Attic’s revival of Chapman’s early career, however, the album is presented as was originally released, with Michael’s blessing and albeit with two CD-only bonus tracks. Andru notes, "Warts and all, it is an important part of the Michael Chapman: The Early Years story.” Michael has been less diplomatic in talking about the album. "It is a piece of my history for those interested in that, even though I think it sounds like a piece of crap,” he says.

We’re loathe to disagree with him, but, well, why don’t you take a listen and decide for yourselves?

Contextualizing essay by Michael’s wife, Andru Chapman, featuring unseen archive photos
Remastered from the original tapes
LP housed in a deluxe Stoughton gatefold “tip-on” jacket
Color vinyl editions:
200 on “white" wax (LITA Vinyl Subscriber exclusive)
200 on “window clear” wax (LITA.net pre-orders exclusive, limit 2 per customer)

Also, there are two CD-only bonus tracks. Check all tracks here:
http://lightintheattic.net/releases/1569-window

Gee, I always really liked Window as it was... Interested to hear this though.

The Sunday Painters
In My Dreams
Whats Your Rupture/Terminal
LP available now

The Sunday Painters were wide-ranging DIY art-punks. Operating out of Wollongong, Australia in the early 80s, they seemed to want to be every band from the Velvet Underground to King Crimson to the Sex Pistols to Throbbing Gristle. And they wrote catchy, often beautiful, songs, the greatest of which are also commentaries on the costs of containing such multitudes.

But few people heard them. Wollongong was a working-class town, and the Painters had to make and distribute their three singles and two LPs in editions of 250 or 500 copies on their own Terminal Records. Combine that scarcity with their rapid shifts from pop to punk to industrial, and it’s easy to understand that anybody who even found the records might have been daunted by the vast claim of a band tethered just enough to London and New York to know what was afoot there, but sufficiently distant to go off on a marsupial evolution all their own.

The Sunday Painters were formed in late 1978 by Peter Raengel and Peter MacKinnon. Their first single, 1979’s Alternatives To Perfection, was a garage-DIY take on the Velvets. For their next single, 1980’s Painting By Numbers, they recorded a crunching, electro-punk cover of Bowie’s “Rebel Rebel” that got modest airplay on Sydney’s 2JJJ. Their final 7”, 1981’s Three Kinds Of Escapism, led with “Let’$ Be Moderne,” which combined wistful backing vocals by bassist Kerrie Erwin, a spiky “post-modernist guitar solo,” and a steelworker’s metallic bashing to create a snappy, industrial pop-punk classic.

Now, Whats Your Rupture (Parquet Courts, Royal Headache), in partnership with Terminal Records, is thrilled to release an LP compilation of the Painters’ three DIY singles. Transferred from the original reels and remastered. Included are an oversized, newsprint poster and a download code for the LP’s tracks, plus nine more from the handmade cassette of a 1983 show recorded live at Melbourne’s Venetian Room.

In the spring of 2015, Whats Your Rupture and Terminal will reissue the Painters’ two albums: Something To Do (1982), and 4th Annual Report (recorded 1983, released 1985).

For fans of the Homosexuals, Total Control, SPK, Swell Maps

Streamable audio here:

http://noisey.vice.com/en_au/blog/stream-the-of-the-sunday-painters-early-80s-diy-punk

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There's a remastered version of Joe Byrd and The Field Hippies lp The Metaphysical Circus coming at the end of March on Esoteric.
I think there was a cd reissue in the mid 90s on One Way but haven't heard of anything since.
I had seen somebody mention listening to the lp recently and wondered if anybody would get around to remaster/reissue it since United States of America seems popular. It changes somewhat from that earlier project, lacks female vocals as far as I recall.
I think there's an almost complete change in lineup, but USA seemed not to be a stable unit anyway. I think there are 3 lineups including bonus tracks on a cd version I have covering about a 9 month period.

Bridget St John has a 4cd set of her 3 Dandelion lps & some BBC sessions released in February. I know there were individual releases of the lps about a decade back. I'm not sure if these are those masters or not. The set is listed on the Cherry Red site at £13.95 and may be cheaper elsewhere.
Her voice has been likened to Nico and she mined a similar individualistic semiacoustic quasi-folk area to people like Nick Drake, John Martyn, Duncan Browne, Shelagh McDonald etc.

There is also word of the release of a box set called Another Splash of Colour. This is an expansion of the early 80s various artists set A Splash Of Colour which celebrated the Groovy Cellar/Groovy Movie wave of new psychedelia. This was a progression for a lot of bands who'd got together as mod revival or punk bands in the late 70s/early 80s.
There has been no tracklisting released yet but it's 3cds on Cherry Red. So if it does contain the complete original lp there's still 2.5cds to fill.

Sumdazed found a more complete set of tapes for the Shadows of Knight's 66 Live at The Cellar set so are releasing that this month. It has allowed them to correct the tracklist order to the sequence the songs were performed in. It's also further remastered, as finding better tapes would hopefully mean.

Sundazed also have a live '66 Standells set out this month.

Wish somebody'd find some similar era live Chocolate Watchband recordings

There's female vocals on the Field Hippies lp.

Right, it's just that it isn't Dorothy Moscovitz's great voice. Are they anywhere near as good?
& what do you think of the lp?

It's definitely seeker and more wonky but has some great stuff. I think there's a song or two that stick with me. The one w female vocals moon song pelog or something? I'm not at my computer now. Pretty Balinese tinged soft psychedelia type stuff.

veddy interesting wiki (wonder who wrote it)claiming that fans of United States of America's s/t and Joe Byrd and the Field Hippies' American Metaphysical Circus often much preferred one album to the other, and that the latter album was much more popular, remaining in catalogue for 20 years, 'til the late 80s, then as CD on '96, while The USA was cut out soon after its release (eventually also on CD a couple times: the 2004 edition has several bonus tracks, according to wiki). I've only heard the original United Stated of America(which also includes a track titled "The American Metaphysical Circus"), and liked it very well especially the xpost soft psychedelia, like "Love Song For The Dead Che." A variety of approaches, not all of them equally successful, but good tries, and Moskowitz sounds ready for it all. Would like to hear the Field Hippies too: http://en.wikipedia.org/wiki/The_American_Metaphysical_Circus
Stevo, thanks for word on the Sunday Painters reissue series, and St. John's; heard some great tracks at the dawn of the acid folk 00s, but still need to check out her albums

that opening suite on the field hippies album almost reaches the heights of the usa in my opinion, but after that it gets a lot more spotty (the nadir being leisure world). the sundazed reissue of the usa stuff pretty much definitive, though i read an interview recently that byrd wasn't particularly happy with it and had little involvement outside of penning some liners (given the inclusion of some of the post-byrd tracks, maybe understandable).

i do remember the field hippies got a cd reissue maybe a decade ago. any added tracks on the esoteric? don't imagine there's much in the way of extra material in the vaults compared to the stuff that was added to the usa reissue, but who knows...

listening again now, Joe Byrd album is mostly as good as United States of America, I can see why some might prefer it even. Plenty of female vocals throughout.

https://www.youtube.com/watch?v=Vv-l5ByrLAQ

Didn't see any bonus tracks. The listing is up on the Cherry Red site, doesn't look like the Esoteric site isn't being updated recently.
There was a 2007 remastered reissue on Acadia that I didn't hear about. I liked that label too they reissued Grunt label stuff as well as other SF related material. My copy of the Mendocino lp was from them, &they did the initial Kaleidoscope 3cd Pulsating Dream set I think, which somebody else is now doing very cheaply. I think the label folded but could be wrong.

Caution: Approaching Drag City Prose

FM ST. JUDE'S APOCALYPSE NOW

My sweet lord, do we have a discovery for yer heads out there far and wide! Not long after the resurrection of the singular glam/genius platter intentionally known as Here Am I, a dark and mystic carrion pigeon touched down on our window still. It flew at the bidding of cult icon/living legend Frederick Michael St. Jude, hipping us to another piece of his late 20th-century Ren-Man puzzle in but two words: GANG WAR. Whuh? Yuh! GANG WAR. Derived from a storm of pure inspiration, this 13-song journey into our (let's face it) bleak future came together quickly when it first struck FM St. Jude in 1982. Based on one song's epic vision, Gang War was a prophecy of destruction that promised great things.

FM St. Jude's musical conceit for Gang War formed a synthesis of different rock styles then in vogue, played expertly by studio pros capable of generating the sound of the radio in all its forms. Marinated in the reverberations of Rush, ELP, Styx, Journey, Halen, and yes, even the mighty Zep, FM and the band are remarkably supple, providing each mood in their rock opera with a musical style to match it. Atop these divergent sounds FM's emotes with expert theatricality, evoking the depth of Bowie, Ferry, Plant, Pop, the Ians (Gillian and Hunter) - basically, all the great lead singers of the day. This powerful combination leant itself well to a grim vision of the near future, a time in which chaos and despair and GANGS rule over the country!

Gang War was a prophetic vision of a place that we're only getting to TODAY. In fact, this vision belongs more to now than it does to the early 80s. The age of the warlord is coming again, the era of niche consciousness, the dark internet, of having only very good neighborhoods and very bad ones in our global village. We have to be careful. And how better to trumpet the coming of this time of crime than with the vitriolic rebellion found in all the stadium-rock choruses spread throughout FM St. Jude's masterpiece, Gang War? Gang War drops exclusively into your compact disc players on March 24th! And dead technologies will rise again....

Thin Lizzy Reissues Continue on Light In The Attic

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Thin Lizzy’s second album (out Feb. 10)is a nod to the past: Shades Of A Blue Orphanage were former outfits of two of the band’s members, their names combined to create an oddly evocative image–especially when combined with a sepia-tinted image cover of three small, shoeless children intended to represent vocalist Phil Lynott, guitarist Eric Bell, and drummer Brian Downey.

Looking back is a common theme of the LP. The soft, sensitive “Sarah" was written for Phil Lynott’s grandmother who raised him in lieu of his absent mother. It’s an album that challenges your perceptions about a group you think you have nailed down through future singles “Jailbreak," “The Boys Are Back In Town,” and “Whisky In The Jar.”

Here, “I Don’t Want To Forget How To Jive” sees the band try their hand at rockabilly, and “Chatting Today” evokes the emotive performances of Richie Havens. As a whole, Shades Of A Blue Orphanage presents a version of the band that places its foundations beyond the hard rock for which the group are famous. The preposterously titled “The Rise And Dear Demise Of The Funky Nomadic Tribes,” which opens the LP, epitomizes this, including tribal beats, funky guitars, and Lynott singing in full soul-power mode. It’s begging to be sampled, like the group’s contemporary–but incognito–work as Funky Junction, under which name they released Funky Junction Play A Tribute To Deep Purple the same year.

Those who prefer Thin Lizzy in more recognizable form will find things to love, too: “Buffalo Gal” is as restrained as a song with an insistent, descending riff could ever be, and “Call The Police” is a bluesy swagger that shows off Lynott’s talent for describing life on the gritty streets of the Republic Of Ireland’s much-romanticized capital city. The record culminates in the world-weary title track with a chorus that cuts straight to the bone: “It’s true blue, Irish blue.”

Released in 1972, just three years after the band formed in Dublin, it’s fair to say that Shades Of A Blue Orphanage represents a group on the move, still finding their feet, and possibly bending to the will of a record label who didn’t quite know what to do with a multiracial, multi-faith rock band from a sectarian country. Sales of the their debut album, Thin Lizzy, had been poor, and Shades Of A Blue Orphanage wasn’t the one to turn their fortunes around. Still, it’s fascinating listening for even those with a passing interest in their history.

sample all tracks here: http://lightintheattic.net/releases/1593-shades-of-a-blue-orphanage

24 bit / 96 kHz remaster from the original tapes

180-gram LP housed in a deluxe gatefold “Tip-On” jacket

Book-deep liner notes and rare archival photos

Formats:

Single LP of just “Shades Of A Blue Orphanage”

2 LP Bundle includes both new Thin Lizzy LPs “Shades Of A Blue Orphanage” and “Vagabonds Of The Western World”

3 LP Bundle includes both new Thin Lizzy LPs “Shades Of A Blue Orphanage”, “Vagabonds Of The Western World”, and Thin Lizzy’s Self Titled LP

Seismic shifts happened between the previous year’s Shades Of A Blue Orphanage and 1973’s Vagabonds Of The Western World (both out February 10).

Frontman Phil Lynott was still documenting working class life in the group’s native Dublin, and the band still featured guitarist Eric Bell and drummer Brian Downey, even if Bell was soon to leave; the shift was in the feel of the album. Between Jim Fitzpatrick’s lurid album cover which depicted the band in space, the new, hot-rod-like Thin Lizzy logo, and Lynott’s newly throaty howl, it’s possibly the first Thin Lizzy album on which they truly could be described as a hard rock band.

Vagabonds presented a swaggering confidence, a band buoyed by the success of semi-accidental smash hit “Whisky In The Jar,” and carved out a moody, dark sound by borrowing bits from the blues, folk, psych, and Celtic music. Check out “Slow Blues” for proof, and decide whether Lynott or the guitars win the wail-off that begins the track.

