Rolling Reissues 2014

From Strut:

http://downloads.openimp.com/tid/1996970155e0d6510164b75e0cc30e20945ec04a/enercvo/cuwamkbtas/15212395650054.jpeg

Haiti Direct, Compiled By Hugo Mendez of Sofrito. Limited 180g vinyl exclusive to Strut store
"If this music doesn't get your feet tapping, pulse racing and put a smile on your face, see a doctor." —The Independent
"Arguably the first in-depth tropical dig for Haiti's rare, classic & obscure popular music… Fantastic stuff." —MOJO
Haiti Direct
Buy Haiti Direct on CD, Vinyl or MP3

Compared to reggae and calypso, the music of Haiti remains relatively obscure outside of the Caribbean. And that's a real shame, especially given the delightful and innovative sounds showcased on our Haiti Direct collection. Stemming from traditional merengue and compas styles, and incorporating a cornucopia of influences, from African and Latin rhythms to American soul and psychedelic rock, there is quite a lot for adventurous ears to discover.

Compiled by Hugo Mendez of Sofrito, Haiti Direct is out this week on double CD, double vinyl (with CD version included), and digital download. Vinyl orders via the Strut store will receive exclusive limited edition 180 gram vinyl, until we run out!

STRUT ON THE WEB (with some Haiti Direct tracks) https://soundcloud.com/strut

http://thewire.co.uk/img/scale/460/301/2014/01/13/CONRAD-Tony.jpg
Tony Conrad in the 1960s. Photo: Frederick Eberstadt

on issues(incl reluctant), reissues, YouTube etc

http://thewire.co.uk/in-writing/collateral-damage-28138/collateral-damage_david-grubbs-on-1960s-recordings

Haiti Direct comp is really really good.

Thanks for the heads up on the Haiti comp, dow. Great stuff.

You're welcome! More on Peter Walker's return (tour dates upthread)---from Howlin' Wuelf Media:

Recorded at Mercury Studios in NYC, "Has Anybody Seen Our Freedoms?", which was described by the "New York Times" as "...rough, passionate and often raga-like..." and "All Music Guide" raved that the record "...adds immeasurably to his musical and cultural legacy, and is a must for any fan of American guitar music", and was included on their list of "Favorite Folk Albums of 2013", is Walker's manifesto. It could have been Peter's classic third album had it been released at the time (Peter had been storing the reels in a converted bread truck for decades). While his previous two records are incredible collaborative efforts - the playing of Bruce Langhorne, Jeremy Steig, and John Blair as important to the final product as Peter's - this album solely Walker. A requiem to the 1960s, chronicling lovers on the run, anti-war movement adventures, and living off the grid in Mexico, California, Detroit, and NYC.

The record begins gently, with love and war songs, (and a version of the traditional "Pretty Bird," that is unlike any other), before going on the rough and urgent ride of "Fifty Miles," (on two flat tires, a story detailed in the liner notes), and culminating with "Wonder," a song where Peter summons all the elements into one long journey, bringing us back down at the end as if we were at one of Timothy Leary's "celebrations." Peter's wondrous guitar playing and intimate, otherworldly vocals create the effect of a record encoded with some deeper wisdom being channeled directly to your ears.

You can stream the track "Early In The Morning" from "Has Anybody Seen Our Freedoms?" here:

http://delmorerecordings.bandcamp.com/track/early-in-the-morning

At the time of the session, Peter was living in the infamous Garwood Mansion near Detroit, working as incumbent opening act for their weekly, all night concerts / parties (as he had been at the Café Au Go Go throughout the '60s, and the Joyous Lake in the 70s). William Kunstler stopped by to speak about the John Sinclair trial, and the two had an immediate rapport. Kunstler was a major influence on Peter's anti-war movement involvement and leadership, and on his later decision to get a para-legal degree and represent immigrant taxi drivers in NYC in the 1970s. The two of them are pictured together on the album cover.

The beautifully crafted packaging for the CD and the limited edition vinyl version of "Has Anybody Seen Our Freedoms?" features a twenty-page booklet with exclusive images as well as a 4300 word essay by Peter, which was condensed from forty pages he sent to Delmore founder, and Executive Producer of the record, Mark Linn. While it's not exactly clear how every wild adventure discussed in the essay relates to each song on the record, knowing that these adventures occurred helps us imagine their evolution. The notes reveal a man of mystery. A man who rubbed elbows with Karen Dalton, Sandy Bull, Jimi Hendrix, Janis Joplin and John Barrymore. A man who possesses endless energy, drive and passion for the instrument he holds and the fearlessness to explore and reach for new sounds with a childlike curiosity.

The previously mentioned limited edition vinyl version also includes a full album DL code, plus bonus track, tip-on jacket, and an exclusive 8 1/2" x 11" Matrix handbill reproduction. The CD / DL bonus track is Peter doing his best Lord Buckley, from the same studio session.
Walker's colorful past reveals a man equally at home in legal discourse with Kuntsler, as he is sitting at the feet of Ravi Shankar, soaking up the Sitar. He disappears for months to Peru and comes back sunbathed and dappled by the waves, his head full of new sounds and ideas. He makes regular pilgrimages to the caves of Grenada and Spain, the only gringo allowed into the dangerous and exciting world of the gypsy masters of Spanish guitar, where he is now considered a peer.

As previously mentioned, Peter was reinstated to public consciousness with the critically-acclaimed 2006 tribute album, "A Raga For Peter Walker". The ensuing years have included two beautiful new albums of mostly Spanish guitar music, and a previously unissued collaboration with Maruga Booker, Badal Roy, and Perry Robinson, which was recorded at Levon Helm's barn in 1970.

An artist in the truest sense of the word, Walker uses the world as his canvas, distilling his experiences into the neck and body of his guitar, where they are transformed into a cacophony of sounds...dark, brooding, complex, atypical in rhythm and form, an experimental expression captivating the listener's ear, piece after piece.

From Drag City, out 02/18---a final scrape? I'll check it out at some point.

http://www.dragcity.com/uploads/products/2202/images/974/large_DC582.jpg

"North St." 3:44/"We're Gonna Make It" 4:03 7" single $6.00

Death comes a-knockin' again! Two later phases set the stage for a third rip through the archives: 1980's "North St." finds the band still uncoiling dense knots of rage. 1992's "We're Gonna Make It" was a final reunion of the brothers and a sweet release of any bitterness, affirming hope for their afterlife.

