Rolling Reissues 2016

Not really, but it’s better than paying for you to download their songs for free.

Yeahhh but I did kinda pay for the album so

Also fuck streaming forever

It is REALLY interesting that they have such a low rate of people redeeming those cards, though, never would've guessed that. I always use the cards when I get them. But then whenever I've bought used vinyl with a card in it always works so maybe I'm a freak case.

I was surprised by that low conversion rate and am disappointed they have gone down this route. Neat way to get people to buy direct from them though, if that's the only way to get a download included.

Husker Du box sounds interesting.

Never followed these guys, but some did (Joy Press could say why they were worth it)

https://s3-eu-west-1.amazonaws.com/cdn.beggars.com/fourad/site/images/artists/desktop_header/deadcandance.jpg

Dead Can Dance: '3 LP Bundle - Garden Of The Arcane Delights & John Peel Sessions / Within The Realm Of A Dying Sun / Toward The Within'

11th November 2016
info:
http://4ad.com/releases/829

Weird. Why not Garden/Peel, s/t and Spleen?

Oh they did s/t, Spleen and Labyrinth together.

SUB POP TO RELEASE TAD CLASSICS ‘GOD’S BALLS,’ ‘SALT LICK,’ AND ‘8-WAY SANTA’ DELUXE EDITIONS (FINALLY) ON NOVEMBER 4TH

Yes, you read it right. We finally got our collective shit together and the long-unavailable, classic discography of beloved and iconic Seattle band, TAD – God’s Balls (1989), Salt Lick (1990), 8-Way Santa (1991), and assorted singles from the band’s 1988-1992 run – will finally receive the deluxe reissue treatment.

Producer & engineer Jack Endino (who produced God’s Balls, TAD’s first full-length) has lovingly remastered all of the recordings from the original tapes. God’s Balls, Salt Lick and 8-Way Santa will be available throughout the known universe on November 4th of this very year.

These deluxe editions of God’s Balls, Salt Lick, and 8-Way Santa feature new images from celebrated photographer Charles Peterson, bonus tracks, and expansive liner notes from the band and Jack Endino. The bonus material associated with each release will be included on the CD and digital formats; each of the the gatefold vinyl LPs will include that album’s bonus material as part of its free, associated download.

PLUS all of the bonus material, from all three of these monumental heavy rock/punk albums will be collected on an additional bonus LP available for free with purchase of all three (3) albums on vinyl from the Sub Pop Mega Mart and also from select independent retailers.

God’s Balls (1989)
God’s Balls, TAD’s punishing, noise-drenched debut album, was recorded with Jack Endino at Reciprocal Recording in Seattle in 1988 and released early the following year. In addition to their usual arsenal of guitars, bass, and drums, the band employed a variety of unusual instruments – an empty gas tank from a car, a hacksaw, a large brass tube from a microwave transmitter, CB radio mics, a cello bow used on cymbals to emulate guitar feedback – to thunderous effect, adding a Neubauten-esque clang to the band’s rock riffs. After releasing God’s Balls, TAD flew to Europe with Nirvana for both bands’ first European tour. The now-legendary, month-long tour took the bands to the UK, Ireland, Scotland, France, Belgium, Switzerland, Germany, Austria, Czechoslovakia, Hungary, Italy, Denmark and Sweden.

This reissue of God’s Balls features bonus tracks from TAD’s 1988 debut 7”, plus the previously unreleased “Tuna Car” from the 7” session. God’s Balls has been out of print on LP/CD for many years, and this is its first digital release.

Tracklist:
1. Behemoth
2. Pork Chop
3. Helot
4. Tuna Car
5. Sex God Missy (Lumberjack Mix)
6. Cyanide Bath
7. Boiler Room
8. Satan’s Chainsaw
9. Hollow Man
10. Nipple Belt
11. Ritual Device - (from “Daisy” 7” single) **
12. Daisy - (from “Daisy” 7” single) **
13. Tuna Car (Unreleased) **

** w/ CD / Digital / LP Download Card only

Salt Lick (1990)
After their 1989 debut album, God’s Balls, TAD continued to write and record, releasing a string of singles and the Salt Lick EP between 1989 and 1990. Salt Lick features the single “Wood Goblins,” the video for which MTV banned because it was, to the delicate eyes of MTV programmers, “too ugly.” The sounds of Salt Lick are, indeed, wonderfully ugly, thanks in part to the involvement of noise-rock technician Steve Albini (Big Black, Shellac, Nirvana, The Jesus Lizard), who recorded the EP. The band continued to release singles and gain momentum in the press. As TAD himself puts it: “Lyrically we had a lot of subject matter that was meant to be tongue-in-cheek from the beginning but that was presented by both Sub Pop and us as true-to-life. The press took it all seriously and began to feed on and ravenously devour the mythology we created.”

This reissue of Salt Lick includes tracks from the “Wood Goblins” single, a split 7” with Pussy Galore, and the “Loser” 7”. This material has been out of print on vinyl/CD for many years, and this is its first digital release.

Tracklist:
1. Axe to Grind
2. High on the Hog
3. Wood Goblins
4. Hibernation
5. Glue Machine
6. Potlatch
7. Loser (from “Loser” 7” single) **
8. Cooking With Gas (from “Wood Goblins” 12” & “Loser” 7” single)**
9. Habit Necessity (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile) **
10. Damaged (from Pussy Galore split 7” single) **

** w/ CD / Digital / LP Download Card only

8-Way Santa (1991)
In 1991, after tens of thousands of miles on the road in support ofGod’s Balls and Salt Lick, and a run of powerful EPs/singles, TAD released their second full-length album, 8-Way Santa. Recorded at Smart Studios in Madison, WI with Butch Vig, whose work with Killdozer the band admired, 8-Way Santa finds TAD pushing their sound in new directions. Not a band to rest on its laurels, TAD began to add melodic touches to their sound, as evidenced by the lead single, “Jinx.” 8-Way Santa was the last record with the original TAD lineup, and their last album for Sub Pop before jumping to a major label.

This reissue of 8-Way Santa includes tracks from the “Jinx” single, a 1990 EP, and a handful of unreleased album demos recorded by Jack Endino. This material has been out of print on vinyl/CD for many years, and this is the first digital release for the bonus content.

Tracklist:
1. Jinx
2. Giant Killer
3. Wired God
4. Delinquent
5. Hedge Hog
6. Flame Tavern
7. Trash Truck
8. Stumblin’ Man
9. Jack
10. Candi
11. 3-D Witch Hunt
12. Cranes Café
13. Plague Years
14. Pig Iron (from Jinx 7” single) **
15. Nuts ‘N’ Bolts (Unreleased) **
16. Delinquent (8-Way Santa Jack Endino demos) **
17. Giant Killer (8-Way Santa Jack Endino demos) **
18. Wired God (8-Way Santa Jack Endino demos) **
19. 3D Witch Hunt (8-Way Santa Jack Endino demos) **
20. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases – 7”, 12” & CD – and from 8-Way Santa Butch Vig sessions) **

** w/ CD / Digital / LP Download Card only

Bonus LP Compilation Tracklist:
(Available free with purchase of all three albums on vinyl from the Sub Pop Mega Mart and from select independent retailers)
A1. Ritual Device (from “Daisy” 7” single)
A2. Daisy (from “Daisy” 7” single)
A3. Tuna Car (Unreleased)
A4. Loser (from “Loser” 7” single)
A5. Cooking With Gas (from “Loser” 7” single)
A6. Habit Necessity - (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile)
A7. Damaged (from Pussy Galore split 7” single)
B1. Pig Iron (from “Jinx” 7” single)
B2. Nuts ‘N’ Bolts (Unreleased)
B3. Delinquent (8-Way Santa Jack Endino demos)
B4. Giant Killer (8-Way Santa Jack Endino demos)
B5. Wired God (8-Way Santa Jack Endino demos)
B6. 3-D Witch Hunt (8-Way Santa Jack Endino demos)
B7. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases – 7”, 12” & CD – and from 8-Way Santa Butch Vig sessions)

I like this band, but I literally cannot imagine a person buying and actually listening to this much Tad.

Tad were the best grunge band by far. My pre-order will go in as soon as my Paypal account tops off at the beginning of the month.

I stand corrected! Like I said, I like them a lot. I just think that's, err, a lot of Tad.

You can get 95% of the history of recorded music on demand

sad to see people who should know better parroting this nonsense

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/Tori+Amos+Boys+For+Pele+Deluxe+2120995.jpg

2-CD Deluxe 20th Anniversary Ed. of Tori Amos's Boys For Pele on Rhino 11/18,
more info: http://view.e.wbr.com/?qs=ce06a0a5743f8c4fba72e4fe014a69806c477d9e57d5bb9a7a2b590060dfd33f302446f13588956dab45967511031dc877f924c18f6b2e38e3098aa9f68f0a5f

7 September, 2016

See What Your Love Can Do- The Terry Dolan Story

I don’t read music and I don’t know half of the names of the chords I use, but I know the sound. –Terry Dolan

When Terry Dolan delivered his self-titled debut record to Warner Bros. in late-1972, he had every reason to be optimistic. Full of great songs, played by an all-star cast of musicians, Terry Dolan was an auspicious album, a whirlwind of songs and musicianship, that seemed certain to elevate its creator to that rarefied “next level” in the rock pantheon. You could hear momentum in these tapes—the fervor in Terry’s voice, coupled with the inspired playing of the unparalleled group of musicians he’d assembled—the album had enormous potential to connect with a wide audience.

As he sings in his signature song, Terry came out from the East Coast—Weston, Connecticut to be exact—where at the age of 14, he first picked up a guitar, learned a few chords from a family friend, and soaked up the elemental and essential music of Lead Belly, Hank Williams, Wanda Jackson, Carl Perkins, and Buddy Holly. Inspired by the early-’60s Boston folk scene, Terry decided to ditch his college political-science studies and decamp to the nation’s capital to become a folk singer. He worked for an economics-consulting firm by day, and played Washington, D.C.’s clubs, bars, and coffee houses at night—honing his sound with just an acoustic guitar and his soul-stirring voice.

If you were an East Coast folkie in 1965, especially one with a rock ’n’ roll heart, there was a current pulling inexorably westward—to a mythic land of open minds, community, and creative possibility. Terry moved to San Francisco that summer. Just 21 years old, he was making the scene and booking gigs almost immediately after he’d arrived. Fellow musicians were Terry’s lifeblood, and through them he forged deep alliances and friendships that would become the musical and social bedrock of his life.

On April 4, 1968, the night Martin Luther King, Jr. was assassinated, Terry met his future wife. “He and his friend and fellow folk singer Michael Hunt got off the same bus as me, at Geary and Fillmore,” Angie Dolan recalls. “I was a newbie from Texas, and they were legitimate hippies. They invited my roommate and me to their gig at a coffee house on Union St. We had never been to a live folk show before, and we were very impressed.”