“Whisky In The Jar” had been a bone of contention for the band who felt it didn’t represent them. Pushed out due to their presence on package tours with rockers Slade and Suzi Quatro, it seemed to seal their fate, and their Vagabonds single, “The Rocker,” set out their stall for good.

The weirdness and idiosyncracies of Phil Lynott’s early songwriting hadn’t been ironed out completely: “The Hero And The Madman” saw them try their hand at acid-fried cowboy rock–if such a thing ever existed.

After the album, and after Bell’s departure due to ill health and disillusionment with the music industry, Thin Lizzy were reinvented once again. Lynott recruited two guitarists and the band left Decca to record Nightlife for Phonogram.

Their big hits and glory years–beginning with 1976’s Jailbreak–were still ahead of them, but, with Vagabonds as a centerpiece, Thin Lizzy’s early years left behind a cabinet of curiosities.
sample all tracks here: http://lightintheattic.net/releases/1594-vagabonds-of-the-western-world

24 bit / 96 kHz remaster from the original tapes

180-gram LP housed in a deluxe gatefold “Tip-On” jacket

Book-deep liner notes and rare archival photos
(see above for multiple-LP etc bundles)

I love that 3piece Lizzy stuff. I bought the expanded cds 3years ago or whenever that was. They came with a lot of BBC material, sessions + live. Plus singles and demoes.
Did those 2cd versions go OOP again? I didnt get around to completing the set of later ones. Never see them in the racks now, maybe its just where I live.
Incidentally there was at least one unrecorded lineup after Bell left. There are boots from a tour with John du Cann of Atomic Rooster/ Attack/Hard Stuff on guitar.

has anyone mentioned this one?

http://www.uncut.co.uk/ronnie-lanes-slim-chance-ooh-la-la-an-island-harvest-review

Did that come out a few months back, I have it if it is that one and it's pretty good I guess.

I'm really excited about more people hearing one of my huge discoveries last year.
http://www.paradiseofbachelors.com/pob-18
An understated Colorado country rock gem, unknown and unloved since its release 35 years ago. It’s bound to get the audience it deserves this May, however, thanks to a reissue from the Paradise of Bachelors label. Blending the dusty acoustic rambles of the Dead circa 1970, the world weary ache of White Light-era Gene Clark and Knight’s own brand of faded Americana, the ten tracks here offer up a shot of pure, private press pleasure. While the pedal steel and warm backing vocals are as lovely as a Rocky Mountain sunrise, there’s an intensity and melancholy seared into every moment here.
- Tyler Wilcox, Aquarium Drunkard
I could not better express how intimate this record is.

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STEVE HOWE CURATES NEW SOLO ANTHOLOGY

Two-Disc Collection Spotlights The Acclaimed Guitarist's Solo Career
With 33 Tracks And Will Be Available March 10 From Rhino

Howe Will Launch The "Anthology Tour" In April

LOS ANGELES - Guitarist Steve Howe played an integral role in shaping the sound of Yes and Asia, two of the world's most beloved and successful progressive rock bands. The gifted guitarist has also enjoyed a long and prolific career as a solo artist with more than a dozen studio albums to his credit.

Howe has handpicked 33 tracks from his vast and varied discography for ANTHOLOGY, a new retrospective drawing primarily from the studio albums he recorded between 1975 and 2011. The collection will be available as a two-CD set on March 10 for a suggested list price of $24.98. The compilation will also be available digitally.

On April 1, Howe will launch his "Anthology Tour," which will feature performances of many of the tracks heard on this new collection. A dozen shows in the U.K. have already been confirmed (see dates below) and additional performances are due to be announced soon.

Throughout his career as a solo artist, Howe has demonstrated time and again his vast stylistic range, much like one of his guitar inspirations, Chet Atkins. ANTHOLOGY maps his musical journey across 36 years, 16 albums, and countless genres. The collection provides an enlightening showcase for Howe's six-string prowess on songs like "Pennants," "The Collector," "Maiden Voyage" (one of many featuring his son Dylan on drums), "Curls & Swirls," and "King's Ransom" from his 2011 album Time. The collection also includes covers of two Bob Dylan songs ("Just Like A Woman" and "Buckets Of Rain") from Howe's 1999 album Portraits of Bob Dylan. Also featured are several cuts from Motif - Volume 1 , a compilation from 2008 that features re-recorded versions of some of Howe's classic work, like "Devon Blue" and "Diary Of A Man Who Vanished," a song that first appeared on The Steve Howe Album (1979).

In addition to selections from his studio albums, ANTHOLOGY also includes tracks from a pair of compilation albums. The first is "Sharp On Attack" from 1988's Guitar Speak, which featured various guitarists. The other is the flamenco-flavored track "Mood For A Day," one of Howe's signature songs with Yes. The version included here is taken from the 1993 album, Symphonic Music of Yes, which features Howe and the English Chamber Orchestra.

For more information about ANTHOLOGY, please contact Jessica Giordano in the Rhino Media Relations Department at jess✧✧✧.giord✧✧✧@rh✧✧✧.c✧✧ or 818-238-6403.

Anthology
Track Listing
Disc One
1. "So Bad"
2. "Lost Symphony"
3. "Pleasure Stole The Night"
4. "Pennants"
5. "Look Over Your Shoulder"
6. "Surface Tension"
7. "Sensitive Chaos"
8. "Running The Human Race"
9. "Desire Comes First"
10. "Luck Of The Draw"
11. "Maiden Voyage"
12. "Walk Don't Run"
13. "Momenta"
14. "The Collector"
15. "Just Like A Woman"
16. "Buckets of Rain"
Disc Two
1. "Distant Seas"
2. "Curls & Swirls"
3. "Meridan Strings"
4. "Simplication"
5. "Rising Sun"
6. "Westwinds"
7. "Ultra Definition"
8. "Ebb And Flow"
9. "Dorothy"
10. "Sketches In The Sun"
11. "Diary Of A Man Who Vanished"
12. "Devon Blue"
13. "King's Ransom"
14. "Bachians Brasileiras No. 5 (Aria)"
15. "Beginnings"
16. "Mood For A Day" - with The English Chamber Orchestra
17. "Sharp On Attack"

Steve Howe: The Anthology Tour
April

1 Buxton Opera House
2 The Town Hall
7 The Stables
9 Croydon
10 St John's Church
14 Manchester
15 The Brindley
16 The Robin 2
18 St. Donats
19 London
24 The Quay Theatre
25 Bristol Colston Hall

Selby
Milton Keynes
Arnhem Gallery
Farnham
Gorilla
Halton
Wolvehampton
Wales
The Jazz Cafe
Suffolk
The Lantem

©2015 Rhino Entertainment

they should have titled it howe redundant

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JEALOUS BUTCHER RECORDS IS SET TO RELEASE THE REISSUE OF RED RED MEAT'S BUNNY GETS PAID ON APRIL 28, 2015.

*CUT AS A DOUBLE LP FOR INCREASED FIDELITY
*CONTAINS EIGHT ADDITIONAL TRACKS, TWO HEARD HERE FOR THE FIRST TIME
* ALBUM ARTWORK IS RE-IMAGINED BY ARTIST RACHEL BLUMBERG
Listen & Share these fine, fine remastered Bunny Gets Paid tracks:
http://jealousbutcher.com/JB117_Press/01%20Carpet%20Of%20Horses.mp3
http://jealousbutcher.com/JB117_Press/02%20Chain%20Chain%20Chain.mp3

TRACKLISTING:

SIDE A
1. CARPET OF HORSES
2. CHAIN CHAIN CHAIN
3. ROSEWOOD, WAX, VOLTZ + GLITTER
4. BUTTERED
5. GAUZE

SIDE B
6. IDIOT SON
7. VARIATIONS ON NADIA'S THEME
8. OXTAIL
9. SAD CADILLAC

SIDE C
10. TAXIDERMY BLUES IN REVERSE
11. THERE'S ALWAYS TOMORROW
additional material:
12. MOUSE-ISH (DUB MIX) (bonus)
13. GUN (bonus - previously unreleased)
14. WORDS (bonus)

SIDE D
15. CHAIN CHAIN CHAIN (4-TRACK DEMO) (bonus)
16. IDIOT SON (CLEVERSLEY VERSION) (bonus - previously unreleased)
17. CARPET OF HORSES (CLEVERSLEY VERSION) (bonus)
18. SAINT ANTHONY'S JAWBONE (bonus)
19. WISHING (IF I HAD A PHOTOGRAPH OF YOU) (bonus)

Bunny Gets Paid is the second installment in Portland, OR label Jealous Butcher Records' year-long vinyl reissue campaign for Chicago's Red Red Meat. All of their Sub Pop albums--There's A Star Above The Manger Tonight, Bunny Gets Paid and Jimmywine Majestic--are being remastered and re-cut as double LPs. Each record will contain a selection of period-specific bonus tracks, outtakes, and singles: at the very least, there will be an additional side of music per album.

The original artwork for each album will be handed over to a new artist to be re-envisioned as they see \u001Ffit--Bunny Gets Paid's artwork has been re-imagined here by Portland, Oregon's Rachel Blumberg (a musician/composer, visual artist, film maker, and educator, known for her work drumming with The Decemberists, M. Ward, Bright Eyes, She and Him, Tara Jane O'Neil, Jolie Holland and many more). John Herndon - amazing tattoo artist and drummer for Tortoise - handled the re-imagined artwork for There's A Star Above The Manger Tonight (hit me up if you'd like to write about that one as well).

At the end of the vinyl reissuing campaign, Jealous Butcher will also be releasing Red Red Meat's debut album, for the first time both digitally and as an ultra-limited LP (150 copies) as well as part of an even more ultra super limited (100 copies) career-spanning eight-LP book containing the band's entire recorded catalog.

This eight-LP book will be limited to 100 copies, will be hand-assembled in Portland, Oregon, numbered (of course), and each LP will be pressed on a limited colored vinyl that is being made specifically for the book. They might even throw in a bonus ninth LP of live material! Downloads of the material will be made available at the time each album is released, with the book and all records delivered once the series is complete (ETA Fall 2015).

But, that's not all! Along with all of this amazing vinyl, both limited and otherwise, there will be a collection of posters designed and printed by various amazing screen printers around the country, as well as a limited collection of posters, photos and art from the time the band was originally active. On top of that, they will be selling original paintings & drawings of the newly-created album art coupled with exclusive colored vinyl.

To help Jealous Butcher bring this amazing collection of items to the public, they will be partnering with the folks at PledgeMusic. PledgeMusic are the perfect partner to bring people an extraordinary, behind the scenes view into Jealous Butcher and Red Red Meat's process as they dig through boxes, scour closets, and pour through the archives searching for lost treasures for this project.

Chicago rock ensemble Red Red Meat hit hard with 1995’s Bunny Gets Paid. Arguably the band’s most complete album, the record pairs Stones-indebted blues-rock roots with beautiful songs, sounding miles removed from the era’s grunge and radio-friendly alternative rock tropes.

Recorded at Idful Studios in Chicago’s Wicker Park by producer Brad Wood (Smashing Pumpkins, Liz Phair, Tortoise), Bunny Gets Paid finds Red Red Meat’s core members, Tim Rutilli, Brian Deck, Ben Massarella, and Tim Hurley, straddling the line between their most accessible set of songs and a desire to explore a kind of “alternate fidelity,” employing layers of distortion, natural reverb, and room ambience.

“At the time, I felt like we’d made a classic rock record,” Rutilli says. “I was like, ‘This is our Astral Weeks.’” But listening back 20 years later, Rutilli recognizes the band’s ambition, a desire to break songs down to their barest, most primitive elements to “see what survives.”

“I think it was about testing the melody, how strong a melody was,” Rutilli says. “It was loving pop music and classic rock songs, but also loving noise…the slow burn of actual sound.”

Drummer Brian Deck, who’d go on to work on records by Modest Mouse, The Fruit Bats, Iron and Wine, and others, recalls the band’s 1995 Sub Pop debut, Jimmywine Majestic, making “this promise of a rock revivalist band.” With Bunny Gets Paid, the band “went in a different direction from that.”

“To a certain extent we were just punk asses,” Deck says. “We wanted to do what wasn’t expected of us. We wanted to do something new.”

The record features some of Red Red Meat’s best-loved songs. Opener “Carpet of Horses” pulses with restrained energy under a pastoral shuffle, while “Chain Chain Chain” imagines RRM as a pop act, with crashing drum fills and a surging chorus. “Gauze” sits in the middle of the record, a gorgeous droning ballad with languid guitars that give way to the band’s most anthemic chorus. The record closes with a reading of “There’s Always Tomorrow,” as featured in the Rankin/Bass Christmas special Rudolph the Red-Nosed Reindeer, and the song fits magically and without irony, a downcast but hopeful sentiment.

“They were ahead of the time,” producer Brad Wood says. “People say that about bands all the time, but it certainly felt that way to me with this particular band.”

“As Red Red Meat progressed you see them abandoning traditional song forms, experimenting with the sounds of things -- basing songs on sounds and grooves,” Wood says. “More than just about any band I ever worked with, Red Red Meat digested their influences.” On Bunny Gets Paid, blues and classic rock and roll sounds are transmuted; the record is the sound Red Red Meat finding unique creative footing.

