Rolling Reissues 2014

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.

https://ci5.googleusercontent.com/proxy/bbIK3IOxOLoq1-7QgS5ox7WWOjzn2SahgyF7Rq_Nn5shMP6gkJK4ztBobbibb8Xv2SBaYWE4IjgW8aWyKI5ACZV4K99riX6UcbnfgocrmLMB3ppweFC1maZfL7C2lsnP3_qaNB9JLUV_=s0-d-e1-ft#https://i8.createsend1.com/ei/j/1A/628/319/074136/csimport/cmo019cover300dpi_11.jpg

"Very few bands make even one great album. Silkworm made several, and this is the first." - Steve Albini

Comedy Minus One announces a long-overdue deluxe reissue of Silkworm's out-of-print 1994 album Libertine (cmo019), the third and final full-length record by the band as a quartet.

This is a double 12" pressing with a supplementary CD including "The Marco Collins Sessions" as well as two additional recordings from the band's time at Pachyderm Studio.

Includes all-new artwork throughout (the revised cover is pictured at the top of this email) plus a full color insert with liner notes by Silkworm's Tim Midyett.

Mastered from the original 1/2" tapes by Bob Weston at Chicago Mastering Service.

Photographs by Mike Hoffman, Jr.

Layout and design by David Babbitt.

Pressed on 150 gram 45 rpm vinyl at QRP.

In stores May 6, 2014.

-------------

Silkworm really piss me off. For nigh 20 years now, I've tried to explain what it is they do (not "did"-this band lives), and I have failed. I have used dumb phrases like "post-punk in a world where punk never happened." Also: "music redolent of the new weird America." I have said these things to friends and strangers, and sometimes even typed them for others to read. All I've ever wanted is to figure out is how it is that this music sounds like nothing else, while somehow sounding like everything else-a rock band that has soaked up the past without resorting to pastiche, the bane of so many of their compatriots.

Now, it's possible I just did it again there, but bear with me-because in order to fully process Libertine you have to understand how strange it sounded in context. Not just odd-but out-of-place, as befits a band that crawled out of Missoula, Montana and drove the wrong direction on I-90, staking a claim in the Pacific Northwest, instead of the Lake Michigan-ic Midwest, where their music would eventually find a more hospitable environment. I mean, can you imagine what it must have been like to be these guys in '90s Seattle? You know those Charles Peterson live band photos that captured the unbridled intensity and connection between musician and audience, awash in a sea of hair and sweat? I wonder if he's got one in a drawer somewhere, Silkworm in the natty suits they sometimes wore back then, Andy Cohen placidly crowd-surfing...

But I digress.

Triple-threat songwriting, two cagey guitars circling the drain but never going under, a bassist whose axe looks like an oar and sounds like the metal cable of a suspension bridge, anchored by a drummer clad in little more than gardening gloves whose kick drum (I am told) is the oversize kind favored by marching bands-all in all, a combination as heady as it was brainy. You can hear the rooted rootlessness of the big sky country they left, the austere grandeur of the city where they eventually ended up-and, while they were stuck where they were stuck, a sublimely cerebral version of the stop-start loud-soft dynamics that inexplicably (alright, explicably) put their interregnum city on the global musical map while they were consigned to the margins.

From the dread-beat-and-blood of "There Is a Party In Warsaw Tonight" to the undertow of "Bloody Eyes," these songs dart in and out of focus, each doing what it sets out to do before yielding the floor. Cohen's "Grotto of Miracles" crawls like a king snake, with lyrics about smirking at worms and fearing credit reports. Tim Midyett's "Couldn't You Wait?" spins riff and wordplay in a way that is somehow heartbreaking. And how exactly Joel Phelps can balance such Iris-Dement-ed vocals over the bounce of "The Cigarette Lighters" is a riddle that will never be solved.

That goes for this whole album. You can't solve Libertine. That's its genius. And these guys knew it even if most of the world didn't. In the maelstrom of the last song, Tim tips this band's hand: "the dream is a lie." Too late-we're dreaming.

Why didn't he tell us earlier? Why did he have to wait?

