Rolling Reissues 2015

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

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

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

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

http://d31hzlhk6di2h5.cloudfront.net/20150301/4d/d8/b7/53/ceafd2c3165f17d26a56b7d3_440x390.jpg

OMNIVORE TO RELEASE BEALE STREET SATURDAY NIGHT,
PRODUCED BY JAMES LUTHER DICKINSON, ON APRIL 14, 2015
Classic album, originally released in 1978, features Sid Selvidge,
Sleepy John Estes, Furry Lewis, Teenie Hodges — recorded at
Ardent Studios, Orpheum Theater and even artists’ homes.
Proceeds donated to the Beale Street Caravan radio program.
http://d31hzlhk6di2h5.cloudfront.net/20150301/d6/52/08/8c/b83122d40b3cbc14b87ab041_280x186.jpg
Jim Dickinson (photo by Pat Rainer)
MEMPHIS, Tenn. — When Memphis’ Beale Street — a hub of music and activity since the 1860s —was being plowed under for “urban renewal” in 1976, James Luther (Jim) Dickinson — who had played with the Stones, Ry Cooder, and the Flamin’ Groovies (later with Bob Dylan and the Cramps among others), as well as produced Big Star, Screamin’ Jay Hawkins, and Alex Chilton (also, The Replacements, Green On Red, and Mudhoney) — decided to not only celebrate the legacy of great Memphis music, but make the mythic street back into the place where both the blues and rock ’n’ roll originated.
A cadre of Memphis musicians, photographers, artists, thespians, and “appropriate weirdos” gathered under Dickinson’s direction to record the heart of Beale Street, past and present. From blues legends Furry Lewis and Sleepy John Estes to singer-songwriter Sid Selvidge and Dickinson’s own Mud Boy & the Neutrons, Beale Street Saturday Night is an unparalleled audio trip through Memphis music history.
Recorded in places varying from artists’ homes, to Ardent Studios, to the Orpheum Theatre, Beale Street Saturday Night was originally created as a fundraiser for the Memphis Development Foundation to help restore Beale Street’s legendary Orpheum Theater. This reissue will serve a similar purpose, as a portion of the proceeds will go to support the radio program Beale Street Caravan, which focuses on Memphis music, new and old.
Omnivore Recordings’ April 14, 2015 reissue of Beale Street Saturday Night (on CD, digital, and LP on clear vinyl with download card) features new liner notes from producer Jim Lancaster (who worked on the original release) and previously unseen photos by Omnivore’s resident Memphis expert Pat Rainer, who also worked on the original recording, as well as a cover photo by William Eggleston.
http://d31hzlhk6di2h5.cloudfront.net/20150301/a0/47/48/69/937b0c603b2b0add53bd87aa_280x188.jpg
L-R: Lee Baker and Furry Lewis
(photo by Pat Rainer)
This first-ever reissue of Beale Street Saturday Night was curated under the supervision and with the blessing of the Dickinson family. It finally makes widely available this important music and historical Memphis document for new audiences to discover.
According to Luther Dickinson, “ Only in Memphis would young white record producers put such raw black music and storytelling together to create an integrated southern masterpiece. Only in the grooves of this record does this Memphis exist, the ghosts telling the stories to the kids, aged memory and youthful fantasy combining to create a world all its own. Only James Luther Dickinson could have produced Beale Street Saturday Night. World Boogie is coming.”
To read more from Luther Dickinson, visit
http://www.omnivorerecordings.com/music/beale-street-saturday-night
In 1977, Memphis was officially declared “Home of the Blues” by an act of Congress.
So, welcome home.
http://d31hzlhk6di2h5.cloudfront.net/20150301/4e/ad/c7/73/743cdf533057d9f870b8cbac_280x184.jpg
Teenie Hodges (photo by Pat Rainer)
Track Listing
1. Walkin’ Down Beale Street — Sid Selvidge
2. Hernando Horn — Fred Ford
3. Beale Street Blues — Grandma Dixie Davis
4. Big Fat Mama/Liquor Store — Sleepy John Estes
5. Ol’ Beale Street Blues — Prince Gabe
6. Furry’s Blues — Furry Lewis
7. Rock Me Baby— Teenie Hodges
8. Rock Me Baby — Alex
9. “Ben Griffin was killed in the Monarch . . .” — Thomas Pinkston
10. Frisco Blow — Johnny Woods
11. On the Road Again — Mud Boy & the Neutrons
12. “Mr. Handy Told Me 50 Years Ago . . .” — Thomas Pinkston
13. Chicken Ain’t Nothin’ But a Bird — Furry Lewis
14. Roll on, Mississippi — Grandma Dixie Davis

https://files.ctctcdn.com/338ff164101/b66be312-7b54-4a85-a11d-5f3d93d750c6.png

MASTODON VINYL REISSUE SERIES BEGINS TODAY, MARCH 3rd

WITH BLOOD MOUNTAIN

TICKETS FOR THE MISSING LINK TOUR ON SALE NOW

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

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

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

Confirmed dates for THE MISSING LINK TOUR are as follows:

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

# indicates newly added tour date.

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

Apr 16 *St. Paul, MN Myth

Apr 17 * Winnipeg, MB The Burton Cummings Theatre

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

Apr 19 * Edmonton, AB Expo Centre

Apr 21 * Calgary, AB MacEwan Hall

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

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

Apr 25 *Portland, OR Roseland

Apr 26 *Seattle, WA Showbox SODO

Apr 28 *Oakland, CA Fox Theater

Apr 29 *Los Angeles, CA Palladium

Apr 30 *Tempe, AZ Marquee Theater

May 01 *Las Vegas, NV House of Blues

May 02 *Salt Lake City, UT The Complex

May 03 *Denver, CO Red Rock's Amphitheatre

May 05 *San Antonio, TX Kapone's Ballroom

May 06 *Oklahoma City, OK Diamond Ballroom

May 08 Atlanta, GA Shaky Knees Festival

May 09 *Raleigh, NC Lincoln Theatre Street Stage

May 10 **Pittsburgh, PA Stage AE

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

May 13 *Milwaukee, WI Eagles Ballroom Club Stage

May 15 **Bethlehem, PA Sands Event Center

May 16 **Baltimore, MD Pier Six Pavilion

May 17 *Boston, MA House of Blues

May 19 *New York, NY Central Park Summerstage

May 20 *Niagara Falls, NY Rapids Theatre

May 21 *London, ON London Music Hall

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

May 24 **Columbus, OH LC Pavilion

#June 7 Houston, TX Free Press Festival

Oh my fucking god:

YES: LIVE FROM SEVENTY-TWO

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

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

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

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

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

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

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

I saw one of those shows, from the wings, with bass and drums dominating. Much better that way, I suspect (could hear the other stuff too).

Tons of links in this, I can't be arsed, just check their site:

The Numero Group

We’re from Chicago. Not in a Da Bears/Bridgeport/West-Side-Is-The-Best-Side kind of way, but rather we’re the kind of people who took a few weird turns and ended up enduring decades of unnecessary winters because we were too caught up in the electricity of our sprawling Midwest mega-burb. When Numero threw open its doors eleven years ago, our city was teeming with independent labels all trying to break bands and seasons. Many of our peers have celebrated 20th birthdays in this span, and more than a fair share have chased the roadrunner over the cliff. Will we make nine more trips around the sun? Time will tell, but we think so. And because we think so, we’ve doubled down on Chicago, purchasing a massive new building to house Numero and our growing staff.

So we’re here, Chicago. You’re stuck with us, for now. Besides, we run this town’s musical history. From Bandit Records to our latest south side excavation The Chicago Party, we’ve spent the last decade immersed in this city’s past, shining our Mag-Lites into corners of the city so long forgotten about that the street names have changed. Places the local media is too scared to cover. Places our fellow citizens couldn’t pick out on a map. Best stash of master tapes in Dolton? We know that. Who’s got the only copy of the Auditions on Get Set? We know him. Best places to get tacos in Little Village? That’s a bit off topic, but it’s Chaparrita.

In honor of our new acquisition, this will be an all-Chicago edition. We’ve issued 54 unique records with Chicago artists represented, which is about 1/5th of all the records we’ve ever made. Here’s the latest seven:

The Chicago Party

For 23 straight Saturday nights of 1982, The Chicago Party dance show assaulted Chicagoland UHF eyeballs with Spandex, Southside fly guys, tender tenderonies, magicians, contortionists, prismatic video gimmickry, and lip-synched singles by a rising regime of local post-disco casualties. Unfettered nightlife and outlandish humor poured out of oddball outpost The CopHerBox II and onto TV screens, presented here as a 100 minute video mixtape on DVD. Its companion compilation features five previously unreleased tracks, joined by music culled from a trove of self-released 45s and small-time 12”s. Die-cut cathode-ray jacket and six in-package stills put the Party at your fingertips.

Available on CD or 2LP, each edition of Ultra-High Frequencies: The Chicago Party will arrive in one of six cover configurations, all of which are interchangeable via printed inner sleeves and enclosed booklet. Both editions include our entertaining DVD mix tape, isolating the most absurd and outrageous moments from the original broadcasts. Play functions enable viewers to enjoy 23 unique musical performances, as well as a mini-documentary about the creation and realization of The Chicago Party. For fans of electronic soul with a public access aesthetic, Ultra-High Frequencies: The Chicago Party is the place to be.

Ultra High Frequencies: The Chicago Party

Universal Togetherness Band

Between 1979 and 1982, The Universal Togetherness Band tracked unearthly portions of their sprawling songbook for bewildered students in Columbia College’s audio engineering program. Storming the gates of Chicago’s premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape. Hours of songs remained on the shelf until we hagen doing research on the short-lived public access dance show The Chicago Party, where UTB performed on episode 21 in 1982.

Universal Togetherness Band captures the eight brightest moments from this visionary group’s 5-semester recording bender. Round out your LP, CD, or digital file order with a limited edition single featuring two tracks not on the album.

Universal Togetherness Band
Universal Togetherness Band “Saturday Night” b/w “More Than Enough"

The Chicago Party 45s

There was so much Chicago Party material that we were forced to press four 45s to commemorate the embarrassment of riches:

Universal Togetherness Band "Saturday Night" b/w "More Than Enough"

Jesus Wayne “Rush” b/w “You Bring Me Up”

Donnell Pitman “Burning Up” b/w “The Taste of Honey”

Jesus Wayne “Chicago Party Theme” b/w “Instrumental”

Listen to them all here.

