Rolling Reissues 2014

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!!

The Voice Of The Eagle - Robbie Basho

The Voice Of The Eagle

Availablity:
World
Genre:
Folk
Label:
Vanguard
Format:
CD
Catalogue Id:
VCD 79321

We have previously released two compilations featuring Robbie Basho’s recordings for Takoma – “Guitar Soli” and “Bashovia”. This month we turn our attention to the first of the two albums he made for Vanguard Records. “The Voice Of The Eagle” marked the peak of his immersion in Native American culture and history, starting with the seven-minute title track’s “piece of Hopi pageantry, a Hopi raga”, as he called it in his cover notes.

“I don’t call a lot of my stuff far out,” Basho explained. “I just call it a different level of feeling. It’s far in, as far as I’m concerned...I spent years on the road singing folk songs that had no meaning. It dawned on me music is supposed to say something. Music is supposed to do something.”

This is a Basho vocal album – his singing, which John Fahey described as “strangely compelling”, came straight from the heart and soul with no regard for restraint, phrasing or timing. Thankfully, he was blessed with a mercurial tone and bottomless well of power, able to let loose with often ecstatic abandon.

Robbie Basho never had mass recognition when he was alive and was almost forgotten for years as Fahey, Leo Kottke and his contemporaries carved their legends. Now this previously overlooked gem stands as a snapshot of this unfettered talent at his most expansive peak. Or as he put it, “I decided to see how high and beautiful I could go, but then you leave the masses behind.”

By Kris Needs

http://acerecords.co.uk/the-voice-of-the-eagle

http://acerecords.co.uk/images/robbie-basho-eagle.jpg

CD only?

Apparently so.

Are these any good? What's outstanding about them? (Would have listed in 2013, but just got a Last Call for these promos; don't remember hearing about them before)

BL'AST!
Blood!
Southern Lord
3 September 2013
Earlier this year the members of infamous Santa Cruz hardcore act BL’AST! unearthed vintage master tapes, and upon digging into the vat, discovered an entire album’s worth of material that was never released. Additionally, the recordings were from a rare lineup in the band’s lineage, being the only recordings ever made while short-lived second guitarist William Duvall -- Neon Christ, and currently the vocalist for Alice In Chains -- was a part of the BL’AST! family. To help resurrect the deteriorated recordings, Southern Lord recruited fellow BL’AST! maniac Dave Grohl, who completely remastered/mixed the tapes at his famed 606 Studios, on the legendary Neve console as featured in the recent Grohl-produced documentary Sound City. Now fully harnessed and ready to hit the streets as Blood! -- the first BL’AST! album to see release since their 1989 Take The Manic RideLP -- this long-lost collection of prime, influential skate/surf hardcore punk anthems will become available in North America on September 3rd on Southern Lord.

Formed in 1982, BL’AST! released their debut album, The Power of Expression in 1985, scorching audiences everywhere with their unique and innovative, technical and boundary-free style of raging hardcore punk. This caught the attention of SST Records who released the band's second album, It’s In My Blood, in 1987, as well as their third LP, Take The Manic Ride in 1989. BL'AST!'s wide-eyed, ambitious approach and intense perseverance became an influence for many bands to come. Shortly after the release of Take The Manic Ride, the band broke up and their story was buried by time and dust....UNTIL NOW!

https://www.facebook.com/pages/Blast/44354206391
http://southernlord.bandcamp.com
http://www.southernlord.com
https://www.facebook.com/SLadmin
http://twitter.com/twatterlord

Poison Idea
Kings Of Punk
Southern Lord
26 November 2013
Following last year’s resurrection of Darby Crash Rides Again andThe Fatal Erection Years, Southern Lord is preparing to deliver the latest release in a series of reissues from POISON IDEA’s potent catalog, with an expanded edition of the band’s 1986 LP, Kings of Punk.

An unmistakable rager of an album by the Portland hardcore berzerkers, on their second full-length POISON IDEA had begun tightening their blazing nailbomb eruptions of noise of their earliest material reflected, and where they really began developing what would become their signature sound. Kicking off with the riff Discharge wish they had written, Kings of Punk is a big, bold slab of premium American hardcore, with undertones of the hard rockin’ bombast which would define their later works. From the crazed splutter of “God Not God,” tripping over itself in a wonderful mess of distress, to the sneering blast of “Made To Be Broken,” this is POISON IDEA at their unparalleled, grittiest, snottiest best.

Kings of Punk perfectly encapsulates one of the most important bands of the era who took the template of the early ‘80s and perverted it to fit their own twisted desires. The three live sets, taken from the years ’84-’86, offer an even more revealing snapshot of POISON IDEA in their destructive prime, drawling insults at the audience, the world and themselves and filling two full CDs, brought kicking and thrashing back to life by Jack Control (World Burns to Death). As well as the unhinged audio content, this reissueis packed with liner notes, archive flyers and photos of the band from the era.