Two new Soul Jazz comps of Akron & CLE 45s, lookin goood: http://pitchfork.com/reviews/albums/20188-punk-45-extermination-nights-in-the-sixth-city-punk-45-burn-rubber-city-burn/ Think I like The Numbers Band better than he does, and some other differences, but information-wise very appealing.

They're both very good, with the Akron comp being a bit more satisfying (more pop, less punk).

Soul Jazz has a ltd. ed. 45s series too, with several New Orleans rarities next up.

Meanwhile:

Red House Painters Boxset Released In April
All Albums Back In Print After 20+ Years
1500 Numbered Copies Worldwide
Red House Painters

This April 4AD will release Red House Painters, an LP boxset containing Red House Painters' celebrated output for the label. It will be available on Record Store Day (worldwide ex. USA), and 21st April in USA.

Strictly limited to just 1500 numbered copies worldwide, Red House Painters contains the band’s first four albums, originally released between 1992 and 1995 - Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” to also include the Shock Me EP).

All details, including tracklisting, available here.
Red House Painters - Down Colorful Hill - CAD 3408
A1. 24
A2. Medicine Bottle
A3. Japanese To English
B1. Down Colorful Hill
B2. Lord Kill The Pain
B3. Michael

Red House Painters - Red House Painters - CAD 3409
A1. Grace Cathedral Park
A2. Down Through
A3. Katy Song
A4. Mistress
B1. Things Mean A Lot
B2. Funhouse
B3. Take Me Out
B4. Rollercoaster
C1. New Jersey
C2. Dragonflies
C3. Mistress (Piano Version)
D1. Mother
D2. Strawberry Hill
D3. Brown Eyes

Red House Painters - Red House Painters - CAD 3410
A1. Evil
A2. Bubble
A3. I Am A Rock
A4. Helicopter
B1. New Jersey
B2. Uncle Joe
B3. Blindfold
B4. Star Spangled Banner

Red House Painters - Red House Painters - CAD 3411
A1. Cabezon
A2. Summer Dress
A3. San Geronimo
A4. Shadows
B1. Over My Head
B2. Red Carpet
B3. Brockwell Park
B4. Moments
C1. Long Distance Runaround
C2. Drop
C3. Brockwell Park (Part Two)
D1. Shock Me

https://www.youtube.com/watch?v=dFRlqdzeTx8

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BEE GEES: 1974-1979

Five-Disc Set Includes Four Studio Albums, Plus A Bonus Disc Featuring Hits
From The Saturday Night Fever Soundtrack, Plus Rare B-Sides And Outtakes

Available From Reprise On March 24

LOS ANGELES - The Bee Gees rank among the most successful pop groups of all time and have earned every music-industry award imaginable. They are members of both The Rock and Roll Hall of Fame and Songwriters Hall of Fame, winners of seven Grammy® Awards, and were presented with The Recording Academy's prestigious Lifetime Achievement Award this year.

After setting the standard for pop harmonies in the Sixties, brothers Barry, Robin and Maurice Gibb rose to even greater heights during the Seventies with a long string of hits that drew upon their shared love for R&B.

The group's transformation into a global phenomenon is retraced with a five-disc collection that includes four of the Bee Gee's studio albums, along with a selection of songs from the multi-Grammy-winning soundtrack to Saturday Night Fever (1977), plus b-sides and outtakes from that era. Presented in a clamshell box, BEE GEES: 1974-1979 will be available March 24 for a suggested list price of $44.98. The set will also be available digitally.

The collection begins with the group's 12th album, Mr. Natural (1974), the first of many the Bee Gees would record with Grammy-winning producer Arif Mardin. Among the highlights are the soulful "Throw A Penny" and the power ballad "Charade." The group returned a year later with Main Course (1975), which featured the #1 smash "Jive Talkin'" and the hits "Nights On Broadway" and "Fanny (Be Tender With My Love)." Certified double platinum, the album cracked the Billboard Top 20 and remained on the charts for 74 weeks.

The group's 14th album Children of the World (1976) rose even higher on the Billboard album chart, peaking at #8, and earning platinum certification. Produced by the band, the album featured several hits: "You Should Be Dancing" (#1), "Love So Right" (#3) and "Boogie Child" (#12).

The Bee Gees began recording music for a follow-up album, but ultimately many of those songs would appear on the soundtrack to Saturday Night Fever, which spent 24 weeks at #1 and sold more than 15 million copies in the U.S. alone. A selection of the group's soundtrack contributions appear here on a bonus disc dubbed "The Miami Years." Also featured on this disc are several b-sides - "It Doesn't Matter Much To Me" and "Rest Your Love On Me" - along with a number of other tracks from the era, including "Emotion," "Warm Ride" and "(Our Love) Don't Throw It All Away," making the collection a complete look at the trio's output during these years.

The final studio album included in BEE GEES: 1974-1979 is Spirits Having Flown (1979). It reached #1 on the album charts in America, Australia and throughout Europe, was certified 4x platinum in the U.S., and spawned three #1 singles: "Too Much Heaven," "Tragedy" and "Love You Inside Out." Those three chart toppers completed an uninterrupted run of six consecutive #1 hits, a feat that matched a record set by the Beatles in the early Sixties.

THE BEE GEES: 1974-1979
Track Listing

Mr. Natural (1974)
1. "Charade"
2. "Throw A Penny"
3. "Down The Road"
4. "Voices"
5. "Give A Hand, Take A Hand"
6. "Dogs"
7. "Mr. Natural"
8. "Lost In Your Love"
9. "I Can't Let You Go"
10. "Heavy Breathing"
11. "Had A Lot Of Love Last Night" Spirits Having Flown (1979)
1. "Tragedy"
2. "Too Much Heaven"
3. "Love You Inside Out"
4. "Reaching Out"
5. "Spirits (Having Flown)"
6. "Search, Find"
7. "Stop (Think Again)"
8. "Living Together"
9. "I'm Satisfied"
10. "Until"
Main Course (1975)
1. "Nights On Broadway"
2. "Jive Talkin'"
3. "Wind Of Change"
4. "Songbird"
5. "Fanny (Be Tender With My Love):
6. "All This Making Love"
7. "Country Lanes"
8. "Come On Over"
9. "Edge Of The Universe"
10. "Baby As You Turn Away"
The Miami Years (Bonus Disc)
1. "Stayin' Alive"
2. "How Deep Is Your Love"
3. "Night Fever"
4. "More Than A Woman"
5. "Emotion"
6. "Warm Ride"
7. "(Our Love) Don't Throw It All Away"
8. "If I Can't Have You"
9. "Rest Your Love On Me"
10. "It Doesn't Matter Much To Me"
11. "Stayin' Alive" (Promo 12" Version)
Children of the World (1976)
1. "You Should Be Dancing"
2. "You Stepped Into My Life"
3. "Love So Right"
4. "Lovers"
5. "Can't Keep A Good Man Down"
6. "Boogie Child"
7. "Love Me"
8. "Subway"
9. "The Way It Was"
10. "Children Of The World"

That xpost Lead Belly Smithsonian box I posted about upthread now gets coverage from Barry Mazor in WSJ---was gonna quote, but the whole thing is so good:

(the WSJ site links a Spotify playlist; haven't had time to check, but hopefully the whole box is on Spotify)

By
Barry Mazor
Feb. 24, 2015 5:38 p.m. ET

Before his discovery by John and Alan Lomax in 1933 while he was serving a term in Louisiana’s prison system, Huddie Ledbetter, best known as “Lead Belly,” was a busking Louisiana street singer with a varied songster repertoire. Freed, he went on to perform professionally from 1934, when he was 46, until his death in 1949, appearing on the emerging folk-music circuit of schools, clubs and rallies, recording for various record labels and, notably, for Alan Lomax and the Library of Congress. Since then, songs he personalized, arranged and popularized have become cross-genre standards regularly revisited in folk, pop, rock and country—“Goodnight, Irene,” “The Midnight Special,” “Cotton Fields,” “Black Girl (Where Did You Sleep Last Night),” “Pick a Bale of Cotton.”

There was never a time in his years of professional celebrity, though, when Lead Belly was unencumbered by somebody else’s idea of who he was, what songs he should perform, and how he’d be presented. Since then, he’s been the subject of recording reissues, salute records, books, dissertations, poems, a feature film and a postage stamp, but there have been few occasions when he hasn’t been characterized and represented in the service of some agenda—whether musical or political.

Refreshingly, a new LP-size 5-CD set and coffee table book, “Lead Belly: The Smithsonian Folkways Collection,” an introduction to the artist for new audiences and a keepsake for aficionados, takes that relentlessly mediated history into account, weighs it, and offers a broad, illuminating take on what the reliably commanding singer meant to do and contributed on its 108 tracks (16 of them previously unreleased). The set revisits Lead Belly’s Library of Congress recordings, records he made for Moe Asch’s small folk labels that were later passed on to the Smithsonian, his appearances on New York radio, and samplings from the epic “Last Sessions” of fall 1948, recorded in the apartment of producer Fred Ramsey Jr. (Smithsonian Folkways has previously issued more encompassing sets on each of those, but not this broad, if selective, overview.)

The set’s quality photos and images of memorabilia tell a good piece of the story—Lead Belly presented with other performers that his Popular Front activist handlers favored, whether that made much musical sense or not (Woody Guthrie, Josh White, Burl Ives); a professional, proud Lead Belly in a sharp suit on one page, presented in prison stripes on the next, then performing before schoolchildren, in liberals’ living rooms, or for well-heeled ’40s night clubbers. A newspaper clipping shows the original notorious January 1935 New York Herald Tribune story that introduced him to Northern urbanites: “Lomax Arrives With Lead Belly, Negro Minstrel; Sweet Singer of the Swamplands Here to Do a Few Tunes Between Homicides.”

A full disc of New York appearances on WNYC radio’s anthropologist-produced “Folk Songs of America” reveal the songster as loose, conversational and wide-ranging in material as we’ll hear anywhere, though the programs were arranged by musical genres he had to stick to (blues, sacred music, party songs, and so on). He is, however, presented in some incongruous musical settings, such as being backed up by a jazzy, contemporary jive vocal quartet, and it is also deemed necessary to have redundant, unmistakably Caucasian translations of what Lead Belly, quite clearly, tells us he’s about to sing.

Recalling how his version of “One Dime Blues”—adapted from that of his early mentor Blind Lemon Jefferson—came about, Mr. Ledbetter explains how he had come to “fix” the songs we’re hearing in his professional career—fixed for better understanding by his new Northern, generally white audience, fixed to make them his own, fixed for maximum performance effect. When we play the Lead Belly hits collected on the first disc, that is what we are hearing, his “fixed” versions of “Irene” or “Rock Island Line” or “On a Monday” that were left to posterity.

The producers of the set—Jeff Place, archivist of the Smithsonian’s Ralph Rinzler Folklife Archives and Collections, and Robert Santelli, executive director of the Grammy Museum—have contributed lucid album notes on the man, the music and the historic and personal responses to both. The inclusiveness of their performance selections is an equal contribution. Lead Belly the songster emerges with the inclusion of his takes on such previous pop hits as Gene Autry’s “Springtime in the Rockies,” pop crooner Gene Austin’s “How Come You Do Me Like You Do?,” and Bessie Smith’s “Nobody Knows You When You’re Down and Out.” A previously unheard salute to England’s Princess (later Queen) Elizabeth on the occasion of her wedding joins the expected topical songs about the Scottsboro Boys, the Hindenburg disaster, and Hitler, which you suspect he came up with to please his urban intelligentsia audience’s expectations—just as he had once done for strangers passing in the street.

Cutting through all of the positioning and posturing, towering over them, was Lead Belly’s own forceful, still spine-tingling vocal shouts, which would have stood him well in the electric blues era ahead and do now, and his accompanying acoustic 12-string guitar attack, which got him the volume he wanted. There are not a great many quiet, tender, subtle numbers in this repertoire (the brief kind-of-cute outlier “Come and Sit Down Beside Me” being an exception to that rule), but this is a singer who found a rich variety of ways to bear down hard.

Soon after his death, hit versions of songs he had made his own burgeoned, and they haven’t stopped—from the “Goodnight, Irene” of the Weavers or Ernest Tubb and Red Foley to the “Rock Island Line” of Lonnie Donegan or Johnny Cash, “Cotton Fields” from Creedence Clearwater Revival, or “Black Girl” from Nirvana. This set is an excellent way to discover, or rediscover, the force that made that happen.

Mr. Mazor, author of “Ralph Peer and the Making of Popular Roots Music” (Chicago Review Press), writes about country and roots music for the Journal.

One more: producer of the Lead Belly box is guest for the second hour of this morning's "On Point": good biographical perspective and music excerpts; idiosyncratic roots singer Valerie June also comments:
http://onpoint.wbur.org/2015/02/27/lead-belly-valerie-june-folk-music-blues-smithsonian

i hope the remastering on that bee gees thing is good; i have a soft spot for the Mr. Natural LP.

Yeah, I'd like to hear more of their pre-Saturday Night Fever disco. That xpost Red Red Meat reissue has some good guitar, though gets predictable, also laid-back tempos & vocal undertow, but second half, with dub "Mouse-ish" and bonus tracks is def. better.