Oh wait: "set the stage for a third rip"---so maybe this Death scrape is not the end.

A documentary about the Akron punk saga; see link below to watch it (55 minutes).

http://westernreservepublicmedia.org/images/itsevery.jpg

Western Reserve PBS documentary tells the story of "the Akron Sound” of the 1970s

In the early 1970s, rubber was still king in Akron, Ohio. But just a few short years later, Akron’s most important product was, ever so briefly, music. In the mid-1970s, a group of local bands took over an old rubber workers’ hang-out in downtown Akron called The Crypt and created a mix of punk and art rock that came to be known as “the Akron Sound.” And for a while, it was almost “the next big thing.” Almost.

It’s Everything, and Then It’s Gone, a Western Reserve PBS production written and directed by Phil Hoffman., takes viewers back to a time when the music really did mean everything. And for the men and women in these local bands, it was a way out of the factory.

“This is the story of those people, many of them children of rubber workers, who rode to the crest of the new wave and what happened to them after the attention turned away from Akron and away from them,” explains Hoffman in the opening of the documentary. Over the course of the hour-long program, Hoffman tells the story of bands like Devo, The Numbers Band, The Bizarros, The Rubber City Rebels, Tin Huey and The Waitresses and their flirtation with rock stardom.

The story of “the Akron Sound” and It’s Everything, and Then It’s Gone really begins in the college bars along Kent’s Water Street in the late 1960s and early 1970s. The rise of Kent-based Joe Walsh to national rock'n'roll fame created the feeling that local bands could “make it big” and inspired a movement of original music in groups like The Numbers Band, Devo, Tin Huey and others.

Many of these bands shifted to the Akron scene when The Rubber City Rebels acquired a bar called The Crypt from its previous owner in the midst of a rubber workers’ strike.

“Out of the misery of one of the longest rubber workers’ strikes in the city’s history, an unexpected gift would lead to the development of ‘the Akron Sound,’” says Hoffman.

The Crypt became a haven for the original music of bands such as Devo, Tin Huey, The Bizarros, The Rubber City Rebels and others, explains David Giffels, Beacon Journal columnist and co-author of Are We Not Men?, based on the Akron music movement. The Crypt was modeled after the New York nightclub CBGB’s, home to the then-new sound of bands such as Talking Heads, Television and The Ramones.

Buzz about Akron’s music scene began to grow. The local music movement came to the attention of a British music journalist; soon, the spotlight zoomed in on Akron and record label scouts descended on the city. “None of [the band members] could guess ... that an off-hand comment about Akron by one of their friends would set off a record industry feeding frenzy that would sweep them all up into the world of rock stardom,” says Hoffman. For a short time, it looked like “the Akron Sound” was going to be “the next big thing.” Between 1978 and 1980 nearly every one of the Akron bands would record and release their first major label record, including Devo, The Rubber City Rebels, Tin Huey and The Bizarros.

With the exception of Devo, success was short-lived. While some band members muse that a lack of record label support and promotion might have hindered their success, Meredith Rutledge of Cleveland’s Rock and Roll Hall of Fame speculates otherwise. “You can promote and publicize and tour a band ragged and if people aren't going to buy it, they're not going to buy it,” she explains. “The bands that didn’t sell well just didn’t fit into the taste of the record-buying public at that time.”

“Every one of these bands got plucked from Akron with great aspirations and almost every one of them tanked, except Devo” says Giffels. Devo, instead, became a national phenomenon with hits like “Whip It” and “Jocko Homo.”

The band members today, many of whom still live in northeast Ohio, have bittersweet memories of their flirtation with success. “Failure doesn't happen overnight," said Buzz Clic of The Rubber City Rebels. “I didn't realize we weren't going to sell records ... nobody heard of us ... It’s pretty disappointing to watch your whole band fall apart right in front of you. It’s everything, and then it’s gone.”

But the recollections aren’t all bad. “It was the most interesting time of my life,” Clic reflects later. “It gave me a lot of great memories and a lot of great stories to tell.” That story is told in It's Everything, and Then It's Gone.

It's Everything, and Then It's Gone is a Western Reserve PBS production. Executive Producer: Don Freeman. Writer/Director: Phil Hoffman.

A Western Reserve PBS production, 2003.

[watch online]http://westernreservepublicmedia.org/vodshows/everythv.htm

And don't forget about that big-ass Waitresses comp, from Rolling Reissues 2013

http://ecx.images-amazon.com/images/I/91RQX19SQtL._SL1500_.jpg

Oh yeah, I found the doc link here, which is chock full of info goodness (although some of the links may not work anymore; wtfu w All Music/rovi?)
http://www.tinhuey.com/links.htm

not at all complete fyi (xp)

Come again?

missing at least three or four tracks, I went into detail on the Waitresses thread

Yeah, just like The Bizarros' "Complete Collection"

What's wrong with Ohio?

Guess that's what they meant by "Four Dead In O-Hi-O."

Bobby Charles self titled is finally being reissued on LITA!!!
Bobby Charles pioneered the musical genre known as ‘swamp rock’ – he wrote the early rock n roll classic “See You Later, Alligator” (best known via the version by Bill Haley & the Comets). Another early gem penned by Bobby Charles was “Walking to New Orleans” as recorded by Fats Domino. He also appeared at the legendary “Last Waltz” concert in 1976 – in which he performed “Down South in New Orleans” accompanied by The Band and Dr. John.

But the main reason that musicians like Andy Cabic of Vetiver sing his praises (and cover his songs) is for Bobby’s 1972 self-titled album released on Bearsville. Despite numerous CD reissues through the years, this is the first time in decades that the seminal album has appeared in its original vinyl LP format.

A virtual who’s who of classic ‘roots’ rock – the album features 10 Bobby Charles classics supported by the likes of Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel of The Band, long time Neil Young sidekick Ben Keith, Bob Dylan’s former running mate Bob Neuwirth, session maverick Amos Garrett, the esteemed Dr. John, Geoff Muldaur and several others.

But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Album also includes the slow burner “Street People” as featured on Country Funk 1969-1975, Volume 1.

Perhaps Dr. John said it best “I think all of Bobby’s songs have something to offer at all times, for all people.”