Fans of hardcore punk – this is a must. Southern Lord will re-unleash the 2xCD “Bloated Edition” of this beast in North America on November 26th.

http://www.myspace.com/blankblackoutvacant
https://www.facebook.com/pages/Poison-Idea/60605554861?ref=pb
http://www.southernlord.com
http://blog.southernlord.com
http://twitter.com/twatterlord

Not reissues actually, but re-presented via another medium: Kill Rock Stars have been posting whole albums, like ones by Bratmobile and Deerhoof, on their YouTube channel:
https://www.youtube.com/watch?v=HnOExI1kpXA&list=PL6KwzgIePF4BvOQFcFmRgyXt8I0BzCB4E
(also some on their Bandcamp page)

^^It's been a good resource for posting Dig Me Out tracks to the S-K poll.

That xpost Silkworm deluxe reissue's streaming now:
http://www.wonderingsound.com/news/stream-silkworms-classic-libertine-reissue-full/ Just got the word, and haven't had time to listen yet; sorry if it sucks.

also on YouTube, at least for the moment: Kraftwerk's 1970 album:
https://www.youtube.com/watch?v=kjSXWgXPeEM

Note the other 1969-70 albums on this page...

and this 1970 Kraftwerk show:

https://www.youtube.com/watch?v=YF1B4smQL7s

From Drag City News:

http://d31hzlhk6di2h5.cloudfront.net/20140502/e7/de/b5/37/3230d35043b6aeca4d097bda_476x271.jpg

RECURRING DREAMS BROUGHT ON BY MATTHEW YOUNG
Matthew Young's genre-bending, acclaimed Traveler's Advisory was reish'd just a coupla years back by yours truly in conjunction with Yoga Records truly; at the time, critical ears took note and immediately grabbed all the fresh LP copies we could offer. Now Drag City/Yoga Records invite you to go deeper - back to Matthew Young's first solo album, Recurring Dreams! Dating back to 1981 and the apex of the Eno / Berlin schools' influence over a myriad of American followers, Young created eight EMS / Rhodes pieces solo, subtly weaving in variable speed Revox manipulation of traditional rock instrumentation with the lightest of touches. What all too often amounted to predictable schtick in the field of early 80s home electronica, Young made personal, delicate, discreet, and discrete. Wordlessly illustrating its titles -- Version Inversion, The Forest Of Lilacs, and Mistral (a strong, cold, northwesterly wind), Young conjures vivid, progressive tones of the unknown. Requiring the pleasure of repeat listenings to fully reveal its Bonsai-like qualities, Matthew Young's Recurring Dreams is an essential piece of the puzzle in the summer of 2014. Make your bed and get your headphones ready, Recurring Dreams fill your nights on July 22nd!

Cool! Recurring Dreams is an awesome record.

- Important Records reissues on vinyl the ultimate version of The Grateful Dead's "Dark Star," compiled from over 100 different performances of the song between 1968-1993.
- Producer John Oswald built, layered, and "folded" all of the versions to produce one large, recomposed version spanning almost 2 hours.

- Reissue with exclusive liner-notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter, plus two "time maps" which chart the source concerts of "Dark Star."
John Oswald’s Grayfolded - OUT 05/27

- "Grayfolded is literally a hundred or so great nights rolled into one extraordinary extended high. Gorgeous sonic origami." --Rolling Stone
- "An extended time-warped psychedelic jam that is meticulously hallucinatory." --New York Times
- "Rightly acclaimed as the ultimate 'Dark Star,' the one you had always hoped the Dead would one day get around to playing." --London Daily Telegraph

Grayfolded teaser trailer:

https://www.youtube.com/watch?v=oMGUQTK8tXw#t=30

It's a triple LP.

https://gallery.mailchimp.com/78dc98191efe28151fba166f0/images/BATS_volume1_FAKEOUT_bundle77120c08b3ea.jpg

Flying Nun Announces The Bats Re-Issues
Compiletely Bats, Daddy's Highway & The Law of Things
Available May 27th

Flying Nun / Captured Tracks announces the reissues of New Zealand’s own indie pop pioneers, The Bats. On May 27th the labels will release Compiletely Bats, a collection of early EP's/singles [2xLP] (1982-90), and their first two full lengths Daddy's Highway [1xLP] (1987) and The Law Of Things [2xLP] (1990). Along with individual vinyl releases, these albums will be released as a 3-CD (the first time on this format) compilation disc titled The Bats : Volume 1.