Meanwhile: a pretty good album reissued for a usually cool (hot Mavericks set archived this week) radio show's benefit:

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OMNIVORE TO RELEASE BEALE STREET SATURDAY NIGHT,
PRODUCED BY JAMES LUTHER DICKINSON, ON APRIL 14, 2015
Classic album, originally released in 1978, features Sid Selvidge,
Sleepy John Estes, Furry Lewis, Teenie Hodges — recorded at
Ardent Studios, Orpheum Theater and even artists’ homes.
Proceeds donated to the Beale Street Caravan radio program.
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Jim Dickinson (photo by Pat Rainer)
MEMPHIS, Tenn. — When Memphis’ Beale Street — a hub of music and activity since the 1860s —was being plowed under for “urban renewal” in 1976, James Luther (Jim) Dickinson — who had played with the Stones, Ry Cooder, and the Flamin’ Groovies (later with Bob Dylan and the Cramps among others), as well as produced Big Star, Screamin’ Jay Hawkins, and Alex Chilton (also, The Replacements, Green On Red, and Mudhoney) — decided to not only celebrate the legacy of great Memphis music, but make the mythic street back into the place where both the blues and rock ’n’ roll originated.
A cadre of Memphis musicians, photographers, artists, thespians, and “appropriate weirdos” gathered under Dickinson’s direction to record the heart of Beale Street, past and present. From blues legends Furry Lewis and Sleepy John Estes to singer-songwriter Sid Selvidge and Dickinson’s own Mud Boy & the Neutrons, Beale Street Saturday Night is an unparalleled audio trip through Memphis music history.
Recorded in places varying from artists’ homes, to Ardent Studios, to the Orpheum Theatre, Beale Street Saturday Night was originally created as a fundraiser for the Memphis Development Foundation to help restore Beale Street’s legendary Orpheum Theater. This reissue will serve a similar purpose, as a portion of the proceeds will go to support the radio program Beale Street Caravan, which focuses on Memphis music, new and old.
Omnivore Recordings’ April 14, 2015 reissue of Beale Street Saturday Night (on CD, digital, and LP on clear vinyl with download card) features new liner notes from producer Jim Lancaster (who worked on the original release) and previously unseen photos by Omnivore’s resident Memphis expert Pat Rainer, who also worked on the original recording, as well as a cover photo by William Eggleston.
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L-R: Lee Baker and Furry Lewis
(photo by Pat Rainer)
This first-ever reissue of Beale Street Saturday Night was curated under the supervision and with the blessing of the Dickinson family. It finally makes widely available this important music and historical Memphis document for new audiences to discover.
According to Luther Dickinson, “ Only in Memphis would young white record producers put such raw black music and storytelling together to create an integrated southern masterpiece. Only in the grooves of this record does this Memphis exist, the ghosts telling the stories to the kids, aged memory and youthful fantasy combining to create a world all its own. Only James Luther Dickinson could have produced Beale Street Saturday Night. World Boogie is coming.”
To read more from Luther Dickinson, visit
http://www.omnivorerecordings.com/music/beale-street-saturday-night
In 1977, Memphis was officially declared “Home of the Blues” by an act of Congress.
So, welcome home.
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Teenie Hodges (photo by Pat Rainer)
Track Listing
1. Walkin’ Down Beale Street — Sid Selvidge
2. Hernando Horn — Fred Ford
3. Beale Street Blues — Grandma Dixie Davis
4. Big Fat Mama/Liquor Store — Sleepy John Estes
5. Ol’ Beale Street Blues — Prince Gabe
6. Furry’s Blues — Furry Lewis
7. Rock Me Baby— Teenie Hodges
8. Rock Me Baby — Alex
9. “Ben Griffin was killed in the Monarch . . .” — Thomas Pinkston
10. Frisco Blow — Johnny Woods
11. On the Road Again — Mud Boy & the Neutrons
12. “Mr. Handy Told Me 50 Years Ago . . .” — Thomas Pinkston
13. Chicken Ain’t Nothin’ But a Bird — Furry Lewis
14. Roll on, Mississippi — Grandma Dixie Davis

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MASTODON VINYL REISSUE SERIES BEGINS TODAY, MARCH 3rd

WITH BLOOD MOUNTAIN

TICKETS FOR THE MISSING LINK TOUR ON SALE NOW

March 3, 2015 - (Burbank, CA) - As previously announced, Mastodon have announced they will reissue all of their Reprise Records titles on vinyl in the coming months. The first album in the series will be 2006's Blood Mountain, which will be issued today, March 3rd, on a mix of solid yellow and transparent green vinyl. Upon its release, Guitar World called Blood Mountain "pulverizing," with an "utter restlessness that grips you tighter with each cut." It also placed at No. 9 on Rolling Stone's Top 50 Albums of 2007. The next installment will be on June 2nd, featuring 2009's Crack the Skye, pressed on baby blue vinyl. Earning Mastodon unanimous critical praise, the album led to Rolling Stone calling them "the greatest metal band of their generation - no one else comes close," while Revolver praised Crack the Skye as the work of "a band at the peak of its musical and conceptual powers." We'll remind you of the other titles as we approach the countdown.

Mastodon will also release a Limited Edition 12" vinyl picture disc in celebration of Record Store Day on April 18th, which features original artwork by Mastodon guitarist, Brent Hinds. The disc is comprised of a new song titled "Atlanta," featuring guest vocals from Gibby Haynes from Butthole Surfers, originally only available digitally as part of the Adult Swim Singles Series. The 'B-Side" is an unreleased instrumental version of "Atlanta," and is exclusive to this very limited RSD pressing.

Don't miss Mastodon on the road co-headlining with their friends Clutch for THE MISSING LINK TOUR, which kicks off on April 16th in St. Paul, MN, with support provided by Big Business. Sweden's Graveyard will then take over the main support slot starting in Los Angeles on April 29th for the remaining dates, closing out the tour in Columbus, OH on May 24th. Tickets are on sale now. Please visit www.mastodonrocks.com for more info.

Confirmed dates for THE MISSING LINK TOUR are as follows:

*Mastodon closes the evening. **Clutch closes the evening.

# indicates newly added tour date.

# Apr 4 Honolulu, HI The Republik (not part of THE MISSING LINK - on sale NOW)

Apr 16 *St. Paul, MN Myth

Apr 17 * Winnipeg, MB The Burton Cummings Theatre

Apr 18 *Saskatoon, SK O'Brian's Events Center

Apr 19 * Edmonton, AB Expo Centre

Apr 21 * Calgary, AB MacEwan Hall

Apr 23 * Vancouver, BC Commodore Ballroom (SOLD OUT)

Apr 24 **Vancouver, BC Commodore Ballroom (SOLD OUT)

Apr 25 *Portland, OR Roseland

Apr 26 *Seattle, WA Showbox SODO

Apr 28 *Oakland, CA Fox Theater

Apr 29 *Los Angeles, CA Palladium

Apr 30 *Tempe, AZ Marquee Theater

May 01 *Las Vegas, NV House of Blues

May 02 *Salt Lake City, UT The Complex

May 03 *Denver, CO Red Rock's Amphitheatre

May 05 *San Antonio, TX Kapone's Ballroom

May 06 *Oklahoma City, OK Diamond Ballroom

May 08 Atlanta, GA Shaky Knees Festival

May 09 *Raleigh, NC Lincoln Theatre Street Stage

May 10 **Pittsburgh, PA Stage AE

May 12 *Clive, IA (Des Moines) 7 Flags

May 13 *Milwaukee, WI Eagles Ballroom Club Stage

May 15 **Bethlehem, PA Sands Event Center

May 16 **Baltimore, MD Pier Six Pavilion

May 17 *Boston, MA House of Blues

May 19 *New York, NY Central Park Summerstage

May 20 *Niagara Falls, NY Rapids Theatre

May 21 *London, ON London Music Hall

# May 23 **Sterling Heights, MI Freedom Hall - (Tix on sale Feb 20)

May 24 **Columbus, OH LC Pavilion

#June 7 Houston, TX Free Press Festival

Oh my fucking god:

YES: LIVE FROM SEVENTY-TWO

Two Live Collections Debut Newly Discovered Recordings From The Prog-Rock Pioneer's Acclaimed 1972 World Tour

Double-Disc, Triple-LP, And 14-Disc Boxed Set Available May 19 From Rhino
Yes was firing on all cylinders in the fall of 1972. The prog-rock pioneers' fifth studio album Close To The Edge was a smash success as audiences around the world packed arenas to see the legendary group perform. The band captured the magic of that tour on its first live album, Yessongs. Released in 1973, the triple-LP sold over a million copies and blew minds with Roger Dean's iconic artwork.

The band recently discovered recordings of seven complete concerts from the weeks leading up to the shows heard on Yessongs. The latest audio technology was used to restore the reel-to-reel recordings and bring out incredible sonic detail, creating an open, immediate sound that drops listeners right into the front row.

Rhino has assembled three new releases featuring previously unreleased music included on these newly discovered tapes. PROGENY: HIGHLIGHTS FROM SEVENTY-TWO includes 90 minutes of live recordings selected from various shows. Available on two CDs or three LPs, the music flows like a typical setlist from the tour as it spotlights standout performances from different cities. The set will be available May 19.

PROGENY: SEVEN SHOWS FROM SEVENTY-TWO is a 14-disc set that holds every note from all seven shows, recorded in the fall of 1972 as the band's tour jumped from Canada to North Carolina, and then Georgia and Tennessee, before their last stop in New York at Nassau Coliseum on November 20. This comprehensive set comes in a cigarette-style flip top box with new artwork by Dean and will be available on the same day.

This was Yes' first tour with drummer Alan White, who's been with the band ever since. He replaced Bill Bruford, who recorded Close To The Edge before leaving to join King Crimson. White only had three days to learn the band's live show before his first night on stage with Jon Anderson (vocals), Steve Howe (guitar), Chris Squire (bass) and Rick Wakeman (keyboards).

Recorded three months into the tour, these powerful performances attest to how quickly the new line-up came together musically as they navigate hits like "Roundabout," and complex pieces like "And You and I." Even though the setlist didn't vary much from night to night, the individual performances are strikingly different.

Superior Viaduct continues to hit it out of the park, after a bunch of L Voag related releases, they've got two Ilitch LPs. I've been waiting to get 10 Suicides for well over 10 years.

yeah it is almost an embarrassment of riches at this point - not a complaint!

I just saw that they reissued Electricity by Peter Jefferies.

yeah, and they were involved with a US tour for him...until the dept of homeland security got involved.

Penetration and The Ruts each have 4cd "Virgin Years" box sets coming out on 10/9.

I'm having a hard time believing that Penetration has that much good material, but my ears will be open. I do like "Don't Dictate," especially the version from Race Against Time.

I also mentioned this on the jazz thread; coming November 6, John Coltrane, A Love Supreme: The Complete Masters. A 3CD set; here's the track listing:

Disc 1
1. The Original Stereo Album, Impulse! AS-77 Part I Acknowledgement
2. The Original Stereo Album, Impulse! AS-77 Part II Resolution
3. The Original Stereo Album, Impulse! AS-77 Part III Pursuance
4. The Original Stereo Album, Impulse! AS-77 Part IV Psalm
5. Trane's Original Mono Reference Masters Part I Acknowledgement
6. Trane's Original Mono Reference Masters Part II Resolution
7. Trane's Original Mono Reference Masters Part III Pursuance
8. Trane's Original Mono Reference Masters Part IV Psalm

Disc 2
1. Day 1: December 9, 1964 Part I Acknowledgement undubbed version
2. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 2
3. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 3
4. Day 1: December 9, 1964 Part II Resolution take 1 / breakdown
5. Day 1: December 9, 1964 Part II Resolution take 2 / breakdown
6. Day 1: December 9, 1964 Part II Resolution take 3 / breakdown
7. Day 1: December 9, 1964 Part II Resolution take 4 / alternate
8. Day 1: December 9, 1964 Part II Resolution take 5 / breakdown
9. Day 1: December 9, 1964 Part II Resolution take 6 / breakdown
10. Day 1: December 9, 1964 Part IV Psalm undubbed version
11. Day 2: December 10, 1964 Part I - Acknowledgement take 1 / alternate
12. Day 2: December 10, 1964 Part I - Acknowledgement take 2 / alternate
13. Day 2: December 10, 1964 Part I - Acknowledgement take 3 / breakdown with studio dialogue
14. Day 2: December 10, 1964 Part I - Acknowledgement take 4 / alternate
15. Day 2: December 10, 1964 Part I - Acknowledgement take 5 / false start
16. Day 2: December 10, 1964 Part I - Acknowledgement take 6 / alternate

Disc 3
1. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Introduction by M.C. Andre Francis
2. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part I - Acknowledgement (Live)
3. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part II - Resolution (Live)
4. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part III - Pursuance (Live)
5. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part IV - Psalm (Live)

Some of those alternate studio takes are performed by a six-piece band that includes Archie Shepp on second sax and Art Davis on second bass. This'll be my third copy of that live performance (Coltrane only performed ALS live the one time, but it was broadcast on radio), but I'm buying this thing anyway.