Light In The Attic now offers Bobby Charles re-mastered from the original tapes, packaged in a beautiful gatefold sleeve and waiting for heads to turn on and tune in ‘round the globe.

http://lightintheattic.net/releases/1009-bobby-charles

But this is far from an all-star jam session – this is an ensemble record in the truest sense of the word – with each musician simply supporting the Louisiana vibe that flows thru the 10 song collection of country, blues, R&B, and folk that all have that distinctive Bobby Charles signature sound. Very true, and crucial. The other guys are really listening to Charles. He got to perform at The Last Waltz extravaganza? Is he on the expanded edition of the soundtrack and/or movie??

He was on the original album! He did "Down South In New Orleans" which one of exclusives to that set.

Wow, good to know, thanks. From Drag City News, as I xp suspected, re that single:

DEATH COMES IN THREES

The rumors of our Death are greatly un-exagerrated! With all the portent of a polite throat-clearing, NPR on Monday premiered one freshly disenterred vintage Death jam, "North St." - but this is just the jagged tip of the iceberg that will be fully cutting into the hull of your life-ship this Spring! Yes, a whole LP of previously unheard recordings spanning the early and late lives of Death is set for release in April: Death III! Word! Death III is the spiritual end of the triangular Death portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.

Five years after Death was resurrected with the release of their revelatory 1976 album, For the Whole World to See, Death III slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching - in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, Death III contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. Death III serves as a companion piece of sorts to the A Band Called Death documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-unbowed brothers, in pure musical terms.

The 7" single for "North St." b/w "We're Gonna Make It" hits streets of every direction next Tuesday, February 18th! But we get it - no one wants to wait that long for Death! So dig this, you can trip on some digital Death right now, as "North St." is available for purchase from both iTunes and Amazon! For those who like their Death to come naturally, (as well as spirtually, mentally and most of all, physically), get your 7" next Tuesday and make plans for Death III, coming April 22nd.

While you're at it, catch some live Death:

Sat 3/8/14 Monterrey, Mexico @ NRMALfestival

Fri 3/21/14Toronto @ Phoenix Concert Theatre

Sat 3/22/14 Fullerton, CA @ Burgerama III

Sun 3/23/14 San Francisco, CA @ The Chapel

Fri 7/4/14 George, WA @ Sasquatch!

http://downloads.openimp.com/tid/2a2b53a9be0695a3d28ad020ef4707e2dbd09fac/enhhyeq/cuwaolovri/15212420100054.jpeg

From Strut Store News:

Essential Chicago House and Ghetto anthems from Dance Mania. Hardcore Traxx out this week.
"The first-ever compilation to honor Chicago house music's coarse, brilliant, and suddenly trendy prodigal son."
—Pitchfork (8.5 / Best New Reissue)
"Absolutely essential stuff here from one of my favorite house labels of all time"
—Motor City Drum Ensemble
"This is a rare treat that many DJs have been waiting for for years - wall-to-wall Dance Mania classics in a digital format, and what a selection it is. There are some totally essential tracks in here!"
—Bok Bok (Night Slugs)

Buy Hardcore Traxx on 2xCD, 2xLP (w. CD insert), or MP3

Founded in Chicago in the early '80s, Dance Mania Records had been inactive for close to a decade when proprietor Ray Barney and producer Parris Mitchell began to notice tracks from his catalog popping up in edgy DJ sets and original 12"s changing hands for serious sums online. That was enough to indicate the time had come to bring the Dance Mania label back, though to fans of raw house and driving ghetto tracks, the influence of the legendary label had never left in the first place.

Hardcore Traxx collects essential and rare music from one of the most beloved Chicago house labels of all. Evergreen dancefloor anthems from artists like DJ Funk, DJ Deeon, Wax Master and more are collected along with overlooked and rare slices of four on the floor funk on the double CD / double vinyl set. As always, LP copies from the Strut Store will be shipped on limit 180 gram vinyl while supplies last.
Watch our Dance Mania mini-documentary featuring Ray Barney, Parris Mitchell, Duane Buford & Wax Master, below.
https://www.youtube.com/watch?v=jjdAF_4OWUs&feature=youtu.be

Oh yeah, here's an earlier promo thingie, with more backstory and track listings:

Coming 2014, we have a very special release on the way for lovers of quality original Chicago house music as we team up with the legendary Dance Mania Records for their first ever full label compilation, dropping on January 27th, 2014(now February 18th, apparently). Dance Mania has wielded its influence heavily across dance music since its first breakthrough club smash in ’86, Duane & Co’s ‘J.B. Traxx’, offering a raw, DJ-led alternative to the Chicago powerhouses of Trax and DJ International. Founder Ray Barney astutely released classic after classic during the early years – ’7 Ways’ by Hercules (Marshall Jefferson), ‘House Nation’ by Housemaster Boyz (Farley Jackmaster Funk) and Li’l Louis’ debut recordings all helping to cement Dance Mania’s credentials.
Throughout its long history, the label never pandered to commercial pressures and the lure of the “hit”, focusing purely on the dance floor and the DJ. As styles changed and Chicago clubs like The Factory held sway during the ’90s, Dance Mania became a key player, unleashing uncompromising anthems like Robert Armani’s ‘Ambulance’ and ushering in ghetto house with Traxmen and Eric Martin’s ‘Hit It From The Back,’ as BPMs became faster and lyrics became ever more X-rated. A new wave of producers including DJ Deeon, DJ Funk, Slugo and Paul Johnson all appeared on Dance Mania, recording prolifically and honing the new ghetto style, stripped back and raw.
The label’s influence continues today. Daft Punk famously name-check a series of Dance Mania producers on their ‘Teachers’ track, featured on the albumHomework and you can hear the label’s DNA through contemporary sounds as varied as Diplo, L.I.E.S., Brazil’s baile funk movement and Chicago’s modern day footwork producers like Nate and Rashad.
Tracklisting
CD Double Album (STRUT114CD)

Hercules - 7 Ways (Vocal)
Victor Romeo presents Leetrece Brown - Love Will Find a Way (Club)
The House Master Boyz and The Rude Boy of House - House Nation
Duane & Co - J.B. Traxx
Vincent Floyd - I Dream You
Da Posse feat. Martell - Searchin' Hard (Mike Dunn's AC mix)
Club Style - Crazy Wild
Strong Souls - Twinkles
3 2 6 - Falling (Armando's House mix)
Victor Romeo feat. Cool Dave-O - Ride On the Ride Rhythm (Track Edits)
Da Posse feat. Martell - Don't Try to Fight It
Rhythm II Rhythm - A Touch of Jazz (Lifestyles of the Rich mix)
DJ Funk - House the Groove
Paul Johnson - Feel My M.F. Bass
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
DJ Deeon - Da Bomb
Jammin' the House Gerald - Black Women (Club)
Vincent Floyd - I'm so Deep
Tim Harper - Toxic Waste (Club Mix)
Robert Armani - Ambulance
DJ Deeon - Hypnosis
Traxmen & Eric Martin - Hit It from the Back
Top Cat - Work Out