Formed on New Years eve 1982 in Christchurch, New Zealand by Bob Scott (The Clean), Paul Keane (Toy Love), Kaye Woodward and Malcolm Grant, the Bats' prolific career includes eight albums and multiple tours of Europe and North America, where they shared stages with the likes of Radiohead, The Buzzcocks and Yo La Tengo along the way. Over the years, The Bats have proven that slow and steady wins the race, steadily and consistently building steam. They've never subsided to the pressure of reinventing themselves, instead they have remained true to themselves, and they're all the better for it.

Curated by The Bats in conjunction with Flying Nun this re-mastered collection celebrates the career of this seminal foursome. With its unheard studio outtakes, demo tapes and their liner notesand accompanying ephemera, it provides old fans with never before heard material to admire and new fans a thorough synopsis of The Bats' impressive catalogue.

Listen to "Block of Wood" from Daddy's Highway
https://soundcloud.com/flyingnunrecords/the-bats-block-of-wood-four-track-demo

Listen to "Check Check" - The Law of Things outtake
https://soundcloud.com/flyingnunrecords/the-bats-check-check-the-law-of-things-outtake
LP Tracklistings
The Bats: Vol. 1 Tracklisting
Compiletely Bats 2xLP
Made Up In Blue
Neighbours
Chicken Bird Run
Jewellers Heart
I Go Wild
Blindfold
Mad On You
By Night
Earwig
Claudine
United Airways
Man In The Moon
Trouble In This Town
Joes Again
Offside

Bonus 12’’
My Way
Calm Before The Storm
Candidate
Block of Wood (Demo 1)
Block of Wood (Demo 2)
Daddy’s Highway (Drum Machine Version)

Daddy’s Highway 1xLP
Block Of Wood
Miss These Things
Mid City Team
Some Peace Tonight
Had To Be You
Daddy’s Highway
Treason
Sir Queen
Round And Down
Take It
North By North
Tragedy

The Law Of Things 2x LP
Other Side Of You
Law Of Things
Never Said Goodbye
Time To Get Ready
Ten To One
Mastery
I Fall Away
Cliff Edge
Nine Days
Bedlam
Smoking Her Wings

Bonus 12’’
North by north (re-mix)
Straight Through My Heart
Get Fat
Best Friends Brain
Downfall (Law Of Things Outtake)
Passed by (Law Of Things Outtake)
Check Check (Law Of Things Outtake)
Is That All I Get For My Heart (Law Of Things Outtake)
Compiletely Bats
Made Up In Blue
Neighbours
Chicken Bird Run
Jewellers Heart
I Go Wild
Blindfold
Mad On You
By Night
Earwig
Claudine
United Airways
Man In The Moon
Trouble In This Town
Joes Again
Offside
My Way
Calm Before The Storm
Candidate
Block of Wood (Demo 1)
Block of Wood (Demo 2)
Daddy’s Highway (Drum Machine Version)

Daddy’s Highway
Block Of Wood
Miss These Things
Mid City Team
Some Peace Tonight
Had To Be You
Daddy’s Highway
Treason
Sir Queen
Round And Down
Take It
North By North
Tragedy

The Law Of Things
Other Side Of You
Law Of Things
Never Said Goodbye
Time To Get Ready
Ten To One
Mastery
I Fall Away
Cliff Edge
Nine Days
Bedlam
Smoking Her Wings
North by north (re-mix)
Straight Through My Heart
Get Fat
Best Friends Brain
Downfall (Law Of Things Outtake)
Passed by (Law Of Things Outtake)
Check Check (Law Of Things Outtake)
Is That All I Get For My Heart (Law Of Things Outtake)

ROG & PIP
Our Revolution
Rise Above Relics
24 June 2014
Guitarist Roger Lomas and Singer/Guitarist Pip Whitcher (AKA ROG & PIP) were members of Coventry freakbeat legends The Sorrows. Along with the other remaining members of the band they relocated to Italy in the late 60's due to huge popularity over there. Homesick, the pair returned back to the UK before the swinging decade was even over.

The pair continued writing material together, eventually becoming a partnership lasting well into the 70's. During this time they recorded a vast amount of material, mainly at the state of the art AIR studios. Fortunately, budding producer (and Grammy award winner) Lomas made sure he kept tapes of everything they recorded, the fruits of which can be heard here for the very first time!

Starting with Sabbath/ Zeppelin-esque proto-metal blast of debut single From a Window/War Lord, they released a string of singles under various guises such as ROG & PIP, Renegade and the Zips. The sounds they created progressed with the times, yet they always maintained a raw and gritty aggressive tone, whether performing bulldozing metal or hard-edged early glam rock. Our Revolution will give you a glimpse into the world of ROG & PIP and make you wonder why they never really cracked it as a duo. Their songs will do the talking.