The Notations

From the dawn of doo-wop to the death of disco, the Notations saw—and sang—it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s south side for decades. The first overview of their indie label golden age, Still Here 1967–1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.

Notations: Still Here 1967-1973

As mentioned above, over the last eleven years we’ve pressed 54 unique Chicago-related titles. This doesn’t even cover any of the neighboring Illinois communities (Rockford, Zion please stand up). Use the below as a checklist to fill in what you’re missing:

NUM003 Eccentric Soul: The Bandit Label
NUM010 Good God! A Gospel Funk Hymnal
NUM013 Eccentric Soul: Twinight’s Lunar Rotation
NUM016 Home Schooled: The ABCs of Kid Soul
NUM021 Soul Messages From Dimona
NUM022 The Final Soltion: Brotherman OST
NUM025 24-Carat Black: Gone: The Promises of Yesterday
NUM025.5 24-Carat Black: Acetate
NUM030 Good God! Born Again Funk
NUM032 Syl Johnson: Complete Mythology
NUM033 Light: On The South Side
NUM036 Cult Cargo: Salsa Boricua De Chicago
NUM039 Eccentric Soul: The Nickel & Penny Labels
NUM040 Good God! Apocryphal Hymns
NUM044 Buttons: From Champaign to Chicago
NUM045 Eccentric Soul: Omnibus
NUM048 Warfaring Strangers: Darkscorch Canticles
NUM048.5 Medusa: First Step Beyond
NUM1207 Syl Johnson: Dresses Too Short
NUM1208 Syl Johnson: Is It Because I’m Black
NUM1224 Solaris: Waves of the Evernow
NUM703 Cave Dwellers: Run Around +3
NUM706 Little Boy Blues “Nothing Left To Say” b/w “Mr. Tripp Wouldn’t Listen”
NBR-003 South Side Story: Volume 23
ES-003 M.A.S.O “Poon Tang Thump” b/w “Part 2”
ES-004 Renaldo Domino “I’ll Get You Back” “b/w “Two Years, Four Days”
ES-013 Deacons/Fabulous Fascinators “Sock It To Me” b/w “Is It Because I’m Black”
ES-028 Sidney Barnes/Love Joy “The Ember Song” b/w “Greyhound Jingles”
ES-031 Notations “I’m For Real” b/w “That Girl”
ES-032 James Dockery “My Faith In You” b/w “Giving You The Love”
ES-034 Calvin Harris “Love’s Recipe” b/w “Wives Get Lonely Too”
ES-035 Young Souls “Quit Waiting For Tomorrow” b/w “Puppet On A String”
ES-039 Master Plan Inc. “Try It (You’ll Like It)” b/w “Intro”
ESBOX-002 Little Ed & the Soundmasters
ESBOX-003 Syl Johnson: Mythological 45s
TWI-102 George McGregor & the Bronzettes “Temptation” b/w “Everytime I Wake Up”
TWI-104 Stormy “The Devastator” b/w “I Won’t Stop To Cry”
TWI-112 Mystiques “So Good To Have You Home” b/w “Put Out The Fire”
TWI-114 Sidney Pinchback & the Schiller Street Gang “Soul Strokes” b/w “Remind Me”
TWI-126 Perfections “Which One Am I” b/w “Why Do You Want To Make Me Sad”
TWI-128 Renaldo Domino “Not Too Cool To Cry” b/w “Nevermore”
TWI-131 Kaldirons “You And Me Baby” b/w “To Love Someone”
TWI-132 Annette Poindexter “Wayward Dream” b/w “Mama”
TWI-142 Pieces of Peace “Pass It On” b/w “Part 2”
AST-004 Boscoe: S/T
+008 Final Solution “Brotherman” b/w “Theme From Brotherman”
ER-3014 Express Rising: S/T

Bonus track:

If we were going to move anywhere, LA is the place. With that in mind, we want to shout out our good friend Ned Doheny who is leaving on a two week tour of the British Isles in a few weeks. To commemorate this sojourn, Numero has screened the very first Ned Doheny tee and pressed up a single for the punters to get autographed. We’ve got a limited number of tees up for sale on our website now. If there are any singles available at the end of the tour, we’ll make them available in at pop up stores in Chicago and New York this spring. Subscribers, don’t fret. We’ll have them in your queue shortly.

March 19th London, UK at Greenwich Yacht Club (Two shows)
March 20th Manchester, UK at Soup Kitchen
March 21st Dublin, Ireland at Sugar Club
March 22nd Leeds, UK at Outlaws Yacht Club
March 27th London, UK at the Social
March 29th Berlin, Germany at Roter Salon

Kevin K.'s Drivin' & Cryin' faves (LP only), one of 'em already posted on Blurt, with KK comments (note also Fred Blurt's Spotify playlist, feat. Feedtime and 13th Floor Elevators)
http://blurtonline.com/news/track-premiere-drivin-n-cryin-preps-vinyl-reissue/

For Immediate Release...