12" Vinyl Album (STRUT114LP)

Hercules - 7 Ways (Vocal)
Victor Romeo Presents Leetrece Brown - Love Will Find a Way (Club)
Club Style - Crazy Wild
Tim Harper - Toxic Waste (Club Mix)
Vincent Floyd - I'm so Deep
3 2 6 - Falling (Armando's House mix)
DJ Deeon - Da Bomb
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
Traxmen & Eric Martin - Hit It from the Back
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Paul Johnson - Feel My M.F. Bass
Top Cat - Work Out

Download Double Album (STRUT114D)

Hercules - 7 Ways (Vocal)
Victor Romeo Presents Leetrece Brown - Love Will Find a Way (Club)
The House Master Boyz and The Rude Boy of House - House Nation
Duane & Co - J.B. Traxx
Vincent Floyd - I Dream You
Da Posse feat. Martell - Searchin' Hard (Mike Dunn's AC mix)
Club Style - Crazy Wild
Strong Souls - Twinkles
3 2 6 - Falling (Armando's House mix)
Victor Romeo feat. Cool Dave-O - Ride On the Ride Rhythm (Track Edits)
Da Posse feat. Martell - Don't Try to Fight It
Rhythm II Rhythm - A Touch of Jazz (Lifestyles of the Rich mix)
DJ Funk - House the Groove
Paul Johnson - Feel My M.F. Bass
DJ Funk - The Original Video Clash: Video Clash II (Street Mix)
Parris Mitchell Project feat. Wax Master - Ghetto Shout Out!!
DJ Deeon - Da Bomb
Jammin' the House Gerald - Black Women (Club)
Vincent Floyd - I'm so Deep
Tim Harper - Toxic Waste (Club Mix)
Robert Armani - Ambulance
DJ Deeon - Hypnosis
Traxmen & Eric Martin - Hit It from the Back
Top Cat - Work Out

Superior Viaduct continuing to kill it in the 2014:

http://www.superiorviaduct.com/collections/upcoming

Residents, Alice Coltrane, daaamn

Don't sleep on the Leslie Winer. They call it proto-trip hop but don't let that scare you. Partially produced by ex-Renegade Soundwave member (and Holger Hiller partner) Karl Bonnie, it's seriously amazing.

thank you Dan, I had no idea what to make of that one but the Lifetones comparison was intriguing

I see that. There's certainly a thread of UK take on dub in both, which of course fed into trip-hop. I don't know what else to compare it to. Annette Peacock, Anne Clark? I don't know how much Karl Bonnie contributed, but there's a quality to the sound, even on the stuff that doesn't sound as slavishly "dub" that just sounds minimal and futuristic and stripped down. Really great.

I don't see any mention of this on the Omnivore site, but...

http://www.superdeluxeedition.com/news/jellyfish-bellybutton-and-spilt-milk-deluxe-editions-on-the-way/

Omnivore Recordings in the US are preparing deluxe editions of the two Jellyfish albums for release in May.

Contrary to the information in the early Amazon pre-order listings, Bellybutton (1990) and Spilt Milk (1993) will both be two-CD sets and will offer an abundance of bonus material, largely made up of demos and live tracks. Expect around 80-90 minutes of extra audio for each reissue.

Omnivore will release these in North America and Canada, while Universal will issue the same sets in UK and Europe. These are slated for 6 May but this is likely to be approximate at this stage.

Deep Purple's Made in Japan is being blown out to a 4CD/1DVD box that will include their complete sets from three 1972 shows, as follows:

Disc 1: Osaka 15th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 2: Osaka 16th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 3: Tokyo 17th August 1972
Highway Star
Smoke on The Water
Child In Time
The Mule (Drum Solo)
Strange Kind Of Woman
Lazy
Space Truckin’

Disc 4: Encores from all three nights
Black Night — Osaka, August 15
Speed King — Osaka, August 15
Black Night — Osaka, August 16
Lucille — Osaka, August 16
Black Night — Tokyo, August 17
Speed King — Tokyo, August 17

Disc 5: DVD
Made in Japan – The Rise of Deep Purple MK II documentary
Smoke On the Water (Official clip)
The Revolution Germany 1972 (Small documentary piece from Boblingen Sporthalle Stuttgart 10th February 1972)
Smoke On the Water (Live clip from Hoftsra University 29th May 1973)

There's a 9 LP version of the Deep Purple box, too.

Re that Jan. 30 post linking David Grubbs' Collateral Damage article (in The Wire) on underground 60s, here's an excerpt of his new book, describing Henry Flynt's very belatedly released I Don't Wanna, from 1966, rec to fans of Holy Modal Rounders and VU (Reed gave him advice on learning or anyway playing electric guitar) This also has a link to Grubbs' earlier piece
http://www.thewire.co.uk/in-writing/book-extracts/read_extract-from-david-grubbs_records-ruin-the-landscape
And his label lets us hear some mp3s:
http://www.boweavilrecordings.com/weavil_02.html

The label link has mp3s from I Don't Wanna and an earlier Flynt album, Back Porch Hillbilly Blues (his porch has a ton of echo, apparently)

http://d31hzlhk6di2h5.cloudfront.net/20140305/c1/da/0e/50/74959d8b193e23d0761b154c_280x280.jpg