By then, Terry Dolan had made a name for himself with his wild, electric energy and passionate performances. As he would later remark, “People used to tell me that I played too hard for a folk singer. And when I started playing rock, they said I played too soft and too many ballads. I like ballads. I prefer corners in my music, rather than edges. Rock is just as much a part of me as folk is, and playing both teaches you to find the groove.” Terry became a fixture at hip San Francisco clubs like the Matrix and Keystone Korner, and was soon playing colleges, festivals and larger concert venues, opening for big names, including B.B. King, Elvin Bishop, Blue Cheer, and Taj Mahal.

Greg Douglass, guitarist for Bay Area psychedelic mainstays Country Weather, (and later a member of Mistress, The Steve Miller Band and The Greg Khin Band) remembers Terry’s inveterate fearlessness as one of his band’s regular opening acts. “It was an odd mixture. Country Weather was a kind of somewhat more melodious combination of Cream and Blue Cheer. Terry was a New England transplant, a 12-string-strumming folk troubadour whose role model, both musically and in terms of attitude, was the legendary singer-songwriter Dino Valenti (who would later join Quicksilver Messenger Service). But Terry had balls for days, getting up in front of our audience, armed with only his voice, guitar, and a fiery, Irish inner-flame goading him.”

Douglass and Dolan decided to pool their talents, working out songs at the tiny North Beach apartment Terry shared with Angie, and eventually playing out as a duo. “The transition from folk to rock was when Terry opened shows for Country Weather,” Angie says. “That was the beginning of Terry going from acoustic to electric guitar.” Greg Douglass and Terry Dolan grew close during this period, and Douglass would remain Terry’s lifelong musical ally.

* * *

Writing great songs, steeped in both rock and folk, and gigging with a red-hot guitarist, Terry’s next logical step was to capture some of the music on tape. With the help of a friend who was a roadie for Quicksilver Messenger Service, Terry approached the legendary British session pianist Nicky Hopkins, a newly minted Bay Area resident, to produce two of his songs. Terry was thrilled when Hopkins agreed to both produce and play piano on the sessions. In August of 1970, Terry Dolan made his first demo recordings at San Francisco’s Golden State Recorders. Country Weather was the backing band, and the session was engineered by Dan Healy (who would go on to become chief audio engineer for the Grateful Dead). The musicians cut two Terry Dolan originals: the anthemic, autobiographical, “Inlaws And Outlaws,” and the pristinely beautiful ballad, “Angie,” which Terry had written for the love of his life.

Before the demo was finished, a Bay Area music legend would join the proceedings and add his inimitable guitar playing to Terry’s songs. In an interview from the late-’80s, Terry picks up the story. “John Cipollina had been working over at the old Pacific High Recorders, finishing up the Hawaiian albums with Quicksilver. Halfway through the session, Nicky called him up, and told him to come on over and play some tracks on ‘Inlaws’ and ‘Angie.’ So he came over, and that’s how I met Johnny. He overdubbed about 43 tracks, as usual.”

“It was dynamite,” enthuses Greg Douglass. “Fueled by Ritalin and a new fuzz box, I played my ass off, and the band killed it, and the song “Inlaws And Outlaws” became an instant airplay hit on KMPX and KSAN, the local underground FM stations!”

The high energy of the sessions captured on tape propelled Terry further into the Bay Area rock scene. “‘Inlaws And Outlaws’ was a great song,” says Vicky Cunningham, who was Terry’s manager at the time, as well as Bill Graham’s secretary. “KSAN and KMPX started playing it all the time, and everybody was calling and wanting to buy it—only it wasn’t a record (it was a demo tape). So every time they played that tape, we’d have to announce, it’s not a record, don’t go to the record store. You can’t really get it yet.” Indeed, “Inlaws And Outlaws” became an unofficial #1 hit on KSAN, where DJ Bob McClay played it nearly every day for over a year. KSAN and KMPX DJs who left for gigs in other markets were known to take copies of Terry’s tape with them. “Inlaws And Outlaws” was soon getting good airplay as far afield from San Francisco as Detroit, Boston and New York.

Favorable response to the song was such that on April 24, 1971, The San Francisco Examiner ran a piece on Terry and “Inlaws And Outlaws”.

With things looking pretty good for the former folkie, San Francisco music attorney Brian Rohan, along with Warner Bros. A&R man, Tom Donahue (whose label, Autumn Records, had helped launch the San Francisco music scene in the mid-’60s), used the strength of Terry’s demos to secure him an album deal with Warner Bros. Records. Angie Dolan remembers the Warner’s deal happening very quickly, and with the major airplay “Inlaws And Outlaws” had been receiving, she notes, “some journalists predicted that an album would be an instant hit.”

The contract named Nicky Hopkins as the producer for Terry’s album—the only time he would ever take on that role for another artist. It was an arrangement that caused snags almost immediately. “Things became bogged down due to Nicky’s schedule,” Douglass remembers. “Everybody wanted his time and talent, and The Rolling Stones were a tad higher on the food chain than Terry. Finally, Terry tearfully appealed to Nicky, and time was scheduled. Since I had put in many, many hours with Terry, and knew the songs well, I was the one person from Country Weather to be picked for the sessions.”

With the help of Nicky Hopkins, Terry assembled an incomparable Bay Area backing band that sparkled with talent. Hopkins would again occupy the piano chair, as well as the producer’s. On drums: Prairie Prince, member of both performance-art-rockers The Tubes, and The Golden Gate Rhythm Section (a trio with former Santana members Neal Schon and Greg Rollie, and the embryonic incarnation of future mega-stars Journey). On bass: Lonnie Turner of the Steve Miller Band. Sharing guitar duties with Douglass was John Cipollina of Quicksilver Messenger Service. Singing background vocals were June, Bonnie, and Anita Pointer, a.k.a. The Pointer Sisters—a full year before their own debut album would be released on Blue Thumb. Rounding out the all-star cast was former Jefferson Airplane drummer Spencer Dryden (at the time, drumming with The New Riders), playing percussion.

In mid-January of 1972, Terry and his handpicked group entered Wally Heider’s San Francisco Studios to begin cutting tracks for his debut album. The ensuing sessions re-created the mix of folk-infused, high-octane rock magic that had made the demos so special. Nicky Hopkins, resplendent in a green velvet cape, set the tone. As a novice producer, Hopkins was accommodating. Greg Douglass notes, “Nicky went out of his way to make me personally feel comfortable. He would make suggestions, but would very much let you have your own head. He fell off his chair—literally—after I did my first overdub on a solo. That’s a nice reaction from someone that I absolutely idolized.” Prairie Prince concurs, “It was relaxed and flowed effortlessly throughout the day, with lots of banter and jokes.” The respect and admiration the musicians had for each other radiated throughout the studio. Greg Douglass: “I was just so thrilled to be where I was, with all these big-time players that I felt like a beacon of musical energy. The bassist was Lonnie Turner, who I was flabbergasted to be working with. I was a huge Steve Miller fan, and Lonnie had always amazed me with his seemingly effortless, fluid groove. He was working with Dave Mason at the time, and we instantly hit it off. I do remember the entrance of the ‘rock ’n’ roll raconteur’ John Cipollina, who I had been briefly introduced to at the original Country Weather sessions. John was not just approachable—he was unavoidable in his charisma and outward friendliness. After seeing his onstage persona many times, I was completely unprepared for his nonstop, stream-of-consciousness warmth.”

The two guitarists bonded on the spot, with the elder statesman Cipollina praising Douglass’ melodic playing, and enthusiastically asking him about the amp he used for solos. Prairie Prince remembers, “I was a bit star-struck, recording with these veterans.” But beyond the resumes of the respective musicians, Prince was struck by the soulfulness of both Terry’s songwriting and the man himself. “Terry was a real talented guy, and a kind gentleman who treated me with such respect. I was impressed with his song writing and lyric content. His songs spoke of new loves, and finding a path of some kind of righteousness.”

The four tracks that comprise the first side of Terry Dolan take the singer-songwriter template that was wildly popular at the time and turn it on its head. Terry was able transcend his own experiences of walking the musical tightrope between folk and rock. The sound he and his musical conspirators generated was such a true synthesis of the genres that the seams that bound them were all but invisible.

Terry Dolan’s songs grab hold of the listener, sounding entirely fresh yet strangely familiar at the same time, as if we’ve been singing along for years. The point of departure is his voice: authoritative and supple, celebratory and yearning. It is the instrument that flows elegantly throughout the variety of textures on the album. From all-out rockers to the sweetest of ballads, Terry’s voice rides effortlessly with the music, coaxing it along, rather than merely accompanying it. The hours Terry had spent playing and singing his way up to these sessions can be felt viscerally in his singing, while The Pointer Sisters adorn his words with gorgeous layers of gospel-infused harmonies.

Inspired by Terry’s inviting melodies and his hard-strumming, rhythm guitar playing, John Cipollina and Greg Douglass conjure a wealth of guitar tones, from languid, acoustic slide playing to raging, electric solos. The highlight is the epic, two-man guitar interplay on “Inlaws And Outlaws,” with Cipollina’s swooping, electric slide moans, playing perfectly off of Douglass’ searing riffage. The song is quintessential Terry Dolan music: infectious, burning, direct, and brimming with soul and passion. It begins innocently enough, with a baroque Nicky Hopkins piano introduction, before building into a churning anthem of personal liberation. With its exhilarating, near-proselytizing, post-hippie refrains—“Alive, alive, alive!” “Run, hide, be free!” and “Living, my life, free!”— it’s easy to imagine “Inlaws And Outlaws” blasting from FM radios everywhere (if only it had been released). If there’s any justice in the world, classic rock radio will simply pick up the song and start playing it, as if it had been with us all this time.

Terry Dolan also serves as a definitive showcase of the brilliance of Nicky Hopkins’ piano playing. Hopkins’ wondrously splashy yet consummately tasteful runs are prominently out front. The expansive and generous musical landscapes of Terry’s songs elicited some of the most majestic and fiery playing of the high-flying pianists’ career. Hopkins was always sensitive and spot-on as an accompanist, but it’s his instinctive feel for the grand gesture that is on full display here, as he unleashes torrents of lightning-quick notes, and crafts stunningly melodic progressions of arpeggiated chords.

The sessions were bursting into full flower, and looked like they were on the verge of producing a groundbreaking album. Then in mid-February came a major setback when, after recording and mixing only four songs, Nicky Hopkins was called to Los Angeles by The Rolling Stones for overdubbing sessions on Exile On Main Street, to then be followed by a U.S. tour, and on to Jamaica to record Goat’s Head Soup. Terry’s album had ground to a halt, and seemed in danger of being abandoned. Vicky Cunningham weighs in: “It was good, but Warner Bros. was taking too long to come up with the money to finish the record, to do side two.” The loss of Hopkins seems to have compounded the label’s reluctance.

“Nicky was out with the Stones, making ungodly amounts of money,” Douglass says. “Terry had lost not only his producer, but also one of the chief bargaining chips that got him his deal in the first place. Terry’s album was the first thing Nicky had ever produced, and Terry became a victim of the fact that ‘Mr. Hopkins’ was now the hottest keyboard player in rock. Terry was beyond distraught. The label was pissed.”