BILL HICKS’ ENTIRE CATALOG OF WORK TO BE
RE-ISSUED BY COMEDY DYNAMICS

COMEDY DYNAMICS PARTNERS WITH COMEDIAN’S ESTATE TO RE-RELEASE ICONIC COMEDIAN’S LONG OUT-OF-PRINT COLLECTION BEGINNING THIS APRIL

Re-Issues Will Include Entire Audio And Video Catalog, New DVD Boxed Set, And New Album Of Previously Unreleased Material

https://mlsvc01-prod.s3.amazonaws.com/f4cef7eb001/0e1a377d-2ad4-4a4c-86e8-21747f5d4e5e.jpg?ver=1426182227000

New York, NY (March 12, 2015) – Comedy Dynamics is excited to announce its partnership with Bill Hicks’ estate and will re-release his entire catalog of stand-up comedy albums and specials beginning April 28; putting the iconic comedian’s entire catalog of work in print for the first time in over a decade.

Beginning April 28, Hicks’ entire audio discography - Arizona Bay, Dangerous, Flying Saucer Tour Vol. 1, 12/16/1961, Love, Laughter and Truth, The Adventure, Philosophy, Rant in E-Minor, Relentless, Revelations, and Salvation will be available through all digital retailers. On the same day, SiriusXM will host a listening party of the Hicks catalog on its Raw Dog Comedy Hits channel. An album of previously unreleased audio material will be available October 27.

Additionally on April 28 Comedy Dynamics will release Bill Hick’s video catalog through its VOD streaming platform - It’s Just A Ride, One Night Stand, Totally Bill Hicks, Relentless, Revelations, and Sane Man. A DVD boxed set of video catalog will be released on August 18.

With this news, Comedy Dynamics President of Production, Brian Volk-Weiss stated, “After many months of hard work and dedication, we couldn’t be more humbled to assume control of the Bill Hicks catalog. Bill Hicks is one of the most important stand-up comedians to have walked this planet. The duty to expose him to a new generation of comedy fans is a true honor, we’ll do him proud.”

Listed as one of Comedy Central’s 100 greatest stand-up comedians, Hicks criticized a wide range of social issues, religion, politics, consumerism, the media and popular culture in a dark and controversial way. During the 1980s, he toured the United States extensively and made a number of high-profile television appearances. Hicks also achieved a modicum of recognition as a guitarist and songwriter. At the age of 32, Hicks died of pancreatic cancer on February 26, 1994 in Little Rock, Arkansas. Now through Comedy Dynamics, his work will once again come to the forefront and be celebrated and influence another generation of comics while being celebrated by those lucky enough to live through his existence on earth.

Comedy Dynamics is the largest independent producer and distributor of comedy content in North America and has worked with A-list comedic talent including Aziz Ansari, Jim Gaffigan, Bill Burr, and Katt Williams. Additionally it maintains production, development, and distribution arms for all of its original content, collaborating with companies such as HBO, Netflix, Showtime, USA, TBS, Comedy Central, and ABC. Comedy Dynamics is available on video streaming platforms Hulu, XBOX, PSP, Roku, iOS, Android and Amazon devices.

www.comedydynamics.com

i also saw yes in '72, though on the alan white side of the ledger. nassau coliseum. my second concert! they were cool looking. all i remember is chris squire's boots & wakeman's cape.

anyway, reissue-wise, light in the attic is putting out a record i've been searching for for a while:

http://lightintheattic.net/releases/1533-songs-from-suicide-bridge

ooh nize,

http://www.factmag.com/2015/03/17/kosmische-pioneers-popol-vuh-prepare-reissue-campaign/

http://media.smithsonianfolkways.org/images/album_covers/SF700/SFW40215.jpg

info, audio (incl. free download, "Banks of the Ohio," Doc Watson & Bill Monroe: mp3 or flac, even)

http://www.folkways.si.edu/classic-american-ballads/american-folk/album/smithsonian

Also, re continuing UNESCO Collection reissue series, 2 albums a week:

http://www.folkways.si.edu/unesco

NUMERO ANNOUNCE WHITE EYES LP, PREVIOUSLY UNISSUED RECORDINGS BY KANSAS CITY PSYCH-POP QUINTET

HEAR "STREETCAR LOVE HERE:

https://soundcloud.com/numerogroup/streetcar-love-white-eyes

Hailing from the Show-Me State, White Eyes lugged their heavy psych and harmony-clad ballads across the Midwest, honing their live set wherever audiences were abundant. Whether it be the famed Cowtown Ballroom in Kansas City or the nearest American Legion , the quintet of long-haired bohemians loaded a double bass drum set, a wall of Marshall amplifiers, and a array of acoustic guitars into their 1953 Cadillac hearse to deliver their impeccable stage show across the plains.

Despite years of relentless gigging, White Eyes never caught their break. This previously unissued LP, recorded between the fall of 1969 and 1970, was originally intended as a demo for talent buyers and industry prospectors. Well-crafted arrangements and pro-sounding production make this an exceptional piece of lost psychedelic pop.
WHITE EYES TRACK LISTING

1. It's For You
2. Streetcar Love
3. Rider
4. October
5. I Know What It's Like

6. Hard Hard Livin'

7. A Girl On A Hill

8. I'm Not A Free Man

not seeing a date for this, but:

FOR MORE INFORMATION

http://www.numerogroup.com/

10 albums, a YouTube for each:

http://www.factmag.com/2015/03/26/reissues-and-retrospectives-march-2015/

Warning! Now Approaching Drag City Prose! Relatively Uneventful This Time, But Still:

THE RED KRAYOLA GETS THEIR GROOVES BACK

Red Krayola fans the world over! The years keep on turning and you keep getting younger - how do you do it? Ah, it's the fact that there are always more of you with the decades that roll on, with new fans being born every day, yes? Yes. The Krayola catalog is vast, however, and while popping in at any one particular entry point yields incredible reward, it's likely that certain devastatingly exciting titles have circumvented your radar screen (and then your desk top, now tablet, cellular device, etc. - let alone your turntable) within those decades. Insofar as vinyl is relevant again (and whoever said it wasn't, fool?), it's now time to revisit four hot titles from last century that are sure to be useful to listeners in this century!