FOR IMMEDIATE RELEASE
March 6, 2014
JACO PASTORIUS’
MODERN AMERICAN MUSIC … PERIOD! THE CRITERIA SESSIONS
CONTAINS 11 TRACKS FROM INFLUENTIAL BASS PLAYER’S
1974 DEMO SESSIONS
Making their debut on Record Store Day (April 19),
CD and LP feature liner notes from
set co-producer Robert Trujillo (Metallica)
and Jaco biographer Bill Milkowski
Release coincides with the upcoming documentary, Jaco,
the official Record Store Day film for 2014
LOS ANGELES, Calif. — When Jaco Pastorius’ solo debut appeared in 1976, a new standard in both jazz and the electric bass guitar was born. Many of the tracks on that eponymous album had their genesis two years earlier when a 22-year-old Pastorius and friends used after-hours time at Criteria Studios to work out songs and jam. Eventually, six of those session tracks were pulled to an acetate. Many of the songs would later find their way onto Jaco’s self-titled debut, but some remained unreleased until now. All tracks appear here in their full, unedited form for the first time.
Omnivore Recordings will release Modern American Music . . . Period! The Criteria Sessions on April 19, 2014 — Record Store Day. Produced in conjunction with the Pastorius estate and Metallica’s Robert Trujillo, this release contains 11 revolutionary tracks from one of the world’s greatest musicians. The CD and LP feature 11 tracks from the Criteria sessions, essays from Trujillo and Pastorius biographer Bill Milkowski (writer for DownBeat and Jazziz), and unseen photos from the family’s archives.
According to Milkowski, from his notes, “Raw and uninhibited, these Criteria demo sessions showcase a working band reveling in the energy that they brought to the bandstand on any given night in 1974 while revealing a young, fully-formed Jaco Pastorius standing on the verge of taking over the world.”
The original six-song acetate is being reproduced for Record Store Day in a special multi-colored vinyl version that will include a sought-after bonus track, "Havona/Continuum." The special Record Store Day LP will also contain a download card for the entire CD program (being released the same day), as well as an insert with both essays and rare photos.
This material was unearthed and restored in conjunction with the upcoming documentary, Jaco, the official Record Store Day film for 2014. Director was Stephen Kijack; producers, Rob Trujillo and John Battsek.
While these tracks, recorded at the beginning of Pastorius’ incredible career, may be from the past, they, like all of Jaco’s music, transcend time and space.
According to Metallica’s Trujillo: “Omnivore’s release of Jaco Pastorius’ ‘Criteria Sessions’ is a raw unique statement — a statement that lets you know you are experiencing a powerful historical musical moment. Jaco’s sound, and facility alone, take you on a trip that is totally new and fresh! This is punk at its best, and the attitude and edge is pure.”

Record Store Day director Michael Kurtz said: “I fell in love with Jaco Pastorius in 1976 when I heard Weather Report’s Black Market being played in my local record store. In 1977 I caught the band on its Heavy Weather tour and heard Jaco perform live. It was like I had been exposed to a force bigger than life. Performing on the Fender bass he’d personally stripped of frets, Jaco propelled the band with ferocity and finesse. He was shirtless, with an axe bold as love. Thirty-seven years later it is a dream come true to be a part of helping Omnivore unearth and release the recording of a very young Jaco performing with his own band in Miami’s Criteria Studios.”

Mary Pastorius, Jaco’s daughter, added: “Once I allowed the memories associated with records to come in, it was like opening the proverbial floodgates — especially so when I started looking through my own records, having a visceral sensory overload experience with every one. Them records is powerful stuff!”
CD TRACK LIST
1. Donna Lee 2:55
2. Balloon Song (12-Tone)* 8:07
3. Pans #1* 4:49
4. Havona/Continuum 10:22
5. Kuru* 5:39
6. Continuum* 4:03
7. Opus Pocus (Pans #2)* 6:09
8. Time Lapse* 4:13
9. Balloon Song (12-Tone) (Alternate) 12:52
10. Time Lapse (Alternate) 5:17
11. Forgotten Love 1:52
LP TRACK LIST
SIDE 1:
1. Balloon Song (12-Tone)* 8:07
2. Pans #1* 4:49
3. Havona/Continuum 10:22
SIDE 2:
1. Kuru* 5:39
2. Continuum* 4:03
3. Opus Pocus (Pans #2)* 6:09
4. Time Lapse* 4:13
* From original Criteria acetate.
LP includes download of entire CD program
# # #

No word yet re who else plays on these.

Jack Ruby Out

Jack Ruby: S/T
SAINT CECILIA KNOWS (UK) / CEC 002CD
release date: 4/29/2014

DESCRIPTION

The collected recordings of legendary lost 1970s New York City band, Jack Ruby. Seen and heard by just a precious few, Jack Ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. None of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. Yet their legacy and influence can clearly be heard in bands that followed in their wake like Sonic Youth and Teenage Jesus And The Jerks. They have been variously described as "The Velvet Underground in a car crash" and the "art-punk Steely Dan." Formed in 1973 by vocalist Robin Hall, guitarist Chris Gray, multi-instrumentalist Randy Cohen, classically-trained viola player Boris (also known as Boris Policeband), and later joined by bassist George Scott (James Chance And The Contortions/8-Eyed Spy/John Cale) and new vocalist Stephen Barth, the first incarnation of Jack Ruby demoed two tracks in a Times Square recording studio in 1974; their signature tune, the nihilistic proto-punk "Hit and Run" -- sounding like some unholy blend of Raw Power-era Stooges, Velvet Underground and J.G. Ballard's Crash -- and a bizarre number entitled "Mayonnaise," based around Boris' amplified viola and primitive electronic "beats" sequenced on Cohen's Serge synthesizer. These two cuts were used to hustle additional studio time from Epic Records through Sly Stone's A&R, Stephen Paley. Three more maniacal songs of arch art-punk with killer pop hooks -- "Bored Stiff," "Bad Teeth," and "Sleep Cure" -- were all recorded in one five to six hour session at Columbia Studios in May 1974. With Cohen patching musique concrète sounds through the Serge, set against Gray's banshee guitar-playing and Hall's snotty vocals, the Jack Ruby sound was formed. But a record deal evaded them. Cohen left and started a new career as a writer for Late Night With David Letterman and, later, as The Ethicist, a columnist for The New York Times solving readers' ethical problems. In 1976, Hall and Gray reactivated Jack Ruby as a live-performing unit with George Scott on bass. They played harder, faster and louder than any other band in New York at that time. Their rehearsals at Matrix studios, and dusk-to-dawn parties at the Bowery apartment behind CBGB's shared by Gray and Scott, became a cult draw for other NYC punk and no wave musicians. Hall quit the band unexpectedly in 1977, days before their first scheduled gig. Jack Ruby continued on as a power trio with Gray, by now the only original member, taking over vocal duties for a couple of shows alongside Teenage Jesus And The Jerks and the Fleshtones, before disbanding for good after one last riotous show with new vocalist Stephen Barth at Max's Kansas City, formerly stalking ground of the band's idols, The Velvet Underground. Hit and Run is a two-disc set of everything Jack Ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s New York City music scene. Remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer Don Fleming. Disc two contains another side to Jack Ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a Serge synthesizer. What Jack Ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the New York City music scene of the early 1970s.