While the four songs produced by Nicky Hopkins constituted only one-half of an album, the sessions had been singular—the chemistry spawning outstanding performances, and forging deep friendships between the musicians, resulting in lifelong collaborations amongst many of those involved. Although none of the participants could have predicted it at the time, something serendipitous had taken place, the result of which can be heard and felt in the music they laid down.

* * *

The unexpected departure of the producer/pianist loomed large, casting doubts about the album’s future. After months of inactivity, Terry was eager to come up with a solution that would please the label and keep the project moving forward. That solution came in the form of one Pete Sears, who, like Hopkins, was a musically virtuosic Englishman, and who had also recently taken up residence in the Bay Area. A gifted multi-instrumentalist with excellent taste and instincts, Sears already had an impressive resume by the time he met Terry. Best known for playing bass and keyboards on Rod Stewart’s early solo albums, he had been a U.K. session musician since 1964, a member of the mid-’60s, cult-psychedelic band Les Fleur de Lys, had recorded a seminal U.K. folk-rock album called Fly On Strange Wings with members of Pentangle, King Crimson and The Spencer Davis Group, and had recently played with Stoneground and Copperhead, two Bay Area rock bands.

An agreement was reached, and Sears was onboard to produce the second side of Terry’s album. He would also play bass, keyboards and piano (as well as guitar on the album’s sole, non-Dolan original, J.J. Cale’s “Magnolia”). Terry and Pete got together to go over the songs Dolan had written for the album’s second side. Excited by the strong material, and Terry’s infectious enthusiasm, Sears began gathering a choice cast of players to bring the songs to life: guitarist Neal Schon, who had recently departed Santana and was on the cusp of cofounding Journey (with Prairie Prince, among others); David Weber, the drummer of John Cipollina’s hot, new band Copperhead; Greg Douglass, who had returned on guitar; Mic Gillette, from the renowned horn section of the Oakland funk band Tower Of Power, on French horn; and providing background vocals, Kathi McDonald, who was a member of Ike and Tina Turner’s Ikettes before replacing Janis Joplin in Big Brother & The Holding Company.

The sessions for Terry Dolan finally resumed in late-August 1972, at Pacific High Recorders. Greg Douglass recalls that the six-month break in recording had led to less-than-ideal conditions in the studio. The increased pressure to deliver a finished album to Warner Bros. resulted in a situation where, according to Douglass, “nothing was gelling as naturally as the first part of the album had.” Pete Sears had indeed stepped into challenging waters, however, it’s clear he navigated them with aplomb, drawing from his tasteful sonic palette for the album’s second side.

Sears, as was his goal, maintained the high-quality production levels set by his predecessor. The distinction being that Hopkins was more of a rock ’n’ roll traditionalist, while Sears was going for an “of-the-moment” sound. He achieved this by arranging tastefully contemporary rootsy settings, and juxtaposing them with the incendiary playing of 18-year-old Neal Schon, the primary guitarist on the album’s second side. Schon’s playing, with its pyrotechnical displays of virtuosity, signified a new direction in the sound of lead guitar. According to Greg Douglass, “A young guitarist, who was already rich, and working with Santana, sauntered in and quickly put me in my place.” Douglass continues, humbly, “He was simply a superior player, and Pete and Terry’s feet were to the fire, so they had to go with much of Neal’s work in place of mine. The kid was a shredder.”

Schon’s rapid-fire, stratospheric playing on “Purple An Blonde…?” and “Burgundy Blues” point straight towards the superstar status he would soon achieve with Journey. This was the incipient sound of the soaring, ’70s arena-rock guitar-god, strategically placed by Sears within Terry’s earthy, earnest, folk-rock treasure.

Additionally, there is wonderfully organic vibe, exemplified by Sears’ deeply soulful organ and piano ensemble playing, and Mic Gillette’s lovely French horn on J.J. Cale’s reverie of a song, “Magnolia.” Sears’ masterful arrangement imparts a yearning poignancy to Terry’s music that allows the singer to reach deep into the depths of his soul.

In fact, it is no stretch to call Pete Sears the “secret weapon” of Terry Dolan’s unreleased debut album. His production brilliantly complements the tracks Nicky Hopkins had sheperded six months earlier. His piano playing is inspired throughout, and while not as pyrotechnically inclined as Nicky Hopkins (he does come pretty close at times), his playing on the slower songs has a tremendous range of depth and emotion. On bass, his playing is fluid, strong and meaty, especially on “Purple An Blonde…?” with its effortlessly funky intro. And Sears’ organ playing is simply stunning: soulful, melodic, rippling, breathtaking. He also co-wrote the album’s final track “To Be For You,” with Terry.

* * *

By September 1972, the album was finished and Warner’s assigned it a catalog number: BS 2669. They designed front and back cover art (using legendary San Francisco rock photographer Herb Greene), LP labels, and made test pressings. The publicity department worked up a two-and-a-half page Terry Dolan bio, commissioned a Warner Bros. PR photo shoot of Terry (Herb Greene, again), and a full-page article on the album was featured in Warner Bros. hip monthly radio and retail trade magazine, Circular. The record was slated for a February 1973 release. As Angie recalls, “The reality of the album hit when Terry and I went to Herb Greene, a renowned rock photographer, who took pictures for the album cover. We were so thrilled to have a sense of financial security, and Terry was finally rewarded for paying his dues as an artist.”

And then, the unthinkable happened: Terry Dolan’s debut album was cancelled by Warner Bros., just two months before its scheduled release date, and Terry was summarily dropped from the label. There has been a great deal of speculation over the last 43 years, as to exactly what happened, and still there is no definitive answer. Even by the notoriously capricious nature of the music industry, Warner Bros.’ last-minute cancellation of the Terry Dolan album seems unusually callous, especially in light of its undeniable artistic caliber, and all the resources they had put into its production. “Many times over the years, I wondered what happened to those sessions,” says a puzzled Prairie Prince. Greg Douglass, the man who took Terry electric, posits, “Without Nicky Hopkins’ complete participation, Warner’s deemed the album not commercially viable, and decided not to release it.” Bassist David Hayes, a Bay Area stalwart, best known for his work with Van Morrison, has a different take on the matter. “I first met Terry when he had just been dropped,” he says. “It had nothing to do with his music. It was a purge. Dozens of artists were dumped.” But of course, in the end it’s all just speculation—time waits for no one, trends come and go, and we’re left holding a curiously potent historical artifact that resonates with unfulfilled potential and the passion and poetry of the musicians that created it.

Adding insult to injury, Warner Bros. failed to personally inform Terry of their decision. “They didn’t even bother to tell me. I found out after making some inquiries on my own,” Terry told an interviewer in 2006. Angie adds, “When we found out the album was being shelved, Terry was devastated, and yet he was determined to continue booking gigs. The whole ordeal changed our lives forever because we struggled to keep the faith.” Terry’s brush with major label validation left him badly shaken. “His world collapsed completely,” Douglass says. “Terry was inconsolable, and I did not hear from him for a very long time.”

* * *

Terry eventually rallied, channeling his passion and drawing upon his deep friendships and connections in the music scene to form an ongoing musical phenomenon: Terry & The Pirates. The Pirates became a nexus for Bay Area musicians, a fluid and enduring community of kindred musical spirits. There were no grand ambitions, no pretense of rock stardom, just the love of music and the joy that comes from playing with longtime friends. It was as though Terry was preserving the dying embers that warmed those earlier, magical sessions.

“Once Terry got over licking his wounds from being dropped by Warner’s, he reached out to me, and we became very close once again,” says Douglass. “Somehow, for the life of me, I can’t remember how, I ended up in his basement with Cipollina and the Copperhead rhythm section, plowing through a number of tunes. The friendships and contacts made during the Wally Heider’s sessions morphed into one of the most fun and fulfilling projects I’ve ever been involved with, Terry & The Pirates. John Cipollina and I were paired on guitar, and our disparate styles gelled into something completely different, a kind of Duane Allman and Dickey Betts on acid.” Terry & The Pirates garnered a reputation for playing with absolute conviction, as if every song were an encore. Audiences were treated to some of the best, gut-level, hard driving, free-form rock music at every gig. The band, led by Terry’s wild-man guitar strumming and powerhouse singing, rocked with a reckless abandon, leaving everything on the stage at the end of the night.

Terry & The Pirates would continue, in one form or another, from June 1973 until the tragic passing of John Cipollina, who was only 45 years old, on May 29, 1989. The bonds that had formed so profoundly on recording sessions that had taken place almost 20 years earlier came into sharp focus. Nicky Hopkins was in Australia, touring with Art Garfunkel, when he heard the sad news of Cipollina’s death. He dropped everything and rushed to San Francisco so he could play with Terry & The Pirates in a tribute concert for his fallen friend and collaborator. John Cipollina’s sister Antonia wasn’t surprised by Hopkins’ mad dash around the globe. “He was just in time to go out on stage and, after not being with these guys for years, it was as if he’d been playing with Terry all along.”

There was a magical, alluring energy that percolated through the musicians who played on Terry’s unreleased album, an energy that only grew stronger over the years. His enthusiasm, passion, humor, and generous, affirming vision touched all who knew him. Over the course of 40 years, Terry brought together a large and disparate group of world-class musicians, time and time again—whether they were playing with Terry, or on each other’s countless projects. Bands had been formed, deep friendships established and endured, and countless hours of joyful music had been played. “See what your love can do,” Terry Dolan sang, and he lived by those words, giving his love freely and watching it ripple outwards and then back again. “Terry was rich in friends,” notes Vicki Cunningham. “He had more friends than anybody I knew.”

Terry took some time off after John Cipollina’s passing. For nearly 20 years, John and Terry had not only been the closest of friends, they’d made music together on an almost continual basis: on stage, in the studio, or just sitting around on one of their front porches. Entering the ’90s, Terry began assembling various lineups of old and new Pirates alike for the occasional gig. For the “old Pirates,” who were getting the chance to play with one another again for the first time in years, it felt like no time at all had passed since the last gig. Playing in Terry & The Pirates was like that.

David Hayes (Van Morrison’s longest-serving bass player) played his first show with Terry & The Pirates at Winterland on February 7, 1975. “The songs and musicians were great, so I stuck with The Pirates for the next 14 years!” he says. “Terry was an excellent songwriter, but had few organizational skills, so we had total freedom to arrange the songs the way we wanted,” Hayes continues. “It would never have gone on for all those years if it hadn’t been for Terry. He wrote the songs and held it all together. He wrote good vehicles for all of us to play on, so when I was off the road with Van I played with them. Nicky [Hopkins] was allowed to float in and out more than anybody, and we were always honored to have him. When he was coming in, we all just moved over, gave him space, and off he went.”

Although the Pirates did once spend 72 hours in Europe (playing three shows in December 1982, including the renowned, live TV concert Rockpalast), they rarely ventured further from San Francisco than San Jose. And that was just fine, as Terry & The Pirates had become a beloved fixture of the Bay Area music scene. Their evolving and revolving lineup comprised a virtual “Who’s Who” of the San Francisco music community. Relix magazine proclaimed, “Terry & The Pirates are perhaps San Francisco’s best kept secret.” David Hayes takes the sentiment one step further, maintaining that Terry & The Pirates were “the most underground of the underground bands ever to come out of San Francisco.”