Greg Milner is a writer, journalist and the author of Perfecting Sound Forever

2XLP / CD TRACKS

01 There Is A Party In Warsaw Tonight
02 Grotto Of Miracles
03 Cotton Girl
04 Yen + Janet Forever
05 Oh How We Laughed
06 The Cigarette Lighters
07 Couldn't You Wait?
08 A Tunnel
09 Written On The Wind
10 Wild In My Day
11 Bloody Eyes

CD ONLY

12 Insider
13 Grotto Of Miracles (alternate)
14. Couldn't You Wait?*
15. Scruffy Tumor*
16. Cotton Girl*
17. Raised By Tigers*

* = Marco Collins Sessions

Tim Midyett, Joel RL Phelps and Andy Cohen are available for interviews regarding this release.
Force Field PR / PO BOX 421

Xpost man I wish they would release the lp mix of More Places Forever. I hate what d Thomas did to it for his box set release. But since they are announcing the fucked with version of Variations on a Theme I guess that ain't gonna happen.

https://gallery.mailchimp.com/a088e1e7fb68010cf6ad8ff4a/images/Thee_Majesty_Pezner_Press_Photo.jpg

DAIS RECORDS PRESENTS:
THEE MAJESTY
(GENESIS P-ORRIDGE / BRYIN DALL)
LIVE AT THE PEZNER 1999 LP
OUT 4/15/14

For the past 20 years, the elusive collaboration between Genesis Breyer P-Orridge (Throbbing Gristle / Psychic TV / COUM Transmissions) and Bryin Dall (Hirsute Pursuit / A Murder of Angels) has taken on various members and formations over the years, always keeping a steady focus on it's balancing act of ambient sound and cryptic verse. Considered by most to be P-Orridge's "sound poetry" accompanied by Bryin Dall's unusual instrumentation backdrops, recordings of this project has been selectively sparse with only a handful of rare performances to create evidence for its existence. This unique live document captures Thee Majesty at its most flexible, changing up tone and structure at a moments notice and harmonizing the abstract poetry of P-Orridge's obtuse wordplay and apocalyptic banter and Dall's meditative and complex drones. Recorded live in 1999 at the famed Pezner Theater in Villeurbanne, France. Featuring a guest appearance by legendary instrumentalist Mark Cunningham of No-Wave pioneers Mars and John Gavanti.

Limited to 300 vinyl copies with reminiscent liners by Bryin Dall.
https://soundcloud.com/daisrecords/thee-majesty-the-traveler

"THE RETURN OF SOUL MINING

THE THE are pleased to announce details of the release of the Soul Mining 30th Anniversary Deluxe Edition Boxset, a re-mastered, re-packed and expanded version of their major label debut album, Soul Mining, on Monday June 30th 2014 through Sony Music.

Re-mastered at Abbey Road Studios by Matt Johnson and packaged in a lavish 12” box, this vinyl only release includes an authentic reproduction of the 1983 release on 180g vinyl, plus an extra 12” gatefold vinyl of alternative versions and remixes.

The re-mastered audio has also been dubbed from original vinyl pressings recorded from Matt’s original 1982 Thorens TD-147 gramophone player using patent ‘Dubbed-From-Disc’ technology, obtainable via a download code contained within the boxset.

The boxset also includes a unique ‘news-poster’ containing extensive notes written by Johnson detailing the making of the album.

Featuring a host of talented musicians, including JG Thirwell (aka Foetus, Manorexia and Steroid Maximus), Zeke Manyika (Orange Juice), electronic DIY pioneer Thomas Leer and Jools Holland, Johnson set out with a clear vision in mind – to produce an album that felt cinematic; a record of width, depth and texture and one which avoided the mundane line-up of the day of two guitars, bass and drums.

The track listings of the two albums are as follows:

LP 1 - SOUL MINING

1. I’ve Been Waitin’ For Tomorrow (All Of My Life)
2. This Is The Day
3. The Sinking Feeling
4. Uncertain Smile
5. The Twilight Hour
6. Soul Mining
7. Giant

LP 2 – SOUL MINING RECOLLECTED

1. Uncertain Smile (New York 12” version)
2. Perfect (New York 12” version)
3. This Is The Day (12” version)
4. Fruit Of The Heart
5. Perfect (London 12” version)
6. I’ve Been Waitin’ For Tomorrow (All My Life) (12” mix)

"

umm ..

"The re-mastered audio has also been dubbed from original vinyl pressings recorded from Matt’s original 1982 Thorens TD-147 gramophone player using patent ‘Dubbed-From-Disc’ technology, obtainable via a download code contained within the boxset"

think i'll stick with my cd reissues from a few years back as they sound perfectly good to me.

key word "also", it's a bonus

but I did a double take too

this is kinda fucked cuz there are so so many good b-sides from this era, all absent here, missing some killer remixes as well like the long 'Giant"

http://d31hzlhk6di2h5.cloudfront.net/20140408/e1/dd/cc/3a/b36d23084f940cdd88d5c220_280x280.jpeg