TRACKLISTING
CD1: HIT

01. Hit and Run 2:29
02. Mayonnaise 2:05
03. Bored Stiff 3:41
04. Bad Teeth 3:27
05. Sleep Cure 3:08
06. Beggars Parade 2:37
07. Neon Rimbaud 5:19
08. Out of Touch 3:11
09. Hit and Run 3:57
10. Bad Teeth (Don Fleming "Instant Mayhem" Mix) 3:40

CD2: RUN
01. Destroy/Lost 16:22
02. Beryllium Blues 1:29
03. Parietal Cha Cha 1:24
04. Lithium Serenade 1:16
05. Hydrogen Lullaby 0:42
06. Palaatine March 1:49
07. Sphenoid Waltz 0:42
08. Sodium Nocturne 1:54
09. Temporal Tango 1:08
10. Mandible Mambo 0:56
11. Ghost Note 16:51
HIGHLIGHTS

- Remastered from recently-discovered master tapes.
- Liner notes by Thurston Moore and Jon Savage, plus an extensive band history.
- Exclusive remix by producer Don Fleming (Sonic Youth/Hole/Dinosaur Jr.).
- Original cover art by Japanese artist Ken Hamaguchi.
- 2CD digipak fold-out package containing a 48-page booklet and fold-out poster

also, the US vinyl version of the above (This is content of the first CD. Vol. 2 of the vinyl edition coming soon):
JACK RUBY: Jack Ruby LP
FEEDING TUBE RECORDS (United States) / FTR 105LP
release date: 4/29/2014
DESCRIPTION
"Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact we'd name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band's story continued to roll out. They'd actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They'd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. 'Hit and Run' and 'Mayonnaise' are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That's 'Bored Stiff,' 'Bad Teeth,' and 'Sleep Cure.' The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they'd evolved. The last one was in November '77 at Max's with Vivienne Dick's then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Edition of 600. Includes download code with purchase. Volume Two coming soon.

sweet, nice looking out there

That Dance Mania comp is missing 90% of the great DM release, kinda disappointing @ first listen at least

Not a release, although all of this stuff is around somewhere, but some fairly intriguing descriptions, once I got used to the writing (some painfully awkward stiffness at first; then he gets engrossed, as well he might)(old hat to truest Beach Boys under-the-crate-diggers, no doubt)
http://www.pastemagazine.com/articles/2014/03/busy-doin-somethin-uncovering-brian-wilsons-lost-b.html?utm_source=PMNL&utm_medium=email&utm_campaign=140307

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140307/29/0d/2b/40/d132af9cf6b7db0a5f446339_476x271.jpg

VINYLY, THE RED KRAYOLA SINGLES ON 2xLP! COCONUT HOTEL & HAZEL RETURN!

Three classics from the annals of The Red Krayola return to free-market shelves of the universe on LP for the first time in years! Coconut Hotel was recorded for International Artists to release back in 1967, following the international success of The Parable of Arable Land! Much too freaky-form for the IA folks at the time, it wasn't issued til 1995 by yours truly, featuring the original Red Crayola at the apex of their experimental bent.
A mere year later (but almost thirty from the original Krayola hayday), Hazel bloomed, featuring Mayo Thompson surrounded by a host of prime post-rocker poster-kids like David Grubbs, Jim O'Rourke and John McEntire, plus Tom Watson, Stephen Prina, and George Hurley, to name but a few more! The album showed The Red Krayola once again battling at full-force, entering their 3rd decade in full command of the furthest reaches of sonic expressive creativity.
Beyond the haze that followed, the Singles retrospective emerged in 2004, providing young, curious minds of all ages with the ability to see The Red Krayola in control of the short form single song. A compilation for the ages, in the pre-dawn of the vinyl resurgence, Singles was only ever physically represented on the CD format, wah. UNTIL NOW - yay! Oh, to be alive in this new power vinyl age - Singles will be presented to you as a gatefold, double LP, along with Coconut Hotel and Hazel, April 22nd!

Out today

http://timedotcom.files.wordpress.com/2014/03/jimi-hendrix-stamp1.jpg?w=814
credit: United States Postal Service

http://time.com/23463/jimi-hendrix-honored-on-u-s-postage-stamp/

http://www.thewire.co.uk/img/scale/920/616/2014/03/10/CollDam2.jpg

Intriguing---need to find Toop's original talk---Herrington's description and running with it gets some pushback in the comments section:

http://www.thewire.co.uk/in-writing/essays/collateral-damage_tony-herrington-on-the-soul-of-electronic-dance-music-29686

This site dumpster dives into tons of ancient print re music (and maybe other things; I've only followed the music so far). Here we have the results of Jazz & Pop Magazine's 1967 writers poll; scroll down for jpegs of the lists and accompanying article. In the right rail you'll see links to other mags, rags etc.:http://www.afka.net/mags/Jazz_and_Pop.htm

Intriguing, uniquely terse note from Forced Exposure. What does this album sound like?
DESCRIPTION
Record Store Day 2014 release. New and unreleased versions of the legendary album On the Way to the Peak of Normal (1981) by Can member Holger Czukay, recorded with Conny Plank, Jaki Liebezeit and the German post-punk band S.Y.P.H. Pressed on pink vinyl including poster. RSD exclusive. Limited edition of 500 units worldwide.

TRACKLISTING

A1. Peak on the Way to Normal (Remix) (14:44)
A2. Hiss'n Listen (Remix) (3:44)
B1. Ode to Perfume (Remix) (18:42)
B2. Fragrance (4:02)

Tres cool beanz: Nile Rodgers, from Beat Gen Village kiddie til Now City: http://www.vulture.com/2014/03/nile-rodgers-on-studio-54-le-freak.html?mid=twitter_vulture"> http://www.vulture.com/2014/03/nile-rodgers-on-studio-54-le-freak.html?mid=twitter_vulture
Gotta get his book too.

Dunno why it duplicated that link, but the second is the one to use.

https://redirect.haulix.com//58415/PromoImage.jpg

Northern Spy Records is releasing a two disc set entitled Encyclopedia of Arto which highlights Arto Lindsay’s 'best of' solo work (with collaborators such as Melvin Gibbs, Ryuichi Sakamoto, Brian Eno, and more) as well as a disc of previously unreleased, live solo recordings from 2012. The record will be available in the United States on May 20th, 2014.