On January 15, 2012, Terry Dolan passed away due to heart failure. His family, friends, fellow musicians and fans were devastated. After the initial shock wore off, Terry’s longtime friend and manager of close to 30 years, Mike Somavilla, organized a memorial tribute concert for Terry, featuring more than 35 musicians playing and singing his songs, in honor of the man and his legacy. There was an abundance of love and musical magic on stage and in the air that night. From his firebrand, acoustic guitar-wielding shows of the ’60s, to the excitement surrounding his wildly popular first demos, and the disappointment of the cancelled album, through the ascendance of Terry & The Pirates and their decades of legendarily mind-blowing performances, Terry Dolan had become such a fundamental a part of the Bay Area music scene, that with the end of the night, came the end of an era that reached back more than 45 years.

“I really got a taste of how great a songwriter Terry was when I performed at his memorial concert,” Douglass reflects. “I got to hear the Dolan catalog interpreted by a number of varied performers, and it was a real eye-opener. The songs were little gems, each and every one, and it was an epiphany to realize I’d been present at their gestation. I can only hope that I played okay on these. If there is an afterlife, I’m sure Mr. Dolan won’t be shy about letting me know if I screwed up in that regard. We’ll have a big fight, won’t talk for a year, and then make up and create some bitchin’ music. Actually, that would be a cool concept of heaven. I’d better start behaving!”

That Warner Bros. chose not to release Terry Dolan is beyond puzzling. That we can hear it now, 43 years after its intended unveiling, is cause for celebration. With this first-time-ever release of Terry Dolan’s debut album, the world can finally hear how those early sessions—and the friendships, collaborations, and glorious hours of music they spawned over the years—still echo across the ages. “Those first sessions changed my entire professional career trajectory,” asserts Greg Douglass, who, during the recordings, met Lonnie Turner, the bassist with whom he would later write “Jungle Love.” First played in Terry & The Pirates live repertoire, it became a huge hit when they recorded it in The Steve Miller Band.

“This record was the start of the Pirates’ journey,” states David Hayes. And Greg Douglass, who was there from the beginning, playing beside Terry Dolan since the late-1960s, has sage words for anyone experiencing this musical revelation for the first time: “For those of you about to dive in these sonic waters, listen for the heart and humanity. It’s there in every note. Buried treasure, unearthed many decades later.”

—High Moon Records

Dolan w/ Terry & the Pirates, live in the '70s, not the version on the solo album: https://www.youtube.com/watch?v=-9zkiMy0ecE

I've heard of Dolan and Terry And The Pirates, but not nearly all of that---will check more, thanks.

https://d235mwrq2dn9n5.cloudfront.net/wp-content/uploads/2016/09/autechre-060616-616x440.jpg

Autechre reissues first three albums on vinyl---more info here, w tour dates, link to review of new four-hour listening-object:
http://www.factmag.com/2016/09/22/autechre-reissue-albums-european-tour-dates/

More from xpost Sound Of The Universe eletters--dunno how old these are, but seem worth looking for, starting here:

https://soundsoftheuniverse.com/img/a29GeituT2lDcStvUXF6dGVhS3VUZz09/e2-e4-2016-35th-anniversary-edition-manuel-gottsching.jpg
Göttsching was a member of experimental Krautrock group Ash Ra Tempel. 'E2-E4' revolutionised modern dance music at the time and continues to innovate to this day. Considered to be one of the most sampled and remixed albums of the 20th Century and influential across the house, techno, electronica and prog rock scenes. Notably, massively influencing many from Detroit Techno music, from Carl Craig, Juan Atkins to Derrick May. Larry Levan used to close his legendary Paradise Garage sets in New York with this and even insisted on E2-E4 to be played at his funeral.

180-gram LP version with embossed chessboard artwork print and printed inner sleeve.(also on CD).
more info here:https://soundsoftheuniverse.com/product/manuel-gottsching-e2-e4-2016-35th-anniversary-edition

Speaking of Ash Ra T.:

https://soundsoftheuniverse.com/img/dWQ1K3RWc0VyeWFxcTAyalJQanJpdz09/le-berceau-de-cristal-ash-ra-tempel.jpg
Kosmiche score to Philippe Garrel's arthouse flick starring Nico and Anita Pallenburg. Music by Ash Ra Tempel (Manuel Gottsching). Reissued in 2016 on Gottsching's MG.ART label.
info: ps://soundsoftheuniverse.com/product/ash-ra-tempel-le-berceau-de-cristal

https://soundsoftheuniverse.com/img/Y05ycWRLUDV0TEhtMk1aU01NVUhpZz09/sory-bamba-du-mali.jpg

One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical cross overs which occurred in Mali's post-Colonial period.

In 1957 Sorry formed his first band, Group Goumbe, named after a popular Ivory Coast dance style. In 1960 Mali gained independence from France, Bamba and his group benefited from a new openness toward local music on the state-run radio network Radio Mali. Sorry then went on to form two award-winning, further collectives Bani Jazz and later the Kanaga Orchestra. They fused Latin jazz, Western R&B, Psychadelic and funk, and traditional Malian styles made them a favourite in Mali and beyond.

In 1979 Sorry produced his third LP for the Paris based Sonafric group - 'Du Mali'. This 6 track masterpiece fuses pulsating rhythms, powerful expansive drums, with psych guitar and punchy horns to create a masterpiece of up-tempo African psychedelia.

Highly sought after and extremely rare.

We love this!!!! LP, more info on this and others on Africa Seven label here:
https://soundsoftheuniverse.com/product/du-mali

https://soundsoftheuniverse.com/img/WGFRZkZja0RMUmszVDkySkt5ZXE4Zz09/black-gold-the-very-best-of-the-rotary-connection-rotary-connection.jpg

Brilliant double disc compilation of the best tracks from the great psychedelic soul-rock fusion band! Rotary Connection were fronted by the amazing voice of Minnie Ripperton and produced and arrange by the genius that was Charles Stepney! This compilation features loads of their best tracks including 'Respect', 'Sunshine of Your Love', 'Love Has Fallen On Me', and more! 33 tracks.
info:https://soundsoftheuniverse.com/product/rotary-connection-black-gold-the-very-best-of-the-rotary-connection

https://soundsoftheuniverse.com/img/ekQ4L3BIUjdSS3RiNFBHd1lWYTFnQT09/r-950916-1329647327-jpeg.jpg

Amazing, super-funky album supervised by Charles Stepney with the classic trio line-up of bassist Cleveland Eaton and EWF's Maurice White on drums. Includes "If You've Got It, Flaunt It", "Do What You Wannna", "Uhuru", "Bold And Black" and more CD and reissued LP, more info here:
https://soundsoftheuniverse.com/product/the-ramsey-lewis-trio-another-voyage-1969

Brilliant double disc compilation of the best tracks from the great psychedelic soul-rock fusion band! Rotary Connection were fronted by the amazing voice of Minnie Ripperton and produced and arrange by the genius that was Charles Stepney! This compilation features loads of their best tracks including 'Respect', 'Sunshine of Your Love', 'Love Has Fallen On Me', and more! 33 tracks.
info:https://soundsoftheuniverse.com/product/rotary-connection-black-gold-the-very-best-of-the-rotary-connection

― dow, Saturday, September 24, 2016 7:35 PM (fifty-four minutes ago) Bookmark Flag Post Permalink

That's funny, looks a lot like the cd I picked up from HMV before it closed earlier this year

Will have to check out the Rotary Connection best-of. I have a good two-disc comp, Black Gold, which hits some high points. I don't think there's been a really good reissue of Riperton's great 1970 Come to My Garden--deserves the whole annotated bit, though there is a decent Varese Vintage CD from 2002. It's one of the essential pre-post-rock documents and most likely Charles Stepney's masterpiece. Stepney deserves a box set. I put together a 75-minute best-of from Stepney that had the Dells, Riperton, Phil Upchurch, Junior Wells, Ramsey Lewis and a few others-- Marlena Shaw' "California Soul," et al.

Sound Of The Universe carries several of those, and always jumps at the chance to namecheck Stepney in the blurbs. Will have to look for that Riperton album; I've only heard her with RC. The one I pasted about and linked above *is* Black Gold, so there's one you don't have to look for!

OK, it's the same comp that came out a few years ago. Definitely check out Come to My Garden. Brilliant simulation of content-compressed form music I never tire of; superior to all her other records, which are conventional by comparison. I love this one so much: https://www.youtube.com/watch?v=55xb0LYWqt4

There was a great Marlena Shaw compilation around a few years back. Had her 1st 2 lps plus contemporary singles.
I picked it up when I found out that the vocal version of Wade In The Water that used to get played in mod revival clubs in my teens was by her.

Prev. released not all that old, but incl. prev. unreleased:

P.S. Eliot's "2007-2011" Out Now, Named Best New Reissue at Pitchfork

A 2xCD anthology, 2007-2011 collects the complete works of Birmingham, Alabama's P.S. Eliot. The set gathers the group's two LPs, Living in Squalor 7", and a number of demos and home recordings. All have been digitally remastered. Mail-order copies will also include a limited-edition zine with an extensive oral history of the band assembled and edited by Liz Pelly.

"2007-2011" Named Best New Reissue by Pitchfork

This month, P.S. Eliot's core lineup -- Katie and Allison Crutchfield, Katherine Simonetti, and Will Granger -- will reunite to perform a number of shows.

Sisters Katie and Allison Crutchfield formed P.S. Eliot in Birmingham, Alabama in 2007. After a few early lineup changes, the core group would come to include the Crutchfields (Katie on guitar and vocals, Allison on drums), bassist Katherine Simonetti, and guitarist Will Granger. It was this version of the band that appeared on P.S. Eliot’s first full-length, Introverted Romance In Our Troubled Minds, which came out in 2009 on Salinas Records.

Read an excerpt from Liz Pelly's oral history of P.S. Eliot and stream the song "Shitty and Tragic" HERE.
http://pitchfork.com/thepitch/1270-how-allison-and-katie-crutchfields-ps-eliot-came-to-be/

In 2010, P.S. Eliot recorded its second and final LP, Sadie. After completing that session, Granger left the band. Allison and Katie relocated to Brooklyn, NY and did one last tour as P.S. Eliot in 2011. The group called it quits for good later that year, following goodbye shows in Brooklyn and New Brunswick, NJ.

P.S. Eliot on Tour:

9.9.16 - Los Angeles, CA @ The Echo
9.10.16 - San Francisco, CA @ Rickshaw Shop
9.13.16 - Chicago, IL @ Subterranean
9.15.16 - Brooklyn, NY @ Market Hotel w/ Ought
9.16.16 - Asbury Park, NJ @ New Alternative Music Festival
9.19.16 - Philadelphia, PA @ PhilaMOCA
9.20.16 - Philadelphia, PA @ PhilaMOCA

On December 2, The Clean will release a deluxe version of 2001’s Getaway in honor of the album’s 15th anniversary. The double-LP reissue marks Getaway’s first appearance on vinyl and includes an 18-song bonus CD that compiles the hard-to-find, tour-only releases Syd’s Pink Wiring System and Slush Fund. A double-CD version includes the full album plus the bonus disc.