NEW YORK, NY, September 22, 2015- A Tribe Called Quest and Sony Legacy have announced a special 25th anniversary edition collection of the group's classic debut album Peoples' Instinctive Travels And The Paths of Rhythm will be released on November 13th. In celebration of the 25th anniversary, the album will be remastered from the original tapes by Grammy-Award winning engineer Bob Power, and re-released with exclusive new remixes by a few of today's biggest hip-hop artists who have credited A Tribe Called Quest as a major creative influence. Remixes will be announced in the coming weeks.This album will mark the debut release in a series of re-releases by A Tribe Called Quest over the course of the next few years.

#ATCQ25 teaser video and news story: http://pitchfork.com/news/61302-a-tribe-called-quest-announce-peoples-instinctive-travels-and-the-paths-of-rhythm-reissue/

"I had this album in my head for years before I did it. Looking at it overall, to see the thoughts of a 16 year old gain any kind of acknowledgement makes me feel like I have arrived... But to see it in this incarnation ... I'm humbled" - Q-Tip

"This album means a lot. It was the beginning of our careers; the beginning of our imprint; the beginning of seeing life the way we saw it, and being able to put it down in words and music." - Ali Shaheed Muhammad

People's Instinctive Travels And The Paths Of Rhythm made its debut in 1990 and came at a crucial time for hip-hop. The Queens-raised childhood friends-- Q-Tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi White-took the traditional hip-hop formula and threw it out the window. Like their contemporaries in De La Soul and the Jungle Brothers, all of whom would become known as the Native Tongues collective, their lyrical and musical influences were unlike any hip-hop group on the scene. While many built breaks around vintage soul and funk samples, ATCQ utilized samples of jazz and '70s rock. Their verses were conversational instead of confrontational, addressing socially conscious topics with laid-back candor and slightly off-kilter humor.

Critics and hip-hop audiences understood the sea of change ATCQ represented. The Source gave the album a perfect score of five mics (a first for the publication), while The Village Voice praised it as "upliftingly dope."

A TRIBE CALLED QUEST
Queens, New York natives Q-Tip , Phife Dawg , and Ali Shaheed Muhammad of Brooklyn, formed A Tribe Called Quest in 1985. The group is one of hip-hop's most legendary, beloved and revered groups of all time. Easily recognized for their unique approach to rap music by employing jazz infused soundscapes to Afro centric rhymes, ATCQ was largely responsible for the popularity of a new genre that dominated the East Coast sound of the early 1990s. Sonically, ATCQ was a decisive and welcomed tangent of jazz, bass-heavy rhythmic vibes and eclectic sampling when compared to the mundane recycling of soul loops, breaks and vocals of their contemporaries. Lyrically, emcees Q-Tip and Phife Dawg addressed social issues relevant to young blacks such as use of the n word and its relevance, date rape and other interpersonal relationships, industry politics and consumerism with infectious energy and fun and having a good time while still promoting positivity. ATCQ composed a number of successful singles and albums with their creative approach to rap music. In 1990, the group released Peoples Instinctive Travels and the Paths of Rhythm. Their sophomore effort, The Low End Theory, considered one of the greatest albums in hip-hop history that would solidify them as legends. In recent years, the anticipation for another ATCQ album has been building. The Abstract Poetic, Five Foot Assasin, and Mr. Muhammad have yet to grace the studio for another record, but have hit the road again. Today, the power of their music is still evident in their dynamic stage shows and in the reception of their adoring fans.

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NUM060 Ork Records: New York, New York 2CD+Book/4LP+Book

In August of 1975, the world's first punk record label was born. Ork Records: New York, New York is a tale of Terry Ork, a film-obsessed fugitive of Warhol's Factory set. Ork's impresario ear would pull damaged, literate new rock music from the pregnant Bowery grime of CBGB, resulting in debut 45s by Television and Richard Hell, as well as landmark recordings by the Feelies and Lester Bangs. It's a tale of Charles Ball, who'd steer Ork Records through solo exploits by Big Star's Alex Chilton and the dBs' Chris Stamey. And it's a tale told across 2 CD or 4 LPs s in scorching sides by Richard Lloyd, Marbles, Prix, Mick Farren, Cheetah Chrome, the Idols, the Erasers, the Revelons, Student Teachers, and more. Our deluxe 190-page hardback book features evocative, unseen imagery, a portal opened by on-the-scene photojournalists as crucial to documenting punk's conception in the squalid Lower East Side as the walls of CBGB itself. Ork Records: New York, New York is a v isionary glimpse of punk and new wave as invented, nurtured, feted, and forgotten by the street-level artisans who attended the genres' arrival.

Mail order junkies, we made something special just for you: A 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.

Did you buy the 45 version? Guess what? This version includes 12 tracks not found in our limited Record Store Day box.

Buy Ork record right now and have it well before the release date. (Doesn't give date, other than "Orktober.")
Watch before you buy:
https://www.youtube.com/watch?v=422IF2TL9Yc

More from Numero:

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NUM061 Edge of Daybreak: Eyes of Love CD/LP

Incarcerated funk has no right to feel this free. Musical convicts and actual convicts from across the Commonwealth, The Edge Of Daybreak's membership wrote and recorded Eyes Of Love while serving out sentences of six to sixty years. Set to tape inside Powhatan Correctional Center on the outskirts of Richmond, Virginia, these intimate 1979 sessions unlock the prison gates and peer into a collective consciousness concocted by a core of four confined artists. Assembled from distant love ballads and fanciful odes to freedom, Eyes Of Love is a prison letter composed by committee, recorded hastily, and circulated regionally amongst adventurous clientele willing to take a chance on these felonious talents.

ES-050 Otis Brown & the Delights "Southside Chicago"

An anthemic call to arms for all denizens of the second city residing south of the Loop, Otis Brown & the Delights' "Southside Chicago" swung and missed in the summer of '66. Forty years later, Sitting In The Park, Bob Abrahamian's crucial Chicago Soul program, would adopt this mid-tempo slice of crossover northern soul as its theme music. The flip, "I've Got Another," is a perfect night ender, the time to pull your lover close and dance until the lights come up. Many years in the making, this limited replica 45 is a tribute to both Numero's hometown and the late Bob Abrahamian.

ES-051 Mind & Matter "I'm Under Your Spell" 45

In March of 1977, Minneapolis nonet Mind & Matter booked time at Creation Audio on Old Shakopee Road in suburban Bloomington to record "I'm Under Your Spell" and "Sunshine Lady." Written by a teenaged Jimmy "Jam" Harris, these danceable numbers document the prolific songwriter taking baby steps as a budding super producer. Limited repress comes housed in a custom Numero sleeve.

finally we have (the beginning of the) Coil reissues, along with tons of bonus tracks, demos, comp tracks, etc. added on:

http://www.forcedexposure.com/Labels/THRESHOLD.ARCHIVES.UK.html

Opeth's Damnation and Deliverance are being reissued as a four-disc set (each album is remixed and remastered and you get a CD and 5.1 audio DVD version of each, in a little hardback book with new liner notes and archival photos). I've sampled a track from each album, and the difference is amazing. The drums on Deliverance (the loud one) are bigger; the guitars are clearer; Mikael's vocals are more forceful; everything has its own space in the mix. Damnation (the quiet one) sounds even more proggy and '70s than before (no surprise, since that one was remixed by Steven Wilson). When I first heard that these albums were going to be paired and sold this way, I thought it was a pure cash grab. Now that I've heard the results...well, it looks like they're gonna get my money again.

Always wondered about this---anybody heard it? I remember liking some of Writer and some other late 60s/ maybe early 70s, def pre-Tapestry stuff.

http://cdn.americansongwriter.com/wp-content/uploads/2015/10/tmp_2F1435336299700-6wkc8li3wqiio1or-307e30c7b66538175558701987ff3e62_2FLITA136_COVER.jpg

http://www.americansongwriter.com/2015/10/the-city-now-that-everythings-been-said-reissue/

not amazing but interesting to hear the songwriter's own take on songs I love like snow queen, wasn't born to follow

xpost Ork box in NYTimes: backstory, new interviews, even some description of music, if not nearly enough, and the author's passing mention of Bangs' music as "boozy lounge" is brainstem dim. Good pix & ace quotes, anyway:
http://www.nytimes.com/2015/10/25/arts/music/terry-orks-punk-rock-time-capsule-celebrates-a-nihilistic-niche.html?&moduleDetail=section-news-2&action=click&contentCollection=Music®ion=Footer&module=MoreInSection&version=WhatsNext&contentID=WhatsNext&pgtype=article

Smog Veil sale update:

HERE WE GO:

The sale continues until NOVEMBER 9, 2015 on our new series of archival and newly recorded material to be released individually and as bundled specials, called Platters du Cuyahoga, Series 1. The series will highlight and celebrate Cleveland's long running and rich history of challenging, culturally significant, and often bombastic music.

Plus, we are pleased to announce that if you pre-order the series or the X___X release, we will be sending you an extra special super secret bonus. Here's the deal: you have to pre-order by the end of the day on November 9. Anyone who has pre-ordered up until now will receive the bonus as will anyone who pre-orders by the deadline. The super secret extra special bonus will ship with the Mr. Stress Blues Band release. The bonus will never be for sale on the Smog Veil site or in stores. The only way to get it is to pre-order!

The initial three releases are: (1) X__X: Albert Ayler's Ghosts Live at the Yellow Ghetto (November 20, 2015 release date); (2) Robert Bensick Band: French Pictures In London (1975); (3) Mr. Stress Blues Band: Live At the Brick Cottage 1972 - 1973. All the releases will be formatted on vinyl as well as CD and download/streaming. A hallmark of the series will be that each release contains extensive liner notes, all carefully researched. Byron Coley (Forced Exposure, NY Rocker, Boston Rock, Spin, Arthur magazine column with Thurston Moore) penned the liner notes for X__X, and Nick Blakey (The Boston Phoenix, EQ, Chunklet, Your Flesh) wrote the liners for the Robert Bensick and Mr. Stress releases.

The X___X LP is on blue vinyl and contains lock grooves on both sides of the record. The Robert Bensick Band LP will also be pressed on colored vinyl. The Mr. Stress Blues Band LP contains a free download with extra tracks. X___X will ship to you on or before November 20, 2015. Mr. Stress Blues Band test pressings have been approved and art design is in the final stages. The Robert Bensick Band masters are done, art is nearly done, and will ship to you this winter.

The X__X release will feature new recordings from one of Cleveland's most notable late 1970s post punk outfits. The band plans live dates to coincide with this release, expect fireworks and power tools. The Robert Bensick Band album is an unreleased studio record recorded at Agency Recording Studio in 1975. Tapes were saved this year by Alan Howarth and Paul Hamann. The band and this release represent an important era of the downtown artist colony/apartment/hang out known as The Plaza and besides Robert Bensick features an all-star cast including Scott Krauss and Tom Herman (Pere Ubu), Albert Dennis, Michael Hronek, and Cynthia Black. Paul also engineered the Mr. Stress Blues Band never before released live set, culled from their rowdy sets at The Brick Cottage (aka, the Sick Brick).

Pre-sale is live for the 3 LPs and CDs that represent the first entry in the Platters du Cuyahoga series as well as the X___X LP and CD. The pre-sale ends on Monday, November 9, 2015.

THE PRE-SALE ENDS NOVEMBER 9, 2015! SONG SAMPLES AND ORDERING INFORMATION ARE HERE, FOR THE LP SERIES:

http://www.smogveil.com/collections/frontpage/products/platters-du-cuyahoga-series-1-lp-subscription

X___X has announced tour dates for this winter. Rocket From The Tombs has announced a series of live dates. Details below.

Also, hearpen.com has a new release. Here's what we know of it: this is Pere Ubu synthesizer Allen Ravenstine's first solo album, titled "the pharaoh's bee", recorded in 2015. He played the Moog Theremin and a Doepfer Dark Energy. William Blakeney helped produce and master the recordings. An extensive set of liner notes is included as a PDF file. Check it out here:http://hearpen.com/hr182.html

GIGS!

Be sure to get out and see a gig where you live.