Getting started, Corrected Slogans was first pressed by The Red Crayola with Art & Language in 1976 and was the first mention of The Red Crayola's name since 1968! It marked the beginning of Jesse Chamberlain as full time collaborator with Mayo Thompson, a run that would last 5 years, and was an album which received one known review - from Interview magazine, who were reasonably perplexed enough to ponder the album's sincerity. You be the judge! Black Snakes was issued in '83 as a co-release between Switzerland's Rec Rec and Germany's Pure Freunde labels. This particular line-up found the group joined by Pere Ubu's Allen Ravenstine, yet it's absolutely Mayo's guitar that shines in this particular configuration. Malefactor, Ade comes next, originally released on Glass Records in 1989, the first utterance of the Crayola in 5 years. The fearlessness with which genres are converted can be disarming, but stick to it - you'll find listening an utter triumph. "Amor and Language" was released in 1995 via yours truly, Drag City yeah, at a time when Mayo Thompson had recently returned to the USA and begun recording at a prolific rate (the era of S/T and Hazel). Curiously, it's sonics alarmed the pressing plant enough to wonder if there were imperfections in the master. Huh? Anyway, a good 20 years puts these essential albums in serious perspective: hindsight is 20/20, and looking back at these C/Krayola masterworks, we're seeing gold! Don't wait a minute, comrade - officially set for April 21st release, go ahead and preorder your LP copies of Corrected Slogans, Black Snakes, Malefactor, Ade, and "Amor and Language" today!

Also this one of course (on Rough Trade)

https://www.youtube.com/watch?v=c_Ga7COGUn0

corrected slogans is ridiculous & great (also fun spotting all the borrowed texts). right up there with my favourite rc(k)

https://www.youtube.com/watch?v=9iD40rmbzZw

Is there a Corky's Debt to His Father cd currently available?

Indeedio: in five formats, even (though cassette is currently out of stock, it says here)
http://www.dragcity.com/products/corkys-debt-to-his-father

Great, I think it was out of stock or print when I was looking last year. So thought it might be redone when they were doing these new ones. maybe they just reprinted and restocked more copies.
Will try to grab it before it disappears again.

http://www.soundsoftheuniverse.com/mailouts/img/main/606/w/sjrcd302popolvuhkailashcover.jpg
from Soul Jazz Records:

Super-deluxe collectors very limited edition Popol Vuh box set vinyl + DVD and 2CD + DVD!

This album is available worldwide in all good physical and interent retail stores next week 6 Apr 2015.
more info/audio here (sample all tracks)http://www.souljazzrecords.co.uk/releases/?id=41244

Kailash is a new collection of work from Florian Fricke, leader of Popol Vuh, seminal group in the German rock scene of the 1970s (Can, Faust, Amon Duul, Ash Ra Tempel, Tangerine Dream) and creators of classic soundtracks to the films of Werner Herzog (Aguirre the Wrath of God, Nosferatu, Fitzcaraldo and others).

Popol Vuh took their name from an epic mythological text from the 16th century Quiché Maya people of Guatemala, the name translates as ‘meeting place, together or common house’

Kailash brings together essential and unreleased piano recordings, together with Fricke’s travelogue film Kailash, about his spiritual voyage to Tibet’s 22,000 ft. Kailash mountain, ‘Throne of the Gods’, and the accompanying soundtrack album to this film.

This collection is released as a deluxe 2CD + DVD set and as a one off 1000 copies worldwide collectors bespoke box set 2LP + DVD with bonus cards/inserts.

Essential Piano Recordings: For the first time, this compilation on Soul Jazz Records unites a careful selection of Florian Fricke’s most favourite piano tracks and compositions, both released and previously unreleased. Aside from his groundbreaking work with Popol Vuh, Fricke’s background is that of a classical composer and it was one of his late wishes to release ‘piano only’ recordings.

These essential piano recordings by Florian Fricke should be considered as something like the core, or the heart, of many Popol Vuh compositions. They contain tracks from 1972-1989 that Florian Fricke would have liked on a piano only album, enriched with further song improvisations that have been found posthumously, after he passed away in 2001. Some of these are studies for key tracks of Popol Vuh (for example ‘Hosianna Mantra’, 1972). Others are reoccurring patterns and sequences, with Florian often working with recurring motives frequently further developed with the group.

This record is devoted to his inspiration and creativity as a contributor to an ongoing spiritual journey for others.

Kailash – Pilgrimage to The Throne of the Gods: The holiest mountain in Asia, in a far away corner of west Tibet, amidst wild and ragged landscape, nearly entirely cut off from the rest of the world, is called Kailash. For the pilgrims of four religions this 6675m high mountain is the ‘throne of gods’, or ‘navel of the world’ – a place where the divine takes an earthly shape. For thousands of years pilgrims have travelled to this place to worship the mystery of the mountain circumnavigating it on foot. The path around Kailash is an archaic ‘path of initiation’.