Listen to and share "Stars" from remastered Getaway reissue
https://www.youtube.com/watch?v=Ix5I2j-YtF0&feature=youtu.be

Getaway came out in August of 2001, with cover art by drummer Hamish Kilgour whose original paintings were the actual size of a compact disc case. After the release of the album, The Clean set out on a tour that included a stop in New York City, where they happened to be during the terrorist attacks of 9/11. They coped with the tragedy by playing gigs with their American friends and staying in the same creative space they’d been in since before starting work on the album.

A live version of the pulsing, soaring “Stars”—along with a couple of other Getaway songs and Clean classics like “Fish,” “Side On,” “Quickstep,” and “Point That Thing Somewhere Else”—appears on the rare 2003 album Syd’s Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct.

Indeed, they’ve done justice to Getaway, a key album in The Clean discography—a record that honors the band’s origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing “Crazy,” the jaunty acoustic snippet “Cell Block No. 5,” and the trance-inducing “Circle Canyon” are more fine examples of Robert Scott and the Kilgour brothers’ interest in immediacy and a strong vibe, applied to catchy melodies.

“Each album is a completely different beast,” Robert says. “We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all.” But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.

try this link or Search for
The Clean "Stars" (2016 Remaster)

https://www.youtube.com/watch?v=Ix5I2j-YtF0&feature=youtu.be

shit

More Sound Of The Universe updates

https://soundsoftheuniverse.com/img/S2M4ZHBwcHNxVnl1V3NXaU9XcHB4UT09/boogie-breakdown-south-african-synth-disco-1980-1984-various.jpg

Reliable compilers Cultures Of Soul focus in on a collection of disco and boogie from the South African scene in the early to mid-80s. Featuring dance floor-friendly cuts from the likes of The Cannibals, Neville Nash, Harari and the immense electro-boogie monster, 'Flash A Flashlight' by Benjamin Ball.
more info, audio: https://soundsoftheuniverse.com/product/various-boogie-breakdown-south-african-synth-disco-1980-1984

https://soundsoftheuniverse.com/img/di8wWFloYldkM2I2QmNPakFFeTJoUT09/unnamed.jpg

Matthewdavid's Leaving Records reissue Laraaji's self-released '84 recording 'Om Namah Shivaya' that surfaced for a moment only on cassette. Pressed on limited edition orange vinyl.
more info. audio: https://soundsoftheuniverse.com/product/laraaji-om-namah-shivaya

http://d31hzlhk6di2h5.cloudfront.net/20160929/d4/4b/d7/c5/99f9119bcc9f082c3a782c07_560x560.jpg

TIM BUCKLEY’S WINGS: THE COMPLETE SINGLES 1966-1974
CONTAINS A & B SIDE OF EVERY U.S. AND U.K. SINGLE,
INCLUDING ONE THAT WAS NEVER ISSUED

21-song compilation, due out November 18th on Omnivore Recordings,
contains recordings produced by legendary
Jac Holzman, Paul Rothchild, Bruce Botnick, and Jerry Yester.
LOS ANGELES, Calif. – From folk, to rock, to psychedelia, to jazz, to soul, singer-songwriter Tim Buckley continued to evolve and explore — pushing boundaries at every turn. Through the course of his career, ten singles were issued from his nine albums, and they are collected for the very first time on Wings: The Complete Singles 1966–1974. Street date is November 18, 2016.
Each producer — Paul A. Rothchild, Jac Holzman, Jerry Yester, and Jerry Goldstein — brought the right feel to Buckley’s progressing musical persona. With material running chronologically from his self-titled debut from 1966 through 1974’s Look at the Fool, the Wings compilation traces his development as an artist and writer. Of special note is the unissued 1967 single “Once Upon a Time” b/w “Lady, Give Me Your Key” with the latter making its first appearance anywhere!

The booklet features photos and ephemera, as well as an extensive, new interview with Buckley’s longtime friend and collaborator, lyricist Larry Beckett, conducted specifically for this collection. Mastered by Grammy-winner Michael Graves, the audio sparkles as never before.

According to Buckley’s widow, Judy, quoted in the liner notes, “(Tim) always felt lucky that he could make a living doing something he loved to do.”

An excellent primer for the curious (and for fans of Tim’s son, Jeff Buckley) and essential for those in the know, Wings: The Complete Singles 1966–1974 lets the legacy of the great Tim Buckley fly.
Track listing:
1. Wings
2. Grief in My Soul
3. Aren’t You the Girl
4. Strange Street Affair Under Blue
5. Once Upon a Time

6. Lady, Give Me Your Key
7. Morning Glory
8. Knight-Errant

9. Once I Was

10. Pleasant Street
11. Carnival Song

12. Happy Time

13. So Lonely

14. Move With Me
15. Nighthawkin’
16. Quicksand

17. Stone in Love

18. Dolphins

19. Honey Man

20. Wanda Lu

21. Who Could Deny You
all tracks stereo, except 1–9 mono
# # #
Watch (and feel free to post) the Tim Buckley video trailer:
http://youtu.be/ykFVsNF4mV8

if paste of link for video doesn't work, it's also in the online press release:
https://t.e2ma.net/message/m5uui/mdpv1d

A few of the many just announced on https://soundsoftheuniverse.com, check there for more info and sometimes audio.

https://soundsoftheuniverse.com/product/cymande-second-time-round
Cymande
Second Time Round
JANUS reissue LP
Includes the killer funk track "Fug"!

https://soundsoftheuniverse.com/img/L09PL2NDaytzdFd5TWZUTFE0cjgydz09/r-655577-1310757300-jpeg.jpg

Don Cherry
Eternal Rhythm (1969)
MPS RECORDS LP
Deep forward thinking proto-world/ambient fusions from Don Cherry made in Europe in 1969 for MPS. Lovely gatefold sleeve exact replica new vinyl issue bomb! (Sonny Sharrock shows up on there, briefly I think)

https://soundsoftheuniverse.com/img/cktCcU41ajFSSVFGeGVLbW45Sk9XUT09/black-lightning-dollar-brand.jpg

Dollar Brand
Black Lightning (1976)
CHIAROSCURO RECORDS LP

https://soundsoftheuniverse.com/img/cDdKYm82bDVxdEkzeHhMSGxtQ2kxdz09/9198fpdm7al-sl1408.jpg

Joe Bataan
Salsoul
SALSOUL LP CD

Classic, essential latin funk album from salsa superstar Joe Bataan - one of the most prominent of the new wave of young 1960s artists to mix latin and soul and RnB sounds together!

This early 1970s album is his masterpiece and exemplifies all that was great about the funky fusion albums of that era!

Features the essential party-starting dancefloor tracks Latin Strut and Aftershower Funk!

soundsoftheuniverse.com cont.

https://soundsoftheuniverse.com/img/MG9pcHNqenVzRU4zb0twSVFXKzNQdz09/r-1138006-1409170841-3705-jpeg.jpg

Muddy Waters
Electric Mud (1968)
CADET CONCEPT New LP
Heavy psychedelic funk rock. One of the finest albums recorded on Cadet - Marshall Chess's off-shoot label for Chess Records. Featuring the crack Chicago in-house group; Phil Upchurch, Maurice Jennings, Charles Stepney on organ, Louis Satterfield (later of Earth, Wind and Fire) and Pete Cosey (who went on to work with Miles Davis). Also produced and arranged by the mighty Charles Stepney. Includes "I Just Want To Make Love To You". Essential

https://soundsoftheuniverse.com/img/QnhnaVNFNXlsa25KaFljZDFldU1DZz09/51-bgpner7l.jpg

Marlena Shaw
The Spice Of Life (1969)
CADET LP, CD
All-time seminal album from Marlena Shaw recorded for Chess in 1969, arranged and produced by the great Charles Stepney and Richard Evans, featuring the 100% essential tunes 'Woman of The Ghetto', 'California Soul' and much more.

https://soundsoftheuniverse.com/img/ZkYzOHRha3NHdjlmUTIxaFBoVnM1QT09/gambler-s-life-cover.jpg

Johnny Hammond
Gambler's Life (1974)
SALVATION LP

Larry Mizell production on the CTI off-shoot Salvation Records

even more from soundsoftheuniverse enewsletter:

https://soundsoftheuniverse.com/img/a0NvWlRkUVMvZWFMWGh5YVY2QmxPdz09/yes-we-can-lee-dorsey.jpg

Lee Dorsey
Yes We Can (1970)
POLYDOR LP

Oh man - one of the funkiest New Orleans sets ever from Lee Dorsey 1970 with on-fire tough, tough tunes throughout from The Meters who supply the backing.

https://soundsoftheuniverse.com/img/MHhZckpzL0lqNG5DdFl0bzFNbWpoZz09/r-4242875-1382284945-6813-jpeg.jpg

Nina Simone
Jazz As Played In An Exclusive Side Street Club (1958)
BETHLEHEM RECORDS LP

Nina SImone's debut. This recording session happened in New York City,1957;Nina was 24 at this time;her trio is made of herself,singing and playing great piano,Jimmy Bond on bass and Albert "Tootie" Heath, brother of Percy and Jimmy Heath, on drums.

https://soundsoftheuniverse.com/img/bjRWUHF4dml2MXhvY0VVOEh0bytZdz09/spirit-man.jpg

Weldon Irvine
Spirit Man (1975)
SONY MUSIC JAPAN LP, CD

Seminal deep fusion jazz from Weldon Irvine. Featuring killer dancefloor tracks such as 'Jungle Juice" and 'We Getting Down'.

https://soundsoftheuniverse.com/img/RU1oSTJFcytlK2taV3Zqdm9PdFlkdz09/r-368973-1397266710-6811-jpeg.jpg

Esther Phillips
From A Whisper To A Scream (1971)
KUDU LP, CD

This is a killer funky soul fusion album on Kudu featuring Phillips' great version of the Gil Scott-Heron classic "Home Is Where The Hatred Is". Line-up includes Airto, Pretty Purdie, Pee Wee Ellis, Hank Crawford and more.

a few more from soundsoftheuniverse.com (Soul Jazz Records associates) enewsletter:

https://soundsoftheuniverse.com/img/VmdLcnBEaEV2SGhXT1FrdzVRVlgwZz09/r-660346-1253812255-jpeg.jpg

Mulatu Astatke
Mulatu Of Ethiopia
WORTHY RECORDS Reissue LP

This is perhaps the best album from cult Ethiopian deep jazz hero Mulatu Astake

This highly sought-after rarity is probably the best African deep jazz record there is - imagine a 1970s indy label deep jazz release but recorded in Africa on a label run by the national airline!

https://soundsoftheuniverse.com/img/bVo3cmlFZW56TGlDRHdZYVM3YVNtZz09/r-2920614-1340919619-5675-jpeg.jpg

Yusef Lateef
Eastern Sounds (1961)
PRESTIGE CD, LP

https://soundsoftheuniverse.com/img/K2E0Y29Hc0ROb3NmZHJTcVVaOUpUQT09/r-3920578-1349397086-7916-jpeg.jpg