We get to work with Arto Lindsay, a fact which provides us with untold pleasure. Arto’s intelligence and talent, and the ease with which he bridges more experimental genres with pop, fundamentally influenced the Northern Spy catalog.

With the record announcement out of the way, we want to announce that Arto Lindsay has joined twitter https://twitter.com/artolindsay and facebook https://www.facebook.com/artolindsayofficial Shows and other news will be announced through those channels. Help spread the word!

Arto Lindsay is performing an early set at Baby’s All Right in Brooklyn, NY on Tuesday, April 15th, sharing the bill with the incredible Lonnie Holley. Buy tickets. There will be more shows in US dates in May, July, and beyond … tba

Check out more info on the record and Arto below (also a live video):

THE RECORD

Encyclopedia of Arto Lindsay, coming out in the US on May 20th, 2014 for Northern Spy Records, is a photograph of the musical world created by Arto Lindsay. A double CD that presents the different musical souls that have always been the basis of the musical creativity of this American musician and composer.

Since his infancy, spent mostly in Brazil, Arto has been absorbing the music that surrounded him and elaborating a synthesis between experimental music and pop music. His first group, DNA, along with Ikue Mori, Robin Crutchfield and Tim Wright, without ever publishing an actual album, has deeply influenced the New York and worldwide experimental music scene, helping bring about the No Wave movement, brought to light by a compilation produced by Brian Eno in 1978 and titled No New York. As was clear from the innovative rhythmic elements already present in DNA, his Brazilian musical development already stood out in those years with Tropicalismo, Samba and Bossanova and with the Ambitious Lovers, the project which he gave life to in 1984 with the keyboard player Peter Scherer. No Wave and Post Punk were being enriched with Brazilian sonority such as Pagode and Bossanova which reached their heights in the cover of “Dora” by Dorival Cayimmi, an example of a popular Brazilian tradition showing up for the first time in a musical contest, that being that of the alternative American music which, up until then, had been absolutely distant. In this unique journey and in the many other collaborations with artists of varying extraction (from John Lurie and Marc Ribot to Ryuichi Sakamoto) and in important musical productions, (the most important of all being Estrangeiro in 1989, a turning point album in Caetano Veloso’s artistic career) and reaching deserved recognition in 2002 with the victory of the Latin Grammy Award (for the production of Marisa Monte‘s record, Memorias, Cronicas e Declaracoes de Amor), these apparently contrasting elements permeated each other more and more, giving shape to the unmistakable style and creativity of Arto Lindsay.

The first CD which makes up Encyclopedia of Arto includes the tracks that Lindsay has chosen from his solo albums of the period between 1996 and 2004, “O Corpo Sutil”, “Mundo Civilizado”, “Noon Chill”, “Prize”, “Invoke” and “Salt”, tracks that he wrote with exceptional travel companions like Amedeo Pace (Blonde Redhead), Marisa Monte, Caetano Veloso, Kassin, Vinicius Cantuaria, as well as the faithful Andrés Levin and Melvin Gibbs.

In the second CD we find a solo performance of Arto, voice and guitar, a naked, cutting sound where the vocal melodies and the atonal guitar playing manage to epitomize all his “musical poetics”; it’s the essential Arto. Besides an unreleased track titled “Pony”, we find tracks from the aforementioned solo albums, including covers of Prince and Al Green, which revolutionize the studio versions recorded on “Mundo Civilizado” . We also find unreleased covers by Chico Buarque and also of the tradition of carioca Samba “Maneiras” (lead to success in Brazil by Zeca Pagodinho) and of the Samba Reggae “O Mais Belos Dos Belos” of Bahia.

Arto Lindsay

A rare kind of person, Arto Lindsay loves life just the way it is, a feature of his character which makes him Brazilian not only by place of birth. He walks the streets of Rio de Janeiro (where he lives), New York, Tokyo and Naples with the same funny step, with that mischievous good-hearted-rascal look under his little round glasses that has always allowed him to coexist with the greatest of ease amongst white noise and the most intimate of lullabies. It won’t be difficult to unearth the strongly sexed nature of the rhythmic / melodic structures of everything he has done in his 35 year-long career which, in this double album, is hinted at, glimpsed or, at times, elegantly omitted.

On one hand there are gems that one might call “pop” from recent years and on the other, the live sauciness, the electric art brut style that actually redesigned the idea of the hated pomp rock soloing of those same 1970’s, throwing it towards the disintegration of whole pieces of abandoned space station seen/heard in ‘Gravity’ (the film). A good awakening for the ears, a brush up. Then, three seconds later, a ballad that’s as sweet as a fruit from Bahia. It’s the opposite of an analytical process: in the sonorous opera of Lindsay the subconscious doesn’t hide but is, instead, the tail of a naughty crabby cat to be pulled at out of spite. Rigorously post-colonial much earlier than the term was academically pronounced, rigorously modernist in embracing ‘the shock of the future’ without ever confusing it with the cancellation of previous stories, Arto has never worn the imperial arrogance of the nonetheless coeval no-New Yorkers and nor has he ever belonged to time of clock or calendar. This is why the necklace you are about to put on is made of differently cut and differently coloured dateless pearls and precious pendants and pieces of iron picked up off the road. Wonderful, unique.

Arto: real, compassionate, dangling, always in an indefinite area between seduction and isolationism. Already a computer fanatic before the digital era which he belongs to de facto, having lived it before its time. Pure and fresh New Wave that, in him – as maybe in no other –, merges France with Cinema Novo and Gilles Deleuze with Carneval floats. Poetry. Beauty.
And a live video: http://vimeo.com/65717541

Laying it on a bit thick, but he deserves most of it (is A Taste of DNA not a real album? An EP maybe; think I've still got some comps too, but prob not released during the span of the band).

yeah it's a rather short EP

In the second CD we find a solo performance of Arto, voice and guitar, a naked, cutting sound where the vocal melodies and the atonal guitar playing manage to epitomize all his “musical poetics”; it’s the essential Arto. Besides an unreleased track titled “Pony”, we find tracks from the aforementioned solo albums, including covers of Prince and Al Green, which revolutionize the studio versions recorded on “Mundo Civilizado” . We also find unreleased covers by Chico Buarque and also of the tradition of carioca Samba “Maneiras” (lead to success in Brazil by Zeca Pagodinho) and of the Samba Reggae “O Mais Belos Dos Belos” of Bahia. So true. So far, I mostly prefer the live, though the studio side also provides my fave of the whole set, "Child Prodigy," and the fortifying "Reentry" (oh those amicable breakups), plus a pair of rousing Portuguese excursions.