Florian Fricke and filmmaker Frank Fiedler (also an original founding Popol Vuh member) made their own spiritual trek along this path and documented the journey. Accompanying epic landscape scenes in the film is the music of Florian Fricke and Popol Vuh, spiritual music inspired by this unique journey.

This posthumous project has been put together with the full cooperation and assistance of Florian Fricke’s family.

Werner Herzog: ‘Florian was always able to create music I feel helps audiences visualize something hidden in the images on screen, and in our own souls too.’

‘Herzog on Herzog’

wow that looks great

Ah sweet, Third Man is reissuing Van Lear Rose and got all this other too. Wish they'd put out the live instances of WS backing Lynn:

http://cdn4.pitchfork.com/news/59085/aedd199c.jpg

Also, "Le Cinema De Serge Gainsbourg" is getting a reissue as a 5 CD box with a ton of recently unearthed music. I have a link somewhere but it's in French. Out end of April, I think.

Also, Soul Jazz just reissued a great album by Lloyd McNeill ( who happened to be my favorite drawing professor in university. Great man.) : "Tanner Suite".

Yeah, I posted about Tanner Suite on Rolling Jazz D-Bags 2015 thread---intriguing! I'd never heard of him.

http://www.soundsoftheuniverse.com/mailouts/img/main/600/w/tannersuitecover.low.jpg

Available in all good retail, internet and digital stores, also from us, right now!

Soul Jazz Records/Universal Sound are releasing here the third album from deep jazz flautist and composer Lloyd McNeill (alongside the earlier ‘Asha’ and ‘Washington Suite’ - both now sold out).

Tanner Suite is one of the most beautiful and by far the rarest of all of McNeill’s records, a unique piece of music especially commissioned by the Smithsonian National Gallery Of Art in the late 1960s to accompany an exhibition of the work of Henry Ossawa Tanner, the first African-American painter ever to gain international success.

Tanner Suite was originally released in 1969 as a private individually numbered pressing of 1000 copies on McNeill’s own Asha Record company and has never been issued since. Soul Jazz Records new pressing of this album is also limited to 1000 copies each on vinyl and CD. Both editions come in heavyweight exact-replica hard tip-on USA card sleeve original artwork.

This beautiful and intense and set of pieces based around improvisation was the soundscape to the significant exhibition of Tanner's work, created at an important point in post-civil rights African-American self-definition. The music is both profound and spiritual.

Lloyd McNeill is flautist, composer and painter. As musician he studied with Eric Dolphy, played with Nina Simone, Mulatu Astatke, Nana Vasconceles, Ron Carter, Dom um Romao and Sabu Martinez. In the mid-1960s McNeill headed to Paris and became friends with Pablo Picasso.

more info/audio here: http://www.souljazzrecords.co.uk/index.php

He was your drawing professor, so maybe he did that cover too, eh? Cool.

gainsbourg box is on uni france probably? They have done several excellent and very desirable "Le Cinema de..." boxes, the Georges Delerue one is esp amazing

The two volumes of Cecil Taylor's Garden (live solo piano from 1981) are being reissued on Hatology, with the music now in the order it was originally performed.

Would like to hear that again, in original sequence this time (noticed Spotify has Cecil Taylor Unit etc, must get back to that too)
instabraun
15 minutes ago
Tough 70s private press soul rock, reissued by @permanentrecordschicago! The Chicago Triangle - Emergence. #nowplaying #vinyl #vinyligclub
mint Cool cover art https://instagram.com/p/1CHpPBMlMI/

There's a new remastered Camembert Electrique by Gong came out this week on Charly. I wish they'd do Flying Teapot too.

Also the 2 lps by The Specials & the 1 by Special AKA have just come out remastered in 2cd form.

Also, not a physical reissue, but Destination:Out!'s been issuing downloads of FMP catalog for a couple of years now, and next month they're putting up Cecil Taylor's complete In Berlin '88 box.

Was thinking about In Berlin after your post reGarden--more great news.

From Drag City, but easier on the eyes than usual:

LAST TRAIN TO CLARKSVILLE: GOODBYE SUPER NOVA
Steve "Chili" Rigot, the singer for the Endtableshttp://www.dragcity.com/artists/the-endtables and many other amazing bands, was an immense presence in the Louisville music community for more than 35 years, and no one who knew him will ever forget him. He was our superstar, our polestar, our standard-bearer, our inspiration.
Chili Rigot materialized from alien shores by force of will to save our lives from boredom, and we will not see his like again. We all stood in awe of his fearlessness and skill, and tried our best to be as fabulous- tried and failed but we were made better by his example.
Steve made bravery and glamour look easy, and he always brought the fun. If you walked into a room and saw Steve there, towering above the crowd, you knew you were in the right place and that you were going to have a great time. Catherine Irwin recently remarked, "He will be making me laugh for the rest of my life." Rigot in performance cut an awesome and charismatic figure.