Mulatu Astatke And His Ethiopian Quintet
Afro-Latin Soul
WORTHY RECORDS LP

from 1966...Beautiful vibes, piano, and drumming from Malutu with stirring haunting melodies.

http://d31hzlhk6di2h5.cloudfront.net/20161005/9d/2a/ba/84/1b3c2b3eda0127939c64766a_880x880.jpg

Islands Announce Return to the Sea 10th Anniversary Reissue
LA & NYC Return to the Sea Anniversary Shows Announced
On Tour this fall with Steady Holiday & Alex Cameron
Two New Albums Taste and Should I Remain Here At Sea? Out Now

"Former Unicorns Nick Diamonds and J'aime Tambeur return with a gorgeous collection of pop songs" - Pitchfork, BNM
“A new, stranger, better band rises from the ashes of The Unicorns” - A.V. Club
“Carries on the freewheeling spirit and sound of the Unicorns as well as that of the Elephant 6 bands of the late '90s” - All Music, 9.0

Stream: "Swans (Life After Death)" remastered at
https://islandsmusic.bandcamp.com/album/return-to-the-sea-10th-anniversary-remaster

or here:
https://soundcloud.com/islandsareforever/swans-life-after-death-remaster

“Who knew how warm the islands would be...” Ten years on, Islands is celebrating the release of their seminal debut album Return to the Sea with a classy anniversary reissue due on November 11. Islands has also announced NYC and LA shows where the album will be played in full, featuring a string section and special guests from the album's heyday. Tickets for the NYC and Los Angeles shows are on sale this Friday. Return to the Sea, which is available to pre-order now at BandCamp, has been given a light but firm remaster on all formats; pressed to 2x 180 gram vinyl at 45rpm, it has never sounded better. The artwork has received a tasteful touch-up, with gatefold, printed inner sleeves, archival photos never before released, and an in-depth essay about the album’s creation by Mr. Diamonds himself. The following excerpts are the first and last paragraphs from that essay:

“On December 31st, 2004, I flew down to Los Angeles from Campbell River, B.C. I was at a puzzling intersection: A few days earlier, my band, the Unicorns, had finally combusted onstage in Houston, Texas. I'd just turned twenty-three. I had thrown all of my possessions on the sidewalk a year prior and now had nowhere to live. I was adrift. My friend Adam Gollner convinced me to come down to LA, where he was writing and researching his first book. The idea was to clear my head and get some sun for two weeks. It ended up raining torrentially every day. After the rain cleared, I invited my former bandmate Jamie Thompson to join me. We spent the next three months in LA plotting our next move, knowing we wanted to continue playing music together after the dissolution of the Unicorns....

...For years, I maintained a distance to this record, and considered overhauling it entirely. After Jamie and I had assembled the band to perform the songs live in the fall of 2005, I wanted to re-record everything with them. When the 10th anniversary of the record’s release started rolling around in the spring of 2016, I strongly considered doing a reimagined remix, losing excess instrumentation and caking my vocals in a more professional gloss. For ages I bristled at the record’s flaws; my squeaky, earnest vocals, drums and guitars that sounded meek when I wanted them to sound heavy, precious lyrics, naive melodies. No, this record isn’t anywhere near perfect, and nor should anything earthly be. I’ve only started to realize that this record’s imperfections are exactly what cradles its meaning and curiosities, its heart and spirit. Here it is again. Back in my arms or under my wings, the waves licking our ankles, ready to head back out again. Don’t forget to lift the locked groove.”

After releasing not one but TWO albums on the same day earlier this year, Islands are hitting the road for their second major tour of 2016. The upcoming tour will include shows in stops in Austin, New Orleans, Atlanta, Nashville, Denver and more. The tour will be supported by Alex Cameron and Steady Holiday and the full routing can be found below.

Taste, Islands’ sixth record, is a muscular, crystalline affair, with the majority of the music electronic, buoyed by drum machines, programming and arpeggiated vintage synths. The songs still flirt with Islands’ bread and butter; evergreens such as ennui, remorse, and a general disenchantment with the modern world hover over the tracks, with lines like “we got so thrown, we felt lost at home” and “steal a little moment, lose it like you own it”, to hammer home the point. The songs cut a wide swath, however, and also go in directions that Islands has never tackled, including police brutality and white male privilege (!).

Should I Remain Here At Sea? (a semi-reference to Tarkovsky’s "Solaris") Islands’ seventh album is, in many ways, a spiritual sequel to the debut album, 2006’s Return to the Sea; a natural, raw record, stripped down to it’s essentials, performed live off the floor. Reflecting on the decade that has elapsed, SIRHAS kicks off with a darkly funny tartness, tackling religion, race, addiction, and murderous fantasies, but by midpoint, the songs give way to a resigned and doleful melancholia, tackling heartache, numb disillusionment and emotional disorientation through the guise of stupid parrots, the Internet, sea turtles and perhaps the loneliest maritimer to ever sail the seas. It was recorded as spontaneously as could be, with some of the songs captured live in one take, vocals and all.

Islands Tour Dates

10.11 Phoenix, AZ @ Valley Bar *
10.13 Dallas, TX @ Three Links *
10.14 Austin, TX @ The Sidewinder *
10.15 Houston, TX @ White Oak Music Hall *
10.16 New Orleans, LA @ House of Blues - The Parish *
10.17 Tallahassee, FL @ Club Downunder *
10.19 Atlanta, GA @ Terminal West %
10.20 Nashville, TN @ The High Watt %
10.21 Knoxville, TN @ The Concourse %
10.22 Baltimore, MD @ Metro Gallery %
10.23 Wilmington, DE @ Arden Gild Hall %
10.25 Pittsburgh, PA @ Club Cafe %
10.26 Cleveland, OH @ Grog Shop %
10.27 Indianapolis, IN @ The Hi-Fi %
10.28 Kansas City, MO @ The Riot Room %
10.29 Denver, CO @ Marquis Theater %
10.31 Salt Lake City @ Urban Lounge %
12.02 Los Angeles, CA @ Hollywood Forever Cemetery # (tickets)
12.10 New York, NY @ Webster Hall # (tickets)

* with Alex Cameron
% with Steady Holiday
# Return to the Sea 10th Anniversary Show

http://staticapp.icpsc.com/icp/loadimage.php/mogile/392995/35c2ccd2f8f4407a4ceb2886b442c67f/image/jpeg

“For Adult Listeners Only”
Love Is A Drag, The 1962 LP of Love Songs By Men, For Men, to be Reissued
on Gold Vinyl for Record Store Day November 25th

The once shocking LP that bore no vocalist’s name for over 50 years reveals its secrets in the 2016 Modern Harmonic reissue. A Big Band singer, a Hollywood photographer, and an LGBT music and history archivist are at the heart of the story behind Love Is A Drag, the 1962 LP of love songs by men, for men, which remained a mystery for over fifty years.

It starts with JD Doyle, a historian and archivist of LGBT music and history that came upon the record, which resonated with him almost immediately. The songs took classic standards like “The Man I Love” and “Mad About That Boy,” songs that were intended to be from a woman to a man, and changed it from a man to a man. Doyle had the record in his collection for decades and would play the songs on his radio show, Queer Music Heritage.

The album fascinated Doyle, and he knew these songs were truly before their time. It was because of this, he couldn’t help but be mystified as to why there was not an artist or producer named on the album. A single line of subtext wrote, “For Adult Listeners Only, Sultry Stylings by a Most Unusual Vocalist.”
Most likely, the record would have remained a mystery, until Murray Garrett reached out to Doyle ready to come forward with the truth about the album.

Garrett was a Hollywood photographer through the late 1940s to the 1970s, and photographed stars such as Marilyn Monroe and Frank Sinatra. Through his photography career, he created a partnership with Gene Howard, a Big Band singer, and the two together worked closely with Jack Ames, the founder of Edison International Records.

When Ames asked Garrett and Howard if they had any ideas for a record that Edison International Records could release, Garrett remembered a performance he saw once in Greenwich Village of a man singing love songs addressed to another man in a serious way. That night was unforgettable as the performers of the day were extremely campy and dramatic.

Despite being straight and married to a woman, Howard agreed to sing on the record with a host of Los Angeles session musicians, and Ames released the record under a “fake” label called Lace Records to avoid Edison International being pigeonholed as a gay record label. The record sold well in Hollywood, and Frank Sinatra, Liberace, and Bob Hope were among some of its biggest advocates.

Now, with the mystery solved, and the masters purchased by Sundazed, Love is a Drag will be reissued by Modern Harmonic, available on gold vinyl, as well as a CD format, with original liner notes, and new notes from JD Doyle just in time for Record Store Day, November 26th.

God Save Sex Pistols (Deluxe Edition)
Johan Kugelberg
w/ Jon Savage &
Glenn Terry
October 21, 2016 Anthology Editions
ARC039

An enhanced edition of the original Rizzoli publication, God Save Sex Pistols offers an unseen visual history of the incendiary punk band. Published to coincide with the fortieth anniversary of the band’s formation, Johan Kugelberg, noted writer Jon Savage, and premiere Sex Pistols archivist Glenn Terry draw on an unprecedented wealth of material to produce the most comprehensive visual history of the band ever produced. From McLaren’s handwritten letters to never-before-seen photographs of the band, Jamie Reid’s iconic album artwork, and a range of ephemera from concert tickets to fanzines, this book is a definitive celebration of a group that helped define a movement.
Limited run of 2000.

Deluxe Edition Includes:

Hardcover Book (First Edition)
Bondage inspired, 5mm “rubber” slipcase designed by Zevs
Newsprint companion book with rare press clippings
Screen on the Green silkscreened event poster print

An additional ultra deluxe edition of 500 includes silkscreens by designers Jamie Reid and Zevs, 4 new silkscreen prints, clamshell case, tote bag and features a custom safety pin display stand.

About The Editors:

Johan Kugelberg is an editor, curator, and the author of numerous publications, including The Velvet Underground: A New York Art and Punk: An Aesthetic. Jon Savage is the author of England’s Dreaming: Sex Pistols and Punk Rock and Teenage: The Creation of Youth Culture. Glenn Terry is the proprietor of Vicious Sloth Collectables in Melbourne, Australia, and considered one of the world’s foremost authorities on Sex Pistols history.

images of and from book here
http://shop.mexicansummer.com/product/god-save-sex-pistols-deluxe-edition/

Light In The Attic ‏@lightintheattic 4h4 hours ago
Proud to announce #LeeHazlewood's Cowboy In Sweden! Deluxe edition on "Swedish Blue" vinyl w/DVD & poster!

Available: November 25th, 2016

Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin…Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic Records is proud to continue its Lee Hazlewood Archival Series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor (“Pray Them Bars Away”), a dash of bummer (“Cold Hard Times”), some beautiful ladies to sing with (“Leather & Lace” & “Hey Cowboy”) and even a couple anti-war protest songs to be topical (”No Train to Stockholm” & “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on LHI Records and ironically the label’s swan song.