This collection is of largely previously unreleased recordings from this cult duo of the psychedelic/progressive and glam rock eras. It includes detailed sleeve notes, unseen photos and deluxe packaging. The limited vinyl pressing includes a bonus 7” with initial copies.

TRACKLIST
1. Why Won’t You Do What I Want
2. My Revolution
3. Rock With Me
4. Evil Hearted Woman
5. Gold
6. Doin’ Alright Tonight
7. A Little Rock ‘N’ Roll
8. Hot Rodder
9. It’s A Lonely World
10. Why Do You Treat Me Like That
11. From A Window
12. War Lord

from Wire archive:
Hosted by Chris Bohn, this week’s broadcast is devoted to The Compiler feature in The Wire 363 about collections and collecting. Featuring tracks from the anthologies, a-chronologies, mixtapes and mail-order lists covered in the piece, taking in music from Europe, Africa, North America, Australasia and the Far East.
http://www.thewire.co.uk/audio/on-air/adventures-in-sound-and-music-17-april-2014

From Kill Rock Stars

http://dev1.mtimg.com/product_photos/imgs/000/009/384/full/Bangs_TigerBeat.jpg

Whoa! We recently uncovered a box of 26 sealed LP copies of Bangs' 1998 album Tiger Beat! This is even better than the time I found $20 in a pants' pocket at Goodwill! Tiger Beat is a total rocker of an album and includes hits like "Chocolate Cobwebs," "Death By Guitar," and the mix tape classic, "Burnout!" Tiger Beat has been unavailable from our mail-order store for a few years now, so you'll want to order your copy today, or you might regret it tomorrow. Sorry crazed MP3 fans, because these are sealed records from over 15 years ago, they do not include a download code.

Jimmy Page quotes, re new super duper deluxe Zep reissue series:
http://www.rollingstone.com/music/news/led-zeppelin-raid-secret-vault-for-super-deluxe-album-series-20140507?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter
Reporter laments loss of legendary 1969 Boston Tea Party show, but somebody found this by press time: http://www.rollingstone.com/music/news/led-zeppelin-raid-secret-vault-for-super-deluxe-album-series-20140507?utm_source=dailynewsletter&utm_medium=email&utm_campaign=newsletter

Oops sorry: https://www.youtube.com/watch?v=V3cQpwCRC10

http://lightintheattic.net/system/release_images/0001/4332/BigBoysLullabies_Outside_thumb_325.jpg?1398894088

BIG BOYS
Lullabies Help The Brain Grow (1983)
Modern Classics, May 20th, 2014
Listen to "Sound On Sound" HERE.
https://www.youtube.com/watch?v=Rhuy7pVW574&feature=youtu.be

They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, the Big Boys for five years in the early 1980s was no exception. Where peers Scratch Acid, The Dicks and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band.

Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus.

http://lightintheattic.net/system/release_images/0001/4323/BigBoys_Cafeteria_Outside_thumb_325.jpg?1398893460

No Matter How Long The Line At The Cafeteria, There's Always A Seat (1985)
Modern Classics, May 20th, 2014
Listen to "Work" HERE.
https://www.youtube.com/watch?v=8ZYHgBTJhcE&feature=youtu.be

They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them.

Released at the time of their split in 1985, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on "Common Beat", a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come.

Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s.
Watch a short documentary on Big Boys here:
https://www.youtube.com/watch?v=jHSYDCyBv5Q
--

do we have a thread where we post things that really ought to be reissued but haven't?

I think it's:

Albums that shouldn't be out of print...

From Smithsonian: the UNESCO Series---"more than 125 albums from around the world"---and more Classic African-American Songsters---info and some streams here: http://www.folkways.si.edu/about_us/news_press.aspx#5_1_14-CAAS

ANNOUNCING THE DEAD C THE TWELFTH SPECTACLE 4xLP LIVE RELEASE

SWAN SONG RELEASE FOR GRAPEFRUIT RECORDS SUBSCRIPTION CLUB

A follow-up to last year’s immense Armed Courage is not easy, but The Twelfth Spectacle comes as close as anyone would hope The Dead C to achieve. This four LP set collects live recordings from the past decade by a band whose infrequent performances have become part of their legend. Captured herein is the band at their most dynamic, oblique, challenging and consuming. Each LP has its own title and origin. To wit:

Arena: Recorded at La Dynamo Pantin, Paris and Les Ateliers Claus, Brussels, April 2013

Permanent LSD: Recorded at Luminaire, London, December 2006

This Century Sucks: Recorded at The Smell, Los Angeles, March 2002

Year of the Rat: Recorded at The Swap Meet, New York, October 2008

The albums are being released on August 19th mailorder only via http://grapefruitrecordclub.com/. You can pre-order now. Limited to 500 numbered copies.

An extremely limited retail version will also be available from your better record stores on the same date.