Like Scarlett O'Hara wrapped in her green velvet curtain, Rigot
fashioned his own glamorous reality from what was available to him in the blasted cultural landscape of 1970s Kentucky. Ace bandages, gold spray paint, and duct tape became a wardrobe. All you needed, it turned out, for an unforgettable and uproarious fashion show was imagination, a couple trash bags, and some twine.The Endtables were easily one of the greatest punk bands ever, and their songs have lost none of their power to thrill and stun. If you haven't heard them yet, do yourself a favor. After the Endtables came other amazing Rigot vehicles: The Monsters, Skull of Glee, Debby, In the Vines, Women Who Love Candy, Common Law Cabin, Martine, 1069, and Lady DNA.

Steve died on the morning of March 20. That evening his friend Brett Eugene Ralph offered a lovely eulogy, ending with a legendary story. It's 1981 in Louisville, and Chip Nold, the singer for the Babylon Dance Band, is having a sprawling bachelor party at the rundown Kon-Tiki apartments. Many guests arrive in drag. Some rednecks hanging by the pool start hassling the boys dressed like girls. Kenny Ogle - Brett Ralph's predecessor in Malignant Growth, and a south end redneck himself, if a particularly awesome and open-minded one - immediately gets in their faces. "Maybe they are faggots," Kenny offers, "but they got as much right to be here as you do."Then the rednecks beat the shit out of Kenny. He can fight; he's just outnumbered. The ensuing after-image of lanky Kenny Ogle curled with his bleeding head in Rigot's lap, as Steve strokes Kenny's long brown hair, is emblazoned on the freak flag of our fair city, with a motto that reads (translated from the original French): "Welcome to Louisville, Kentucky, bitches. Be nice or get the fuck out."

Charles Schultz, drummer for the Dickbrains, Your Food, The Bulls, and Antietam, was there that night and remembers something else: "Steve did this perfect model's strut towards some of the guys who were being the loudest, and as he got closer they got quiet, as they realized that even in heels he wasn't afraid and he looked kinda big and awful strong. He got about two feet from them - without saying anything, without anything but glamour shining out of him - spun like he'd reached the end of a catwalk and sashayed back the other way. What a gentle and exemplary triumph." But there's a memory of
Rigot that Charles likes even better. "One night at 1069 (the local punkhouse),
Steve was doing abstract paintings of everybody's psyche, these colorful abstract geometries, and explaining while he painted, 'This green is your kindness, and there's this maroon part which is some stuff you haven't gotten over.' He was being so perceptive, while remembering to be kind. It was sort of intimate, but also funny, brave, inventive, and quick. Just a way to pass some time, a party game, but a standout moment for me, a capsule of how it was to be aroundSteve. Many readers will recognize that the forthcomingWhite Glove Test book takes its name from an Endtables song, a song Steve wrote. He was always the community's guiding spirit, as we strove to keep it extra weird, and he always will be. The job is harder now, but we must all work extra hard to make him proud. We love you,Steve

. We were lucky to know you, and we miss you deeply.

- Stephen Driesler, co-editor

White Glove Test: Louisville Punk Flyers 1978-1994 http://www.dragcity.com/products/white-glove-test

I never met Steve Rigot in person, but relied instead, like so many outside Louisville's sphere of influence, on a 7" that I purchased at the Cafe Dog, hauled up from behind the counter as if it were forbidden, samizdat literature. Which, in a sense, it was. The Endtables' assault on heteronormative good life fantasies was caustic, funny, catchy, mean. It was smart enough to keep you up at night parsing the lyrics to "Circumcision" but punk as fuck in that instantaneous, body-knowledge way that great punk and hardcore singles inevitably are. As a queer closet case cowering in a scene that was ready to accept me once I got the guts to get over that problem, I inhabited - without knowing it - a space that Steve Rigot had already lived, transcended and surpassed. His loss is bitter, but his legacy holds fast.- Drew Daniel, Matmos

Sorry guys late to reply!

dow - yeah! I think Lloyd did that cover. He turned me on to Dolphy - gave me a copy of "Out To Lunch" on cassette with Debussy piano pieces on the flip. I think it was a tape he would play in class as we drew. I also remember him telling me
he and Dolphy shared the same flute teacher !

Yeah I think the Gainsbourg is on Uni France.

http://www.billboard.com/articles/news/6517105/lost-serge-gainsbourg-album

http://artsbeat.blogs.nytimes.com/2015/04/07/american-epic-tv-series-examines-1920s-recordings/?smid=tw-nytimesmusic&seid=auto&_r=0

teaser: https://www.youtube.com/watch?v=jcbATyomETw

Blurt Magazine
‏@BlurtMagazine

Blurt Contest! We're giving away a copy of Captain Beefheart's "Sun Zoom Spark" LP box on Rhino - deadline 4/18. http://blurtonline.com/win-captain-beefheart-deluxe-box-set/

From Drag City:

QUIVERING FOR ARNOLD DREYBLATT'S NODAL EXCITATION ON LP!

New York, early 80's, very early. Studio 54 is hosted by a hologram, the Mudd Club is already an institution, and The Clash's first appearance in New York is in a giant casino, with a full-sized Zeppelin at the door. Not exactly a receptive pond for the next wave of adventurous music. Some names did pop up, harkening to a past of lofts and all-night concert events. In the late 60s and early 70s, Philip Glass, Tony Conrad, along with John Cale and LaMonte Young, Terry Riley and others were closing the gap between that blissed-out eternal mantra and the side door of rock.