Release Notes
Remastered from pristine original LHI master tapes
Includes previously unheard versions of “Pray Them Bars Away” & “Easy & Me"
Liner notes by Hunter Lea including interviews with Torbjörn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy
Rare film production photos from the Torbjörn Axelman archive
LP housed in a deluxe gatefold Stoughton tip-on jacket

Deluxe Edition includes exclusive:
27” x 40” folded film poster by Jay Shaw (Mondo/Death Waltz)
DVD of restored Cowboy In Sweden film
“Swedish Blue” color vinyl

5 LP Bundle includes BLACK VINYL copies of:
Trouble Is A Lonesome Town (LITA 096), The Very Special World Of Lee Hazlewood (LITA 131), Hazelwoodism (LITA 132), Something Special (LITA 133), and Cowboy In Sweden (LITA 153)

more info, audio here:
ightintheattic.net/releases/2699-cowboy-in-sweden

Oh yeah, and the DVD of the movie Cowboy In Sweden is also in Deluxe Edition of There's A Dream I've Been Saving: Lee Hazlewood Industries 1966-1971, with many other fab artistes flashin' down thee Sunset Strip and into commercial Death Valley, for most part (LHI was great at finding, signing, recording, not so good on follow-through):
http://blog.lightintheattic.net/theres-a-dream-ive-been-saving-box-set-out-now/

V/A
The Microcosm: Visionary Music of Continental Europe, 1970-1986

Light In The Attic
LITA 143

Available: November 25th, 2016

The follow up to Light In The Attic’s game-changing I Am The Center box set is finally here. The Microcosm: Visionary Music Of Continental Europe, 1970-1986 is the first major overview of key works from cosmically-taped in artists needing little introduction — Vangelis, Ash Ra Tempel, and Popol Vuh — and unknown masterpieces by criminally overlooked heroes like Bernard Xolotl, Robert Julian Horky and Enno Velthuys.

Whereas I Am The Center called for a reconsideration of an entire maligned genre, The Microcosm requests nothing more than an open mind to consider this ambient, new age, neuzeit, prog, krautrock, cosmic, holistic stuff, whatever one calls it — as a pulsating movement unto itself, a mirror refracting the American new age scene in unexpected, electrifying ways, proving beyond a shadow of a doubt the universality of the timeless quest to express “the Ineffable” through music.

Drawing from major label budgets and homemade cassette distributed circumstances alike, The Microcosm demonstrates a depth of peace profound to behold, and clearly expands the boundaries. Lovingly conceived and lavishly presented by producer Douglas Mcgowan (Yoga Records) and liner notes contributor Jason Patrick Woodbury (Pitchfork, Aquarium Drunkard), The Microcosm features stunning cover paintings by Étienne Trouvelot, and labels by Finnish savant Aleksanda Ionowa.

Release Notes
In depth liner notes by Douglas Mcgowan and Jason Patrick Woodbury
Extraordinary cover art by astronomer / entomologist Étienne Trouvelot
Remastered audio, including a previously unreleased track and several others previously cassette only
3xLP with deluxe Stoughton “tip-on” jackets and slipcase
PRE-ORDER EDITION: “Introspective Indigo” color wax limited to 500 copies. Limit two per customer.

6xLP bundle includes:
I Am The Center: Private Issue New Age Music In America 1950-1990 (LITA 107) 3xLP in black vinyl and The Microcosm: Visionary Music of Continental Europe, 1970-1986 (LITA 143) 3xLP in “Introspective Indigo” vinyl

more info, audio:
http://lightintheattic.net/releases/2637-the-microcosm-visionary-music-of-continental-europe-1970-1986

This was orig. released under his full name, James Luther Dickinson

Jim Dickinson
Dixie Fried

Future Days Recordings
FDR 623

“People like Stan Phillips thought I was scary, that I was over the top – but I could play rock’n’roll.” -Jim Dickinson

The late Jim Dickinson is one of the most eclectic personages rock n’roll has ever thrown up: a musical maverick. From Sun Records and Ardent Studios in the 1960s, to sessions with the Rolling Stones, Ry Cooder and Bob Dylan, significant productions of Big Star and the Replacements, and the twisted roots rock of his own Mud Boy & The Neutrons, the man was never, ever predictable.

A solo album had not been at the forefront of Jim Dickinson’s mind then, but once the idea was put in place by Jerry Wexler at Atlantic, he reacted conceptually, and with gusto. Dickinson always shot from the hip. He could be coarse on a rocker like “Wine,” or dignified and joyous when celebrating “The Strength of Love.” Inebriated laments like "Wild Bill Jones” contrast sharply with the carny talk of “O How She Dances,” and a shifting, indignant anti-war recitation entitled “John Brown.”

As a music maker who could relate equally to both the intellectual and the visceral aspects of popular culture, anything Dickinson lent his hand to was at least interesting and frequently rewarding. Such is the case with Dixie Fried, his solo debut from 1972. Unsuccessful upon release, the record now is now a cult item that, for many, mirrors the deliciously unexpected twists and turns of Dickinson’s subsequent career.

Release Notes
Limited to 1000 copies
Remastered from the original tapes
Features seven unreleased tracks
Liner notes by Alec Palao, plus excerpts from unpublished memoirs
Rare ephemera from Dickinson archives
Expanded 2xLP housed in a deluxe gatefold Stoughton “tip-on” jacket

more info, audio:
http://lightintheattic.net/releases/2430-dixie-fried

Another xpost Tim Buckley set:

Tim Buckley
Lady, Give Me Your Key: The Unissued 1967 Solo Acoustic Sessions

Future Days Recordings
FDR 631

In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & Hello.

Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim’s songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it.

Available here for the first time are these newly discovered master tapes, recorded by Goodbye & Hello’s producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett’s possession.

Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare.

So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley.

Several rarities releases in the 1980s and ‘90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!

Release Notes
13 previously unissued solo acoustic demos
Remastered from the original analog tapes and acetate
Book includes in-depth interview with Buckley’s lyricist Larry Beckett

more info, audio:
http://lightintheattic.net/releases/2631-lady-give-me-your-key-the-unissued-1967-solo-acoustic-sessions#

Listening to Mortal Micronotz reissues on kmuw's "Strange Currencies" now, reminds me I forgot to mention them sorry:
http://www.thevinyldistrict.com/storefront/2016/08/graded-on-a-curve-the-micronotz-the-barnone-records-reissues/

WAXWORK RECORDS ANNOUNCES DELUXE RE-ISSUES OF
SALEM'S LOT
& MAD MONSTER PARTY SOUNDTRACK LPs

Waxwork Records is thrilled to announce the double LP soundtrack release of SALEM’S LOT. Directed by TOBE HOOPER (The Texas Chainsaw Massacre, Poltergeist) and adapted from the novel by STEPHEN KING, SALEM’S LOT originally aired as a two-part miniseries on CBS in 1979. Since then, the film has reached cult classic status and is regarded as one of the greatest vampire films ever made thanks to it’s creepy atmosphere, gripping story-line, and chilling climax.

Waxwork Records presents, for the first time ever on vinyl, the complete, re-mastered score of SALEM’S LOT. Featuring all 84 musical cues from the film, this two record set clocks in at over one hour of atmospheric, old-fashioned horror film music. Composed and conducted HARRY SUKMAN, the classic score to SALEM’S LOT was his final work before his death in 1984.

Waxwork has commissioned art from FRANCESCO FRANCAVILLA (Afterlife with Archie, Marvel Comics, DC Comics, Dark Horse Comics) for the entire LP package.

SALEM’S LOT is available as two variants:

2 x LP 180 Gram Blue Moonlight Vinyl
Complete and Re-Mastered 84 Cue Soundtrack
Heavyweight Old-Style Tip On Gatefold Jacket
Art by Francesco Francavilla

2 x LP 180 Gram Vampire Blue, Black Cloak, & Yellow Swirl Vinyl
Complete and Re-Mastered 84 Cue Soundtrack
Heavyweight Old-Style Tip On Gatefold Jacket
Art by Francesco Francavilla

--
Waxwork Records is also proud to announce the debut vinyl soundtrack release of 1967’s MAD MONSTER PARTY. Featuring film-movie stars Boris Karloff and Phyllis Diller, the Rankin / Bass stop-motion animated musical horror-comedy has become a holiday cult-classic.

The classic 1967 film centers around Baron Boris Von Frankenstein (Boris Karloff) and a group of ghastly monsters including Frankenstein’s Monster, Count Dracula, The Wolfman, The Mummy, The Hunchback, The Invisible Man, The Creature From The Black Lagoon, Dr. Jekyll and Mr. Hyde, and more. The energetic soundtrack features horror-centric, yet whimsical instrumental tracks with a selection of performer credited lyrical compositions such as Never Was A Love Like Mine (Gale Garnett) and The Mummy (Little Tibia And The Fibias).

Believed to never receive an actual official physical release, the soundtrack to Mad Monster Party has been mastered for vinyl from the original source material and given the deluxe treatment from Waxwork Records. Features include heavyweight colored vinyl, old style tip-on gatefold jackets, printed inserts, all new artwork by illustrator Rich Kelly, and an essay on Mad Monster Party from Finders Keepers Records founder, Andy Votel.

Waxwork Records is honored to officially debut the classic soundtrack, in its entirety, to the beloved cult-classic film, MAD MONSTER PARTY. The deluxe LP package is perfect listening for the Halloween season.

Release details include two variants:

Count Dracula (Heavyweight Black and Green Swirl Colored Vinyl)
Deluxe Packaging
Old Style Tip-On Gatefold Jacket
All New Artwork by Rich Kelly
Printed Insert
Mad Monster Party Essay by Andy Votel of Finders Keepers Records


The Hunchback (Heavyweight Pink and Yellow Swirl Colored Vinyl)
Deluxe Packaging
Old Style Tip-On Gatefold Jacket
All New Artwork by Rich Kelly
Printed Insert
Mad Monster Party Essay by Andy Votel of Finders Keepers Records

more info & scary cover etc art here:
http://us1.campaign-archive2.com/?u=a088e1e7fb68010cf6ad8ff4a&id=bebee36c45&e=32e64a6326

https://soundsoftheuniverse.com/img/TTVUaTJhQ3RHMmltYlJQNlAwVlFIUT09/brightersjr-lpxxx-betty-harris-sleeve.jpg

OUT TODAY! BETTY HARRIS - The Lost Queen of New Orleans Soul
On Soul Jazz Records

Betty Harris’ The Lost Queen of New Orleans Soul features all of her classic deep soul, sister funk and northern soul songs recorded in New Orleans in the 1960s - all written, produced and arranged by the legendary Allen Toussaint, and featuring the cream of New Orleans musicians and the incredible Meters.

All of these singles featured here were released on Allen Toussaint and his business partner Marshall Sehorn’s local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris’ music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.

This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records’ New Orleans Funk and New Orleans Soul compilations.

Always soulful and always funky, Betty Harris’ music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.

This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.