DAVE VAN RONK’S PREVIOUSLY UNRELEASED
LIVE IN MONTEREY
COMING ON OMNIVORE RECORDINGS ON MAY 13
Culled from a live performance in 1998, the 16-song album
eatures liner notes by Happy Traum and producer Rick Chelew.
LOS ANGELES, Calif. — Now that the media hubbub surrounding the Coen Brothers’ Inside Llewyn Davis — based loosely on the life of Dave Van Ronk — has settled down, the time is perfect to take a closer look at the real Dave Van Ronk. Regarded as a pioneer of the folk-blues movement that took over Greenwich Village in the late 1950s, Van Ronk could not be tied to just one genre. He moved from ballads to jazz to rock. His finger-picking style of guitar playing is still studied and emulated. And, in 1998, after 50 years of performing music, the Mayor of MacDougal Street was still mesmerizing crowds.
Dave Van Ronk’s previously unreleased Live in Monterey, due out on Omnivore Recordings on May 13, 2014, looks back on his entire career. Recorded at Monterey, Calif.’s Carleton Hall, the album works both as a retrospective and an introduction. The 16 tracks include traditional numbers, blues classics and originals, touching on every aspect of what makes Van Ronk revered by musicians of every generation. The album features just Dave, his voice and his guitar. That’s all that’s needed.
“Dave’s voice is a wonder,” writes set co-producer Rick Chelew (who recorded the set) in his liner notes, “going from a delicate, almost feminine whisper to a powerful frightening growl that would make a punk-rocker shut up and listen — sometimes within the same song.”
Fellow Greenwich Village folk denizen Happy Traum, who also contributed liner notes to Live in Monterey, observes: “Those of us who had a chance to know Dave Van Ronk were treated to a larger than life, contradictory, ultimately lovable personality. He was generous, opinionated, sharply intelligent, hypercritical, hospitable, cranky, an unapologetic Trotskyite communist, a sci-fi aficionado, a musical polymath with wide-ranging tastes, a darn good cook, and a friend, mentor, and teacher to many a young, aspiring guitarist.”
“At one point in his career,” Traum continues, “Dave would surely have liked to become famous, but he lived his life and made his music on his own terms an settled reluctantly for being a ‘legend.’ The irony is that none of his peers, no matter how commercially successful they became, were dubbed ‘The Mayor of MacDougal Street,’ had a Greenwich Village street named after them, or are remembered with such affection.”
Yes, there have been other live Van Ronk releases, but all live performances are not equal, and it was a stroke of good luck that tape was rolling in this old Monterey church when the artist, in fine form, played an extraordinary set. “As soon as Dave started to play it was clear that this was one of those rare occasions …," says Chelew. Van Ronk’s widow Andrea Vuocolo, who attended countless Van Ronk shows, concurs, recalling it as “a particularly strong performance.”
It is time again for an audience with The Mayor.
Track Listing:
1. You’ve Been A Good Old Wagon But You Done Broke Down |
2. Blood Red Moon
3. Jesus Met The Woman At The Well
4. Going Down Slow
5. Losers
6. Cocaine Blues
7. Winin’ Boy Blues
8. Did You Hear John Hurt?
9. Jelly Jelly
10. Spike Driver Blues
11. Sportin’ Life Blues
12. Come Back Baby
13. Candy Man
14. He Was A Friend Of Mine
15. St. James Infirmary
16. Four Strong Winds

Wheedle's Groove Volume II 1972-87
Light In The Attic, June 3, 2014

Listen to Don Brown- "Don't Lose Your Love" HERE.https://www.youtube.com/watch?v=EEqCjKBTMKs

In 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars... Wheedle’s Groove Vol. II documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.

As the years unfurl in the tracks of Wheedle’s Groove Volume II, so does the recent history of American music, the songs tracing technological changes and social change, and music’s move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting ‘Here I Go Again’ on a disco-friendly 12” single.

Separated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, “A lot of the groups around town would have to incorporate that disco sound or you’d sound totally dated.”

Seattle’s size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of Volume I will recognize some familiar names here: Robbie Hill’s Family Affair turn in the soul-jazz gem ‘Don’t Give Up’ and Cold, Bold & Together present the undeniable vocal beauty of ’Let’s Backtrack.’

Compiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the long-forgotten blue-eyed soul boy Don Brown (‘Don’t Lose Your Love’) and frustrated talents Push, overlooked for record deals on account of singer “Big Joe” Erickson’s larger-than-life heft (‘You Turn Me On’). There’s Frederick Robinson IIIand his gospel-funk protest tune ‘Love One Another’, Tony Benton of Telecene being Seattle’s answer to Prince (‘Steal Your Love’) and Seattle Mariners baseball star Lenny Randle recording a tribute to their infamous stadium.

looks awesome!!

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