X___X

Fri. Jan. 8- Louisville KY. - with Tropical Trash - Zanzabar 2100 S. Preston St. Louisville, KY 40217

Sat. Jan. 9-Knoxville TN. - Pilot Light 106 E Jackson Ave, Knoxville, TN 37915

Sun. Jan. 10-Winston Salem, NC - The Garage 110 W. 7th St. Winston-Salem, NC 27101

Mon. Jan. 11-Raleigh NC. - The Cave 452 W. Franklin Chapel Hill, NC 27516

Tues. Jan. 12-Athens GA. - Caledonia 256 W. Clayton St. Athens, GA 30601

Wed. Jan. 13- Atlanta GA. - The Earl 488 Flat Shoals Ave. SE Atlanta, GA 30316

Thur. Jan. 14 Jacksonville Fl. - Rain Dogs 1045 Park St. Jacksonville, FL 32204

Fri. Jan. 15- Orlando Fl. - Will's Pub 1042 N. Mills Ave. Orlando, FL 32803 -

Sat. Jan. 16-Tallahassee Fl - TBA

Sun. Jan. 17- NOLA - Siberia 2227 St. Claude Ave., NOLA 70117

Tues. Jan. 19-Houston TX with Snooty Garbagemen/Blaxxx - TBA

Wed. Jan. 20- Denton TX - Rubber Gloves 411 E Sycamore St, Denton, TX 76205

Thur. Jan. 21- Austin TX. - @Barracuda (Red7) 611 E. 7th St. Austin, TX 78701

Fri. Jan. 22- Memphis TN - Murphy's 1589 Madison Ave., Memphis, TN 38104

Sat. Jan. 23- Cincinnati, OH. - MOTR 1345 Main St. Cincinnati, OH 45202

Rocket From The Tombs
Tue, Dec 1

Chicago, The Empty Bottle

Wed, Dec 2

Pontiac MI, Crofoot Ballroom, Pike Room

Thu, Dec 3

Cleveland, Beachland Ballroom

Fri, Dec 4

Philadelphia, Johnny Brenda's

Sat, Dec 5

Jersey City NJ, Monty Hall

Sun, Dec 6

Brooklyn, Baby's All Right

Mon, Dec 7

Washington DC, Rock And Roll Hotel

Tue, Dec 8

Boston, Brighton Music Hall

Fri, Dec 11

Den Haag (NL), State-X New Forms Festival

Sat, Dec 12

London, The Brewhouse

Sun, Dec 13

Leeds, Brudenell Social Club

Tue, Dec 15

Wed, Dec 16

Diksmuide (B), 4AD

Paris, Festival Les Aventuriers

Updates for all the new stuff, reviews, mp3 samples and videos available daily at the Smog Veil Facebook fan page.

http://www.soundsoftheuniverse.com/mailouts/img/main/711/w/lowsjrcd323coxsonsmusicdigipackcopy.jpg

Coxsone's Music is a stunning new 3-CD/two separate double LP (+ free download) collection featuring over two and half hours of early Jamaican proto-ska, rhythm and blues, jazz, rastafari and gospel music - charting the earliest recordings produced by Clement Dodd, in the years before he launched the mighty Studio One Records, brought together here for the first time ever.

Clement Dodd's Sir Coxsone The Downbeat Soundsystem ruled Kingston's dancehalls during this era and these recordings strongly reflect the influences of American rhythm and blues and jump jazz on Jamaican music fans. By the time the new record company formed in Brentford Road, Kingston in 1963, the young Clement 'Sir Coxsone' Dodd had already managed to release an incredible wealth of recordings by the talented musicians and artists on the island of Jamaica and this collection reflects just that:

Featuring Don Drummond, Roland Alphonso, Derrick Harriott, Owen Gray, Clancy Eccles, Count Ossie, Monty Alexander, The Blues Busters, Ernest Ranglin, Rico Rodriguez and many, many more all captured here in their formative early years.

Before Studio One, Clement Dodd released this music on a variety of his early record labels such as Worldisc, All Stars, Coxsone, D Darling (named after Coxsone's mother, who received a production credit on the label), Muzik City (named after Dodd's record store on East Queen's Street), Port O Jam, Supreme and Sensational. Sleevenotes to this collection are by Studio One authority Rob Chapman, author of the Never Grow Old and Downbeat Special books cataloguing the many recordings of the label.

(Vinyl Double Record A is tracks 1-24, Vinyl Double Record B is tracks 25-46)(also: 3-CD set, mp3s available)

complete track list, audio samples here: http://www.souljazzrecords.co.uk/releases/?id=45164

https://www.bear-family.com/media/image/thumbnail/bcd17050_720x600.jpg

won't let me paste, but it's a Bear Family 40th Anniversary box: 3 CDS and a DVD (also a book, 308 pages). Not a label sampler, but all bears, all the time. Lots of promising titles, esp. "Teddy Bear's Luau" and "The Unbearable Longness of Boring." Hmmm, Swamp Dogg x Canned Heat---full track list etc.:
https://www.bear-family.com/various-40-years-bear-family-records-3-cd-1-dvd.html

The 21st century is defined in part by an overwhelming panorama of choices. Especially in the world of recorded music, of which the near-complete history is available in two or three clicks. Want to hear Carly Rae Jepson’s Emotion? Or Ray Charles’ complete Atlantic recordings? You can, and you should. But the question remains—how will you find out about Jimmy Carter & the Dallas County Green’s undeniable 1977 private country-rock masterpiece? And how will you experience it with something resembling the sense of excitement that accompanied those seven Columbia House selections for a penny, the ones you actually wanted? Isn't the predictability of unlimited choice part of what's turning us all into such jaded monsters?
And that is why in January 2016, the Numero Group is launching its own seasonal music club featuring twelve exceedingly rare or entirely unreleased LPs. Four albums of Eccentric Soul, four albums from Wayfaring Strangers, and four plucked from our Private Mind Garden. These records won’t be available in stores and they won’t be repressed. We’re not issuing them on CD and the only way you can buy them is by joining the club. And that club? It's limited to just a thousand members. You read that correctly: In a world of unlimited access, we’re exercising some small degree of restraint. Like some poor kid stuck in 1991, we want you waiting by your mailbox. We want you to love every record so much that you keep the custom box it came in.
Here’s how it works:
You subscribe to one, two, or all three series. Every quarter a record from each series goes out. We'll let you know by email when your record is on its way, along with a tracking number and a download code in case you just can't wait. It’s that simple. Don’t like one of them? Whine on twitter, wait a few months, and flip it on Discogs. Exercise your rights as a consumer, we won't judge.

We’ll be revealing all twelve titles in the coming weeks. For now, here are the first three:
Eccentric Soul
Our flagship series broken into digestible single artist LPs for the discerning collector. Twelve years into effectively remapping the American soul diaspora, we’ve created an alternate universe of motley and mishandled Motown acolytes. We now press our magnifying glass further into the dust, freeing four microbes that could have, should have, never did, but now might.
 94 East: The Cookhouse 5

In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities' insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife's nephew: a 16-year-old guitar prodigy named Prince Rogers Nelson. Known colloquially as "The Cookhouse 5" these recordings showcase Prince's instantly recognizable guitar playing, seasoning to perfection 94 East's short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One's expressive playing style, already evident in his teenaged years.

Private Mind Garden
Each of us has our own Private Mind Garden. Some are fertile, some are well-tended, some are thorny and overgrown, and some are full of exotic delights not to be found anywhere else. Such is the case with our latest bit of branding, the expression's originator unknown, borne from online message boards, where it has generally tended to denote getting lost in one's own world. It can mean folly and delusion, but we at Numero would like to cultivate a different interpretation, to describe that place from which the most challenging, singular, and personal musical creations spring.
 Circuit Rider: Photograph Attached

Beneath the shroud of mystery surrounding the Circuit Rider LP is its mercurial, difficult, and wildly creative producer, Thorn Oehrig. After turning his penchant for biker lore into an acid-scorched eponymous LP, he continued recording with a motley cast of musicians and collaborators over the next few years, plotting a follow-up that was never quite completed. The original buzz remains across this unheard blast of angel dust. Dark hobo tales and rambling tunes, etched in alrnately noisy, shambolic, and transcendent performances, channeling an alternate reality where Tom Waits is a mass murderer.

Wayfaring Strangers
In a record landscape blurred by one next great but ultimately disappointing private SSW hope after another, we’ve done our best to boil down the finest examples of this world into a handful of themed compilations. Here we dust off some of the truly brilliant and fascinating discoveries made along the path, long-playing documents of talents far bigger than a single track would merit.
 Jimmy Carter & the Dallas County Green: Summer Brings The Sunshine

Don't let the postcard-generic cover art fool you, Summer Brings The Sunshine stands head and shoulders above nearly any major label country rock album crowding mid-'70s record bins. Next to the hundreds or even thousands of slick productions flowing out of Nashville and Los Angeles, Jimmy Carter scoured his rural Missouri surroundings for farmhands and semi-pros alike to lay down eight farm-isolated originals in 1977. Tasty female backing vocals, languid pedal steel, and feisty guitar licks abound on this exalted and near-peerless slice of Cosmic American Music (Gram Parsons' phrase for what others called "country rock," a phrase he detested like he loathed the Eagles--ed.)

There's a 3cd set called "Complete Them 1964-1967" coming out early December. Looking forward to that, it seems like Them's stuff has been terminally OOP for years now.

The 2CD The Story of Them featuring Van Morrison has been easy to find since its release (1997, iirc). The new comp is basically the same thing, but with an added disc of BBC recordings and a few other rarities.

I guess I could've gotten that from Amazon or something, but none of our distributors ever carried it so I assumed it was out of print!

Story of Them did go oop, just like the rest of the Polydor-licensed Van titles, and like many of those was fetching a pretty penny online.

Just received the Andrew Hill Soul Note recordings box set. Two discs in and really happy with it. Price was right, too: only $35 from Dusty Groove.

Fun fact: Strange Serenade came about because Hill had arrived in Italy without a band/rhythm section. He sat in with Bill Dixon's group one night, and Bill suggested he use Freddie Waits (who also played on Stevie Wonder's "Fingertips Pt. 2," among others) and Alan Silva from his band.

Over the years, Bill and Andrew had talked about making a duo record; sadly, it never happened.

Strange Serenade is awesome. I'm excited to get to Shades because the combo of Andrew and Cliff Jordan.

Don't think I ever linked info re Pere Ubu's Elitism For The People 1975-1978
http://www.ubuprojex.com/elitism.html

I have a cassette of the 94 East thing. It's OK, there would be zero interest in it if not for Prince

I thought the remasters I got a decade ago sound fine but shrug, at least Chasing Shadows is available now.

http://louderthanwar.com/comsat-angels-waiting-miracle-2cd-deluxe-edition-album-review/

So Numero is reissuing Jimmy Carter & the Dallas County Green? I respect the work those guy put into their releases, But… I'm probably the odd man out here, but sometimes I wish these reissue labels would let things be. I've been waiting to find a copy of that record for 8 years now and I've enjoyed waiting. I will find a copy one day. That's why record collecting is thrilling, waiting digging, and finally finding something you want. I don't want a reissue of anything really.

So don't buy one, bro.

I mean, I kinda get what you're saying - I feel like I'm destined to find a copy of Jim Ford's Harlan County someday.

http://images.benchmarkemail.com/client67922/image2530894.jpeg
(namechecks Laughner etc. like mad, but no legends/stars on these particular tapes---lots of good taste in covers, though)
SMOG VEIL RECORDS ANNOUNCES
THE NEXT RELEASE IN THE PLATTERS DU CUYAHOGA SERIES
Mr. Stress Blues Band: Live At The Brick Cottage 1972 – 1973
Winter 2016 Release Date

November 24, 2015 (Cleveland, OH) – Smog Veil Records announces the next release in the Platters du Cuyahoga (PDC1) series: Mr. Stress Blues Band: Live At The Brick Cottage 1972 – 1973. "Bill "Mr. Stress" Miller [January 1, 1943 -- May 18, 2015] performed “thousands of gigs," the Cleveland Plain Dealer explains, "He played with Steppenwolf, the MC5, the James Gang. Jammed with 100-plus bandmates, including rock heroes such as Chrissie Hynde, Peter Laughner and Jimmy Fox." The record which features extensive liner notes will hit retail this winter, 2016 and will be available in digital format as well as CD and vinyl LP. Since this is an archival release there is no touring scheduled, although a record release event with surviving members may be announced.

The album is a collection of recordings taped live at the legendary Brick Cottage in Cleveland in 1972 and 1973. Peter Laughner, Cleveland proto-punk legend and brief member of the Mr. Stress Blues Band, initially got the band booked at the “Sick Brick.” The scene in and around the Brick was the stuff of legend replete with gun-toting regulars, junkies nodding out in front of the stage, and a feisty waitress named Monique that could and often did put certain customers in their place.

The band played regularly in Cleveland with numerous local performers and shared the stage with touring acts such as Otis Spann, Bonnie Raitt, James Montgomery, Rotary Connection, Joe Jackson, Little Steven, Steppenwolf, Nazz, and Three Dog Night and many others. Chrissie Hynde of the Pretenders even namedropped Mr. Stress in the popular Pretenders' song "Precious."

"As a bandleader, Miller fronted his iconic Mr. Stress Blues Band through numerous permutations," music researcher Nick Blakey explains in the band's bio. Some of the best and brightest musicians in Cleveland who passed through the band included Chrissie Hynde (Pretenders), Peter Laughner (Pere Ubu/Rocket From The Tombs), Anton Fier (Golden Palominos/The Feelies/Swans), Vito San Filippo (Tower of Power/The O’Jays), James Emery (String Trio of New York/Anthony Braxton), Glenn Schwartz (Pacific Gas & Electric/All Saved Freak Band), Alan Greene (Breathless/The Innocent), Ken Klimak (Dr. John), Chuck Drazdik (It’s A Beautiful Day), Kenny Ruscitto (15-60-75), no less than six members of The James Gang, as well as noted international journalist and writer Eric Ehrmann."

The album features the band performing live takes on songs by Howlin' Wolf, B.B. King, Muddy Waters, Slim Harpo, Jimmy Reed, Albert King, and more. Musicians on the recording include: Bill “Mr. Stress” Miller on vocals and harmonica; Charlie “Pontiac Slim” Drazdik on guitar; Tom Rinda on bass; Mike “The Professor” Sands on electric piano; Dr. Pete Sinks on drums (1972 tracks); Kenny Ruscitto on drums (1973 tracks).