More info, audio:
https://soundsoftheuniverse.com/sjr/product/the-lost-soul-queen-of-new-orleans

JACK LEE TO RELEASE RETROSPECTIVE DOUBLE-ALBUM BIGGER THAN LIFE: ANTHOLOGY NOVEMBER 25TH ON VINYL AND CD VIA ALIVE NATURALSOUND RECORDS

FEATURES 23 MEMORABLE SONGS, ALL REISSUED FOR THE FIRST TIME SINCE THE 1980s!
(may not all be that memorable, but did write some hits for others)

Legendary singer/songwriter Jack Lee has been on the radar of rock fans since the late '70s, when he formed the iconic power pop band The NERVES, alongside Paul Collins and Peter Case.

His songs have been covered by a multitude of artists (BLONDIE, SUZY QUATRO, CAT POWER, PAUL YOUNG), but fans have found his solo work very hard to come by prior to this release

BIGGER THAN LIFE: ANTHOLOGY TRACKLISTING:
01 Good Times
02 Give Me Some Time
03 Come Back And Stay
04 Any Day Now
05 Stand Back And Take A Good Look
06 Hangin' On The Telephone
07 Women
08 I'm Gonna Have Fun
09 Crime Doesn't Pay
10 Paper Dolls
11 It's Hot Outside
12 Sex
13 Somebody Else To Love
14 Bird In A Cage
15 Why Am I So Lonely
16 From Time To Time
17 Between Two People
18 Play With Me
19 Time Machine
20 The Girl In The Picture
21 Breaking Into My Heart
22 Bigger Than Life
23 Small World

trailer for album
https://www.youtube.com/watch?v=M8FGDFZKFbU&feature=youtu.be

second try
https://www.youtube.com/watch?v=M8FGDFZKFbU&feature=youtu.be

http://i1.wp.com/www.thewho.com/wp-content/uploads/2016/10/My-Generation-SDE-3D-Packshot600-1.png
Super Deluxe Edition featuring unreleased songs, demos, mixes, remasters, new notes from Pete Townshend, an 80-page book, rare memorabilia and much more!

5-CD Super Deluxe box set, 3-LP Edition* and 2-LP Edition*

Released 18 November / 10 February*

In the half century since its release The Who’s debut album MY GENERATION has lost none of it’s raw visceral power and still stands as the ultimate musical declaration of teenage rebellion. The title track alone has been covered innumerable times by the likes of Oasis, Green Day, Patti Smith, Billy Joel, Alice Cooper and Iron Maiden amongst many more.

Back in 1965 the band were considered to be so dangerous that the tailors tasked with turning a Union Jack into a pop art mod jacket for the cover feared that they would be jailed for desecration of the nation’s flag.

The Who’s surly demeanour that day in 1965 at London’s Surrey Docks and the brazen appropriation of the symbol of state is the best advert possible for MY GENERATION It’s an album that sounds like it looks: terse, confrontational and full of youthful angst and energy.

Brunswick Records first issued MY GENERATION in the UK in December 1965, and later in the US, under the title THE WHO SINGS MY GENERATION, in April 1966. It was produced by Shel Talmy who shot to fame with his work with The Kinks, a group that the teenage Pete Townshend admired greatly.

During a break in touring in 2015 Pete Townshend discovered tapes in his audio archive featuring previously unheard demos for the album which also included three totally unreleased songs that the other members of The Who hadn’t ever even heard, ‘The Girls I Could Have Had’, ‘As Children We Grew’and ‘My Own Love’.

The spectacular 79-track five disc super-deluxe edition of MY GENERATION features these unheard songs as well as unreleased demos, unreleased alternate mixes, new remasters and a stereo remix which was created using new overdubs from Roger Daltrey and Pete Townshend. For this mix Pete used exactly the same guitars and amps as the original album and Roger used the same type of microphone.

The super deluxe edition also features a stunning 80-page colour book with many rare and unseen period photos, candid and insightful new notes from Pete Townshend and period memorabilia.

Of the super deluxe box set Pete Townshend commented “Gathering these demos for this collection has been enjoyable; it’s wonderful for me to have these tapes made fifty-two years ago to listen to. I hope you enjoy them. They have a naiveté and innocence, a simplicity and directness, and an ingenuousness that reveals me as a young man struggling to keep up with the more mature and developed men around me. What an incredible group of strong, talented, young and engaging men they were!”

MY GENERATION SUPER-DELUXE Audio details:

CD1: Original album (mono mixes)

Originally released 1965
Re-mastered 2016
CD2: Original album (new stereo mixes)

Previously unreleased on CD or vinyl. Released on iTunes 2014.
Remixed by the band in 2014 – For the missing overdubs Pete used exactly the same guitars and amps as the original album, Roger used same type of microphone.
Overdubs recorded at Pete’s home studio and Yellowfish Studio.
CD3: Mono mixes – bonus tracks

Tracks 1–12 originally released 1965-1966. Reissued 2002.
Tracks 13-23 remixed in 2000, previously unreleased
Re-mastered 2016
CD4: Stereo mixes – bonus tracks

Tracks 1-17 previously unreleased on CD or vinyl. Released on iTunes 2014.
Tracks 18-21 previously unreleased.
Re-mastered 2016
CD5: The Demos

Track 1 previously released as 45 rpm flexi-disc with Richard Barnes’ Maximum R&B book (re-mastered 2016)
Tracks 2, 4, 6, 7, 8, & 11 previously unreleased demo versions
Tracks 3, 5, & 9 previously unreleased songs – ‘The Girls I Could’ve Had’, ‘As Children We Grew’, ‘My Own Love’
Track 10 previously released on SCOOP (re-mastered 2016)

MY GENERATION SUPER-DELUXE Feature details:

Stunning 80-page colour book with many rare and unseen period photos and memorabilia.
Candid and insightful new notes from Pete Townshend illustrating the genesis of the demos and creative process.
New essay by acclaimed music writer Mark Blake with additional track annotation by Who biographer Andy Neill.
Six replica inserts:
Flyer for The Who’s Tuesday night residency at the Marquee Club 1965.
Admission card to the Scene Club in Ham Yard.
Calling card for The Who’s management, New Action Ltd. with a photo of the group
Admission card to the televising of The Who’s first appearance on Ready Steady Go! at Rediffusion TV Studios.
20″ x 30″ poster from a 1966 gig.
20″ x 30″ poster of The Who’s last ever gig at the Goldhawk Social Club.
Hardback 12 x 12 album size slipcase.

MY GENERATION SUPER-DELUXE Track listing:

Release date – 18 November 2016

CD1: Original album (mono mixes)

Out In The Street
I Don’t Mind
The Good’s Gone
La-La-La Lies
Much Too Much
My Generation
The Kids Are Alright
Please, Please, Please
It’s Not True
I’m A Man
A Legal Matter
The Ox

CD2: Original album (new stereo mixes)

Out In The Street
I Don’t Mind
The Good’s Gone
La-La-La Lies
Much Too Much
My Generation
The Kids Are Alright
Please, Please, Please
It’s Not True
I’m A Man
A Legal Matter
The Ox

CD3: Mono mixes – bonus tracks

I Can’t Explain
Bald Headed Woman
Daddy Rolling Stone
Leaving Here
Lubie, Come Back Home
Shout And Shimmy
(Love Is Like A) Heatwave
Motoring
Anytime You Want Me
Anyway, Anyhow, Anywhere
Instant Party Mixture
Circles
Anyway, Anyhow, Anywhere (French EP Mix)
Out In the Street (Alt guitar break)
Out In the Street (Alt early vocal)
I Don’t Mind (Full Length)
The Good’s Gone (Full Length)
My Generation (Alt version)
I’m A Man (V2 – Early vocal)
Daddy Rolling Stone (alt. take)
Lubie (Alt Mix)
Shout And Shimmy (Alt mix)
Circles (Alt Mix)

CD4: Stereo mixes – bonus tracks

Out In The Street (Alt – Take 1)
I Don’t Mind (Full Length Version)
The Good’s Gone (Full Length Version)
My Generation (Instrumental Version)
The Kids Are Alright (Alt – Take 1)
I Can’t Explain
Bald Headed Woman
Daddy Rolling Stone
Daddy Rolling Stone (Alt version)
Leaving Here
Lubie, Come Back Home
Shout And Shimmy
(Love Is Like A) Heatwave
Motoring
Anytime You Want Me
Instant Party Mixture
Anyway, Anyhow, Anywhere
Circles (New Mix)
Daddy Rolling Stone (Alt Take B – New Mix)
Out In The Street (Alt Take 2)
I’m A Man (Alt – New Mix)

CD5: Primal Scoop – The Demos

My Generation (V 3)
My Generation (V 2 – fragment)
The Girls I Could’ve Had
It’s Not True
As Children We Grew
Legal Matter
Sunrise (V 1)
Much Too Much
My Own Love
La-La-La- Lies
The Good’s Gone

Would like to hear some more takes of "The Ox" (wonder if they ever played it live, ooo-weee).

https://light-in-the-attic.s3.amazonaws.com/uploads/release_image/19270/image/large_550_tmp_2F1475517296213-pfb8efvhvf0k0tly-f04ab9250dd061a9bdaf303a723eeec5_2FStandard.jpg

Chinatown (1974 Original Soundtrack) Standard

Cinewax
CINE 807

Release Notes
Newly remastered audio
Housed in a deluxe Stoughton tip-on jacket

Also available in a deluxe Black Friday edition (in-store only) pressed on gold wax! Click here to preview.
(cover art is even better)
http://lightintheattic.net/releases/2743-chinatown-1974-original-soundtrack-black-friday-edition

Available: November 25th, 2016

Sometimes, it doesn’t take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro’s original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days.

To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the saviour of Roman Polanski’s masterpiece of neo-noir.

What was clever about it? It wasn’t quite straight jazz, it wasn’t quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey’s mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn’t try to speak to the film’s 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game.

“I remember Evans speaking about the music having a contemporary feel, contemporary meaning the ‘30s,” Goldsmith said in an interview before his 2004 death. “I said, ‘Bob, I don’t think so – you see that on the screen, why should I do that in the underscore? … Emotions are timeless.’”

Originally released as a soundtrack in 1974, and long out of print, Cinewax’s reissue is remastered from the original tapes and is presented with brand new artwork by acclaimed illustrator and painter Sterling Hundley, with layout by Jay Shaw. Drop the needle and hear why Chinatown is, reportedly, David Lynch’s favorite soundtrack. Goldsmith was right about emotions…
More info, audio: http://lightintheattic.net/releases/2711-chinatown-1974-original-soundtrack-standard

Also on that page: links to some of their other reissues of soundtracks, like Howard Shore & Ornette Coleman's Naked Lunch.

Would like to hear some more takes of "The Ox" (wonder if they ever played it live, ooo-weee).

They sort of did, or at least they quoted it a handful of times. Entwistle quoted it in his "5:15" bass solos in '99-'00.

Biggest disappointments of that set are no live material (there's some, not a lot, from that era), no High Numbers tracks, and the omission of a studio jam of indeterminate origin where the run through "Green Onions" and snake their way around to distinctly proto-Tommy progressions.
(part of it here https://youtu.be/OieXtE7NFHk)