Out this month from hearpen.com (can preview some of the tracks there)
Variations On A Theme

http://www.hearpen.com/pageart/voat.jpg

A Day at the Botanical Gardens 2:36
Bird Town 2:40
Pedestrian Walk 4:28
The Egg & I 2:50
Who is It? 3:34
Song of Hoe 5:54
Hurry Back 4:10
The Rain 5:09
Semaphore 5:02
The Egg & I (live) 3:23

Download file size: 100MB

Description: This is the second album recorded with Richard Thompson. Released in 1983 on Rough Trade, it also marks the beginning of the partnership with Lindsay Cooper and Chris Cutler that would yield the following album, 'More Places Forever.' These tracks are the remix that David Thomas undertook in 1989 and 1990 that also featured the addition of Jim Jones to a number of the tracks.

Band:
Musicians:
David Thomas - vocals, tapes
Richard Thompson - guitar, backing vocals
Jim Jones - guitar, synthesizer, backing vocals, loops
Lindsay Cooper - bassoon, sopranino
Paul Hamann - bass
Jack Monck - bass
Anton Fier - drums, marimba, piano, percussion
Chris Cutler - drums, percussion

Writer credits are noted in the included pdf of liner notes.

From Smog Veil Newsletter---put this on 2015 by mistake

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

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

http://hearpen.com/pageart/hr181.jpg

Great album, one to play on special occasions. Hope he doesn't do anything too bloody-minded to it.

The Bangles: early 80s demos, live tracks, their first EP, all in new collection:

http://www.billboard.com/articles/columns/pop-shop/6327650/the-bangles-song-premiere-the-real-world-interview?utm_source=twitter

WARDRUNA's mesmerizing debut full-length, Runaljod - Gap Var Ginnunga, finally gets the reissue treatment in North America via Indie Recordings. Originally released in 2009, Runaljod - Gap Var Ginnunga serves as the first release in the band's stunning Runaljod trilogy, a musical rendition of the twenty-four runes in what is often referred to as the "elder futhark." Runaljod - Gap Var Ginnunga incorporates some of the oldest of Nordic instruments such as primitive deer hide frame drums, kraviklyra, tagelharpe, mouth harp, goat horn and lur, poetic metres and lyrics written in Norwegian, Old Norse and Proto-Norse tongue. Some of the recordings are captured outdoors or under circumstances of significance to each rune while other sources of sound like trees, rocks, water and torches are used. All of these elements are carefully woven into a rich musical landscape and complemented with whispering voices, melodic song and mighty choirs. Although WARDRUNA's sound shares characteristics with music typically labeled as folk, world and/or ambient, none of these genres can accurately describe their unique style. It truly must be experienced. Music from Runaljod - Gap Var Ginnunga is featured in the soundtrack to both seasons of The History Channel's Vikings series.

Runaljod - Gap Var Ginnunga Track Listing:

1. Ar var alda

2. Hagal

3. Bjarkan

4. Løyndomsriss

5. Heimta Thurs

6. Thurs

7. Jara

8. Laukr

9. Kauna

10. Algir - Stien klarnar

11. Algir - Tognatale

12. Dagr

WARDRUNA:

Kvitrafn: vocals, all instruments (except fiddle), songwriting

Lindy Fay Hella: vocals

Gaahl: vocals

WARDRUNA was founded by Einar Kvitrafn Selvik and in 2009 and enchanted listeners with Runaljod - Gap Var Ginnunga. In the ensuing years the group has spent a great deal of time adapting their music to a live format and establishing a live band, resulting in a handful of very special concerts, perhaps most notably when they performed in front of the majestic 1100-year-old Gokstad ship at the Viking Ship Museum in Norway. The second album in the Runaljod trilogy, Yggdrasil, was released in 2013. Multi-instrumentalist and songwriter Selvik, together with vocalists Kristian Espedal (aka Gaahl) and Lindy-Fay Hella, managed to create a strikingly beautiful and intense continuation of what was started with their first album, but without falling into the trap of merely repeating themselves. The band is currently working on Ragnarok, the final release of the series.

Runaljod - Gap Var Ginnunga is available on CD, black double vinyl gatefold and
digitally via Indie Recordings.

from Luaka Bop:
William O box
http://www.williamonyeabor.com/boxbrowse/WO_LP.1.jpg

William Onyeabor
CD/LP Box Set

William Onyeabor self-released 8 albums between 1978 and 1985 and then became a Born-Again Christian, refusing ever to speak about himself or his music again. Various biographies can be found online. Some say he studied cinematography in the Soviet Union and returned to Nigeria in the mid-70s to start his own film company, Wilfilms. Some say he was a lawyer with a degree from a university in Great Britain. Others portray him as a businessman who for years worked on government contracts in Enugu, Nigeria.
Now for the first time Luaka Bop will release ALL of Onyeabor's creative output, 9 albums in total. Available as 2 hand-numbered LP boxes or 1 CD box with 9 CDs. Get them while they last!

---also noteworthy

http://luakabop.com/portal/wp-content/uploads/bbcinterview2.jpg

Light In The Attic playlist starts w new track by amazing Sylvie Simmons, but think all the rest are from reissues, incl many if not all mentioned on this thread, like Native North America:

https://www.youtube.com/watch?v=G7zphev_6Wk&list=UUPFJl-I-PhIonNPBGUK0Aog

124 videos, it says here.

5-Disc Kinks box, releases & demos 1964-71 just out, http://www.amazon.com/Anthology-1964-1971-5CD-Box/dp/B00NJADEJ2/ref=sr_1_1?s=music&ie=UTF8&qid=1419558209&sr=1-1&keywords=the+kinks+anthology+1964-1971

Fresh Air interview w Ray Davies (orig Nov. 26), w backstory of several early tracks: http://www.npr.org/2014/12/25/372906846/naive-yet-revolutionary-ray-davies-on-50-years-of-the-kinks

http://ecx.images-amazon.com/images/I/A1KnKf1KA-L._SL1500_.jpg

Damn, pretty good interview! And the songs are real short, so get to hear concentrated excerpts.