Track listing:

Side One: (24:50)
1. How Many More Years (Chester Burnett) (Brick Cottage 1973) (9:35)
2. Walkin’ Through The Park (McKinley Morganfield) (Brick Cottage 1972) (4:12)
3. Good Time Charlie (Malone-Scott-Caple) (Unknown Location 1972) (3:49)*
4. Scratch My Back (Slim Harpo) (Brick Cottage 1973) (5:12)
5. Chicken Shack (Break Song) (Milburn-Cullum. arr MSBB) (Brick Cottage 1973) (1:50)

Side Two: (24:46)
1. Get Out of My Life Woman (Allen Toussaint) (Brick Cottage 1973) (7:02)
2. Big Boss Man (Jimmy Reed) (Brick Cottage 1973) (3:16)
3. I Feel So Bad (Chuck Willis) (Brick Cottage 1972) (4:19)
4. Sweet Little Angel (King-Taub) (Brick Cottage 1972) (9:59)

CD and LP download Bonus Tracks: (25:49)
1. Rock Me Baby (King-Bihari) (Kenny’s Last Stand at The Brick Cottage 1973) (4:51)
2. Crosscut Saw (R.G. Ford) (Brick Cottage 1973) (5:03)
3. Help Me (Williamson-Dixon-Bass) (Brick Cottage 1972) (6:00)
4. Black Night (Jessie Mae Robinson) (Brick Cottage 1972) (8:28)
5. Chicken Shack (Break Song #2) (Milburn-Cullum. arr MSBB) (Brick Cottage 1973) (1:27)

ABOUT SMOG VEIL RECORDS
Smog Veil Records was founded in Cleveland, Ohio in 1991 and focuses on underground, challenging and bombastic music. The label roster includes Rocket From The Tombs, Batusis (Cheetah Chrome and Sylvain Sylvain of New York Dolls), Peter Laughner, Pere Ubu, Complaints Choir, This Moment In Black History, OBNOX, The New Hope v/a compilation, Tin Huey, Easter Monkeys, Pistol Whip, Unknown Instructors (Mike Watt, George Hurley, Joe Baiza, Dan McGuire, Raymond Pettibon, David Thomas), Teacher’s Pet, Thor, Amps II Eleven, New Christs (featuring Rob Younger of Radio Birdman), Rubber City Rebels and others.

http://img2.ymlp209.com/utre_ScreenShot20150814at132434_3.png

MY MUSIC Presents
Close To You: Remembering The Carpenters

Remastered Documentary To Air On Public Television Nationwide on December 5th

People.com Premieres Unreleased Video Of The Duo's 1971 Hit "For All We Know"

Carpenters - The Complete Singles
Available Exclusively through Public TV Stations

On Saturday December 5th, the public television series MY MUSIC will present Close To You: Remembering The Carpenters, airing on Public Television stations nationwide. A look back at the lives and musical arc of the beloved brother-and-sister songwriting duo, the film stands as a testament to their enduring musical legacy. Featuring rare performances and extensive archival footage, this remastered documentary celebrates the timeless appeal of the Carpenters' unique sound, from Karen's warmly expressive voice to Richard's diverse talents as arranger, producer, pianist and composer. During their spectacular career, the duo was the recipient of three Grammy Awards, including Best New Artist of 1970, an American Music Award and over 20 gold records. Remembrances from friends and colleagues Herb Alpert, Burt Bacharach, Petula Clark and Paul Williams are also included.

Today People.com premieres a previously unreleased video of The Carpenter's smash hit "For All We Know." The song was a million-selling hit single for the duo in 1971, the same year they won their third Grammy Award for Best Pop Vocal Performance by A Duo Or Group. Reflecting on the song, Richard Carpenter observes, "'For All We Know' works beautifully for Karen's alto, our background harmonies and the fluid electric bass playing of Joe Osborn. The recording is as fresh to me in 2015 as it was in 1970." The video is currently streaming here:http://www.people.com/article/carpenters-for-all-we-know-performance-video"> http://www.people.com/article/carpenters-for-all-we-know-performance-video

TJL Productions' MY MUSIC series is proud to bring this program back to public television audiences. "Hearing Karen's intimate voice is like listening to our own inner voice, the music she and Richard made expresses every emotion we go through in this life," says Lubinsky, the series’ executive producer. "I felt that bringing the heartwarming story of the Carpenters to public television will help now for new generations to discover and us older fans to reflect on their extraordinary work.”

Made available as part of this television event, Carpenters – The Complete Singles is a new 3-CD box set that presents, for the first time in one collection, every A and B-side released in the United States on A&M Records between 1969 and 1989 in the form of their original single version. Included are timeless hits such as "Top of The World," "For All We Know," "Superstar" and "Close To You," as well as signature covers “Ticket to Ride” and “Please Mr. Postman.” With 66 tracks in total, the collection will be made exclusively available as a gift for viewers who make a pledge of support to their public television channel.

Additionally, a DVD of the Close To You special will be offered as a public television exclusive, with 60 minutes of extras including complete song performances from the duo, expanded from the documentary. Also included is "The Carpenters at The White House" featurette, shot when President Nixon was in office, other rare songs and footage and a stunning rendition of Karen and Richard performing "Ave Maria."

TJ Lubinsky is currently available to speak about the documentary and December 5th television broadcast event. Jim Pierson, an original producer of Close To You: Remembering The Carpenters, is also available.

http://email.forcefieldpr.com/sites/default/files/styles/artist_photo/public/playing%20the%20fiddle.jpg?itok=VZonQREH

Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War
Street Date, October 16th, 2015, Dust-to-Digital

Legendary collector Joe Bussard is putting records out once again! After running the last 78rpm label in the US (RIP Fonotone Records 1956-1974), Joe had relegated his efforts to promoting old-time music by making cassette tapes for people hungry to hear his rare treasures and producing his radio show Country Classics for stations in Georgia, North Carolina, Tennessee and West Virginia. But last year, Joe and his daughter Susannah Anderson had the idea to produce a compilation of Civil War tunes and they rang the office of Dust-to-Digital to gauge interest in producing such a compilation.

"Bussard's got shit that God don't have. It is one of the great glory holds, probably the finest in the world. He was canvassing earlier than most, and he's been at it longer, and he took everything: He recognized stuff that he really didn't even like at the time, but he recognized it as being good, and he kept it."
-- collector and musician Tom Hoskins, an authority on pre-World War II Delta blues, for the Washington City Paper
Description: CD in digipak with 36-page booklet. Includes introductory essay by Kevin Fontenot and liner notes by Tony Russell.

Tracklist
1. Ernest Stoneman – Pass Around the Bottle
2. Blue Ridge Mountain Singers – Lorena
3. Grant Brothers & Their Music – Johnson Boy
4. Red Mountain Trio – Dixie
5. Buell Kazee – The Faded Coat of Blue
6. G. B. Grayson & Henry Whitter – He Is Coming to Us Dead
7. Ernest Stoneman – Sweet Bunch of Violets
8. Ward & Winfield – In Those Cruel Slavery Days
9. Chubby Parker & His Little Old-Time Banjo – The Year of Jubilo
10. Da Costa Woltz’s Southern Broadcasters – John Brown’s Dream
11. Capt. M. J. Bonner (The Texas Fiddler) – Dusty Miller / Ma Ferguson
12. Cherry Lane Express – Rebels Hornpipe
13. Henry C. Gilliland and A. C. (Eck) Robertson – Turkey in the Straw
14. The Foreman Family – The Poor Old Slave
15. Asa Martin & James Roberts – Darling Nellie Gray
16. Henry C. Gilliland and A. C. (Eck) Robertson – Arkansaw Traveler
17. McGee Brothers & Todd – Old Master’s Runaway
18. Da Costa Woltz’s Southern Broadcasters – Richmond Cotillion
19. Fiddlin’ John Carson & His Virginia Reelers – Dixie Division

http://www.cargo-records.de/en/item/89208/katalog_art.123.html
Gong Radio Gnome Invisible trilogy plus asa box set on both vinyl and cd. Cd comes with a 4th cd with the debut 7" by the band on it.

JUsty had this pointed out to me though
http://planetgong.co.uk/news/current.shtml#statement

Ltd. ed. vinyl, never heard of the additional guitarist or female guest vocalist. "Walk With Me Sydney"!
http://www.discogs.com/Pink-Floyd-1965-Their-First-Recordings/release/7780256

It looks like a lot of the Sanctuary era Trojan sets are reappearing. Been seeing a lot of the Lee Perry ones locally.

Ltd. ed. vinyl, never heard of the additional guitarist or female guest vocalist. "Walk With Me Sydney"!

Rado "Bob" Klose was in Floyd in 1964-1965. These early sessions were his only recordings with the band, then he apparently left music until 2006, when he showed up on Gilmour's On an Island and a few Chico Hamilton records.

Juliette Gale was Rick Wright's first wife.

Thanks, my Floyd knowledge has many gaps. Meanwhile:

http://www.soundsoftheuniverse.com/mailouts/img/main/725/w/book2photo.jpg

Also, the accompanying compilation--- series links are messed up, but here are some individually (info and audio samples incl.):
The CLE set: http://www.souljazzrecords.co.uk/releases/?id=40922

Akron: http://www.souljazzrecords.co.uk/releases/?id=40918

Sick On You (Electric Eels, Crime, Cab Voltaire, further afield:
http://www.souljazzrecords.co.uk/releases/?id=36733

There Is No Such Thing As A Society (Johnny Moped, Disturbed, Television Personalities, Swell Maps etc)
http://www.souljazzrecords.co.uk/releases/?id=35137

Kill The Hippies! Kill Youself! America Destroys Its Young (Urinals, Theoretical Girls, Zeros, Flamin' Groovies (?), more from Cleveland, etc)
[url]http://www.souljazzrecords.co.uk/releases/?id=36733[url]

http://www.numerogroup.com/sendy/uploads/1448992622.jpg

After only 12 years in business, we’re finally, truly embracing the Christmas spirit (that is, exploiting a fundamentally spiritual holiday for material gain).

Despite our annual tradition of exploitation, wherein we spend 12 days peddling slightly-discounted stocking stuffers and various tree-obscuring box sets, we’ve never created an actual product to hoover up all those loose Christmasy dollars before. Perhaps our Scrooge McGrinch hearts are warming to the idea of all that holiday moolah, but here we are with our first seasonal product. Available for purchase only in the months of November and December, we’re bringing you the wonderful original single by Indiana girl-group The Shades.

Staying well within the seasonal spirit, we are also finally providing the lightly-satanic music of Medusa to the compact disc consumer, featuring three additional tracks and wrapped in the same velveteen ensconcement as the large-format edition. We've also released a repro of their original missives on 45 "Strangulation" b/w "Temptress". To celebrate the occasion, we've created a commemorative 3" embroidered patch featuring Medusa’s trademarked pentagram with claws of fire logo.

Keeping vaguely in theme with the holidays, we have the original motion picture soundtrack to Rick Alverson's new film Entertainment. The soundtrack, curated by the film's main character Gregg Turkington (aka Neil Hamburger), features co-star John C. Reilly turning in a truly bizarre rendition of Away In The Manger. It's sure to be one more thing for your family to argue about over the dinner table.

We'd be remiss not to mention our Numero Gift Cards and the newly launched subscription club, Project Twelve. Both make excellent holiday gifts for that discerning record collector in your life.

http://www.numerogroup.com/sendy/uploads/1448903377.jpg

The Shades

Santa Claus Is Coming To Town b/w Prancer's Got Some Red Spots

Girl group greatness for your holiday soiree! Figuring it would take a Christmas miracle to break them out of rural Indiana, the Shades––Cindi, Jannie, and Suzi––traveled to Chicago's RCA Studios in 1966 to cut the holiday perineal, "Santa Claus Is Coming To Town." Backed with the original "Prancer's Got Some Red Spots" and released on Indiana's tiny Fujimo label, the 2015 reissue comes housed in a festive pic sleeve featuring the teen trio at their most merry.

Add Some Holiday Cheer to Your Record Collection.

Medusa

Strangulation b/w Temptress

Prior to tracking First Step Beyond, Chicago proto-metal quintet Medusa headed three miles west to the Village of Oak Park and cut their debut 7” at Stephen Wilcox’s Pepperhead custom studio. The resulting versions of “Strangulation” and “Temptress” are a touch further unhinged than their sororal album twins, as phased-out scraps of psychedelia and bleeding solos maxed out Pepperhead’s 8-track rig. Pressed in a strictly limited quantity of 1000 copies. Also available with an extremely limited 3” Medusa patch that’ll add snake-haired credibility to even the crispest new denim jacket.

Get Tempted.
Medusa

First Step Beyond

You must physically hold this album, kneel at its altar; we will fail to describe it. Medusa’s First Step Beyond might have forever shifted the perception of Chicago rock history had it managed to make the leap from tape to its never-realized vinyl pressing. Instead, the conflagation of Sabbath, Hawkwind, and Amon Duul II remained petrified in the Corycian Caverns—otherwise known as the drummer’s basement. Self-produced on four track in 1975, this lone transmission from Medusa’s repertoire appeared on the extremely mysterious Pepperhead label, whose proprietor allegedly disappeared after a bad trip and was never been seen again. Forged in ceremonial mock-velvet, custom embossed in Gorgon-gold and blood-red, and art directed in accordance with the band’s elaborate original stage props and artwork, we have positioned this unreleased opus to finally reach its destination: the turntables of pot-smoking and leather-clad teenagers, young and old.

Embrace The Sorcerer's Magic.

Entertainment

Experience the soundtrack to Neil Hamburger's existential dread. Entertainment is the unnerving film account of a traveling comedian lost on the brink. A broken, aging comic tours the California desert, cast away in a sea of third-rate venues, novelty tourist attractions, and self-serving attempts to reach his estranged daughter. By day, he drags across the barren landscape, inadvertently alienating every acquaintance. At night, he seeks solace in the animation of his onstage persona. Fueled by the promise of a lucrative Hollywood engagement, he confronts a series of increasingly surreal and volatile encounters. This sonic companion to Entertainment comes straight from the record collection top-secret Neil Hamburger alter ego Gregg Turkington, an avid gatherer of privately pressed curios and the self-proclaimed #1 fan of Frank Sinatra Jr. Joining the Son of the Chairman of the Board on this limited edition LP is a cast of downtrodden personalities, including a emphatic ally Los Angeleno nun, a Italian-language folkie whose guitar laments the Vietnam war, and a Columbus, Ohio, civil rights activist and record man. Included are interstitial dialogue snippets, one of which lets co-star John C. Reilly supply a bizarre rendition of Away In The Manger.

Feel The Dread.

Project Twelve

Our seasonal music club featuring twelve exceedingly rare or entirely unreleased LPs. Four albums of Eccentric Soul, four albums from Wayfaring Strangers, and four plucked from our Private Mind Garden. These records won’t be available in stores and they won’t be repressed. We’re not issuing them on CD and the only way you can buy them is by joining the club. And that club? It's limited to just a thousand members.

Sign Up Now.

Numero Group Gift Proxy

If you wish to purchase a gift for the Numero Group collector/consumer/fan/friend/online stalker of your choice, but you'd prefer to avoid the risk of replicating an already acquired item number in our vast catalog, we offer the Numero Group Gift Proxy. Unlike your standard Gift Card or Gift Certificate, this is a physical item with mild to moderate functionality that will stand-in for what will become your recipient's actual gift, while not being entirely a piece of rubbish. The Numero Group Gift Proxy comes attached to a 7" single that could, if the recipient so desires, be filed with their other similar items in an already established collection. Whatever they do with it, they will love whatever gift they choose to redeem it for. (For a few bucks less you can do it all digitally.)

Go ahead, make their day.

Eccentric Snow: The Numero Guide to Holiday Funk.

Want us to do all the work for you? Just kick back in front of the ol' Yule Log, and click the link to fire up our holiday Spotify playlist: https://play.spotify.com/user/numerogroup/playlist/7aKmK6GwGsLFyFCmDNgTKW?play=true&utm_source=open.spotify.com&utm_medium=open

As always, any item purchased from our website gets an immediate digital download of the album. Orders ship within one to two business day and are packed with care by two qualified professionals. We apologize in advance for the US Postal Service’s inability to deliver an LP with out a crushed corner or a packing knife slash.

Acute licensed some stuff to those Punk 45 comps. Great series.

http://exclaim.ca/music/article/felt_gets_vinyl_reissue_campaign_through_captured_tracks

Glad to see these get reissued but i'm bummed I just dropped $$$ on the originals.

Your originals probably sound better and are still going to be worth more, if that makes you feel better.

Not music, but zany energy x blithe spirit

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SHOUT! FACTORY EXTENDS ERNIE KOVACS DISTRIBUTION DEAL THROUGH 2020

Library of Congress Acquisition of the Archive of Ernie Kovacs &
Edie Adams Estate Guarantees Preservation and Digitization of the Entire Archive from Television’s Original Genius & Muriel Cigar Girl

FOR IMMEDIATE RELEASE

LOS ANGELES, CA (THURSDAY DECEMBER 3, 2015) – Shout! Factory and Ediad Productions today announced an agreement extending the distribution of Ernie Kovacs visual archive that aired in the 1950s and early 1960s for five years through 2020. In addition to the continued sale of existing packages of television shows, a newly amassed physical set will be released to coincide with the Centennial of Kovacs’ birth on January 23, 2019. Entire episodes of previously unseen-since-broadcast shows from the Ernie Kovacs archive will be released digitally.

It was also announced today that the Library of Congress has acquired the entire physical archive of both Ernie Kovacs and Edie Adams including Kinescopes, videotapes, 16MM, Super 8 home movies and other media that provide a unique window into both the professional and personal lives of these two iconic entertainers. The intellectual property however remains with Ediad Productions. The collection will complement the Library’s existing collections of iconic humorists, including Bob Hope, Groucho Marx, Jerry Lewis, Danny Kaye, Lucille Ball and Desi Arnaz, Sid Caesar and Johnny Carson.

The Ernie Kovacs and Edie Adams Collection will be available to researchers in the Library’s Motion Picture and Television Reading Room in Washington, D.C. Processing of the collection continues, but much of it is currently available to researchers.

“The immense popularity of our three Ernie Kovacs releases during the first five-year period of this partnership justified the extension of this agreement with Shout! Factory,” said Joshua Mills, President of Ediad Productions. “To that end, the Library of Congress acquisition of the Ernie Kovacs and Edie Adams archive now guarantees the preservation and digitization of their work for future generations which was always Edie’s dream. As we push forward into the digital age, we will be introducing these shows to new audiences via streaming and mobile devices beginning shortly with Shout! Factory. ”

“We are delighted to continue being the home of the Ernie Kovacs Show, and we look forward to bringing more of his comic genius to fans of groundbreaking television,” said Jordan Fields, Vice President of Acquisitions at Shout! Factory.

The Library of Congress Collection highlights include:

• 2" videotape masters of all 8 of Kovacs' monthly specials for ABC (1961-62)
• 35mm kinescopes of 74 episodes of Kovacs' infamous morning show for NBC (1956)
• 2" videotape masters of 35 episodes of "Take a Good Look", Ernie's tongue-in-cheek panel quiz show
• Original 16mm elements of Kovacs' silent movie spoof “The Mysterious Knockwurst” made for his CBS morning show in 1953
• 2" videotape masters of all 21 episodes of "Here's Edie"
• Original 16mm kinescopes for "Ernie in Kovacsland" (1951)
• Test footage of matting effects for Ernie as "Superclod" et al
• Audio masters of (formerly) unreleased Percy Dovetonsils LP "Percy Dovetonsils…Thpeakth"

Ernie Kovacs, whose offbeat humor graced the airwaves for just a decade in the 1950s, and early 1960’s served healthy portions of the offbeat to his audiences, who had never seen anything quite like this cigar-wielding charmer. Wickedly funny but not offensive, Kovacs’ unique humor and flair for improvisation continues to attract audiences, influencing TV funnymen from Johnny Carson, Monty Python, Billy Crystal, Craig Ferguson, David Letterman, Pee Wee Herman and many Saturday Night Live cast members.

About Ediad Productions, Inc.
Formed by the late entertainer & Muriel Cigar girl Edie Adams and currently run by her son Joshua Mills, Ediad Productions is home to what is likely the largest independent archive of early American television in existence. With more than 150 half-hours of content from legendary comedian Ernie Kovacs as well as two seasons of Edie Adams’ prime time variety show from the mid-1960, Ediad Productions is a treasure trove of classic popular entertainment. Titles in the archive include, The Ernie Kovacs Show, Ernie in Kovacsland, Take A Good Look (clues), the Kovacs specials for ABC, The Edie Adams Show, Here’s Edie! and much more. Ediad Productions is based in Los Angeles, California.

About Shout! Factory
Shout! Factory, LLC is a diversified multi-platform media company devoted to producing, uncovering, preserving and revitalizing the very best of pop culture. Founders Richard Foos, Bob Emmer and Garson Foos have spent their entire careers sharing their music, television and film favorites with discerning consumers the world over. Shout! Factory’s entertainment offerings serve up feature films, classic and contemporary TV series, animation, live music and comedy specials. Shout’s audio division boasts GRAMMY®-nominated box sets, Broadway cast albums, new releases from storied artists, lovingly assembled album reissues and indispensable “best of” compilations. In addition, Shout! Factory maintains a vast digital distribution network which delivers video and audio content to all the leading digital service providers in North America. Shout! Factory also owns and operates Timeless Media Group, Biograph Records, Majordomo Records and Video Time Machine. These riches are the result of a creative acquisition mandate that has established the company as a hotbed of cultural preservation and commercial reinvention. Shout! Factory is based in Santa Monica, California. For more on Shout! Factory, visit shoutfactory.com.

About Library of Congress
The Library of Congress Packard Campus for Audio Visual Conservation is a state-of-the-art facility funded as a gift to the nation by the Packard Humanities Institute. The Packard Campus is the site where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of motion pictures, television programs, radio broadcasts and sound recordings (www.loc.gov/avconservation). The Packard Campus is home to more than 7 million collection items. It provides staff support for the Library of Congress National Film Preservation Board (www.loc.gov/film), the National Recording Preservation Board (www.loc.gov/rr/record/nrpb) and the national registries for film and recorded sound.

Founded in 1800, the Library of Congress is the nation’s first-established federal cultural institution. It seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs, publications and exhibitions. Many of the Library’s rich resources can be accessed through its website at loc.gov.


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Record Collector Mag ‏@RecCollMag 28m28 minutes ago

#JanisJoplin Early And Rare is on Egg Raid, 4 Dec., and #SteeleyeSpan Catch Up 2CD is out via Park.
1 retweet 1 like
Record Collector Mag ‏@RecCollMag 2h2 hours ago

#MaynardFerguson The Ballad Style Of/Alive And Well In London is on BGO, 4 Dec., Bobbie Gentry The Definitive Collection 2CD is on Humphead.
0 retweets 0 likes
Record Collector Mag ‏@RecCollMag 2h2 hours ago

#JohnnyThunders In Cold Blood LP is on Easy Action, 4 Dec., Ben Webster The Complete Recordings 1952-59/59-62 4CDs on Enlightenment Series.
1 retweet 0 likes

Scott Seward posted that maybe his earliest memory was of being scared by Maynard Ferguson, live. Another ilxor responded, pronouncing MF "the Yngwie Malmsteen of jazz," which sounds right.
Haven't heard of In Cold Blood, what's it like?

Not sure if it's common knowledge but Nuno Canavarro's Plux Quba is back:
http://www.dragcity.com/products/plux-quba

Wasn't there some controversy about the last reissue of that being edited or remixed or something? Hmm.

Negativland’s latest release celebrates legacy of Don Joyce with 34 years of group’s “Over The Edge” radio program for download.

Called a “Mount Rushmore for sound collagists,” by Dangerous Minds, over 3200 hours of Joyce-helmed episodes are available now.

Negativland’s newest release is 34 years in the making, over 3200 hours long, and no human may ever be able to listen to it all! It is of course the audio archive of the legendary culture jamming group’s weekly radio show “Over The Edge” (Seeland 031).

Negativland’s live mix radio show “Over The Edge” is the longest-running block of free-form audio collage in radio history. With Negativland’s Don Joyce at the helm, the weekly show was broadcast from KPFA-FM in Berkeley, California from 1981 to 2015. The news of Joyce’s passing on July 22, 2015 received nearly 130,000 views on Negativland’s Facebook page, and with his death being memorialized by mainstream publications such as Rolling Stone and Billboard, the band members felt it was only fitting for this important and substantial portion of the group’s work to be made available immediately.

Access the “Over The Edge” Radio Archive here
https://archive.org/details/ote&tab=about

“Over The Edge”’s weekly themed mixes are made live and spontaneously on the air from a variety of formats and equipment used to do live sound cut-ups and collage while mixing, including the frequent use of the now long-dead analog technology of radio broadcast cart machines. On each themed episode there is a plan and there is no plan. The mix consists of found sounds of many kinds, from many sources, put together as a continuous audio collage, along with live electronics, live sound processing, and recurring themes and characters. “Over The Edge” also often employs “Receptacle Programming,” where phone callers are punched into the mix with no warning.

The archive currently has 941 three-to-five-hour-long episodes of “Over The Edge,” over 3200 hours of the show, with some gaps in the archive to be filled over time (especially the early years). If you are that person who listens to every single show in the archive, no matter how many years it takes you, Negativland wants to know about it!

Though “Over The Edge” continues to exist and evolve, and is still broadcast each week on KPFA-FM, the “Over The Edge” Radio Archive consists of the episodes helmed by Don Joyce. It ends on the episode broadcast immediately after his passing, “There Is No Don.”

A more extensive background on Negativland, “Over The Edge,” and Don Joyce’s legacy, written at the time of his passing, can be found courtesy of SF Gate here. (it's by primeval ilxor Uncle Ned Raggett!)
http://blog.sfgate.com/loaded/2015/07/23/don-joyce-radio-maverick-and-member-of-negativland-dies-at-71/

An informative bio on Negativland’s past, present, and future, is at this link:
http://www.negativland.com/news/?page_id=250

Besides Negativland’s many studio recordings, a selection of “Over The Edge” shows have been edited into CD releases over the years, and can be found here. http://negativland.com/shop/index.php?main_page=index&cPath=13&zenid=f95f3f3741fca6098cdd8f4874e221b7