By the late 80's most of it had been forgotten, including one amazing character, Arnold Dreyblatt. Dreyblatt only had one record, Nodal Excitation (on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, where he concentrated on his other activities, making only two more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock that any of the others combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early 60s. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm.

In 1998, dexter's cigar were on the scene, excavating the valuable stuff from that semi-recent past for Nodal Excitation's first-ever appearance on CD. It brought it into a lot of new ears - but times have changed and so have the ears. So what you have here is the first-ever LP reissue of Arnold Dreyblatt's freshman record, a slice of minimal history that is STILL as potent now, if not more, as it was in '98 and '81 before it. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face. Preorder Nodal Excitation on LP, now!(already on CD, mp3, FLAC)(not seeing date foe LP yet)

Heard an early promo of a comp of 90s punk coming out soon called Destroy All Art. Epileptics, Skudz, Cock Scratch, bunch of other bands I hadn't heard but great raw sounds; definitely punk not thrashy hardcore.

when I was still thinking about reissues to issue I thought a bunch about Dreyblatt. Would love to see/hear the Tzadik CD Animal Magnetism on vinyl.

Really glad to hear that Last Exit's Iron Path is getting a reissue through ESP-disk on May 26th. Not heard if it is getting remastered or remixed or anything.
BUt I think it is the beginning of a longer link between ESP-Disk and Bill Laswell. So possibly means that there will be reissues of the rest of Last Exit's catalogue.

Wish somebody would put out Fat's Hit lp on cd i think it may be in the same ballpark roughly as Iron Path.

I've heard the reissue - it was probably remastered, but not remixed. Doesn't sound any different than the original to me. A few of the other Last Exit albums have come out on other labels, so I don't know if ESP-Disk will do them all (plus, you gotta wonder what they're gonna do going forward, given that their founder died this week).

Yeah saw that when I was trying to find a web page for an announcement actually from ESP-disk yesterday. Couldn't find one.

Also assumed for some reason that Stollman had died earlier in the year. .

I used to work next to a guy who had worked for him in the late 60s/early 70s can't really remember much of what he said apart from one visit to Tim Hardin when he was at his junkie worst. It was a long time ago.

Peter Stampfel wrote a really strong Stollman-hating piece on Facebook the other day

Wowwww (be sure to read the comments too, which incl. some replies from Stampfel):
https://www.facebook.com/peter.stampfel/posts/962826580414551
I'd always heard this about Stollman, also read that he had to hide from the IRS for a while. Thanks, Ward.

eesh!

Oh, so he was a guy who ran a record label.

I'd assume that with it being 50 years later the latest version of the label didn't have him running it. MIght hope for more ethical treatment of artists etc & possibly some attempt to pay royalties. Though if Stollman stitched everybody up through lousy contracts they might feel they had no onus to do so.
Would hope it was being run on a different basis but it's still a record label.

I need to read that Oral History of the label. Apparently it does detail much ripping off.

I still love the idea that there wasa label like that releasing the music it released in the 60s both jazz and leftfield rock stuff. Not sure who else would have been doing that prioor to the setting up of something like Impulse and I'm not sure if they got as weird.
Would think Coltrane and those artists he endorsed would have a pretty assured market by the time he signed to the label.
& maybe you needed something like ESP to act as a springboard to get at least some recognition for artists. But I don't know who else was around at the time. & maybe ESp was more recognised because of the weirdo lps on it from the white rock or whatever scene whereas a black underground label would have only been known in certain circles and not broken out of those at least until crate diggers years later inspired labels to rerelease things. I don't know.

Definitely need this...

DEFINITIVE LITTLE RICHARD 3-CD BOX SET, SPANNING SPECIALTY AND VEE-JAY YEARS, COMING FROM SPECIALTY RECORDS ON JUNE 2
Directly From My Heart: The Best of the Specialty & Vee-Jay Years features 64 classics and rarities spanning the mid-’50s through the mid-’60s. Set features 36-page booklet with notes by Billy Vera.

LOS ANGELES, Calif. — In the early ’50s, Little Richard Penniman combined the spirit of church music, the barroom-hewn raunch of blues and the swing of New Orleans jazz and turned it into something altogether new — rock ’n’ roll. When the Macon, Ga. native signed to Art Rupe’s Specialty Records in Los Angeles, he was in turn dispatched to New Orleans to record at Cosimo’s legendary studio. Over the course of several sessions, the Little Richard sound began to develop around hits like “Tutti Frutti,” “Good Golly Miss Molly,” “Long Tall Sally” and “Lucille,” to name a few.

On June 2, 2015, Specialty Records — a unit of Concord Music Group — will release Directly From My Heart: The Best of the Specialty & Vee-Jay Years, an all-new three-CD box set containing 64 songs that chronicle Richard’s Specialty and Vee-Jay years — 1956 to 1965. The collection contains Richard’s classics as well as B-sides and rarities. Also included is a 30-plus page illustrated booklet featuring a handful of rare photos plus new liner notes by singer/songwriter/music historian Billy Vera.

Many artists begin their career on small labels and work their way up to the majors. Conversely, Richard began his recording career at RCA Victor, brought to the label’s attention by an Atlanta DJ. There he released four singles, no hits among them. Next he signed to Don Robey’s Houston-based Duke/Peacock Records, initially as part of the Tempo Toppers band and later as a solo. The solo sides remained unreleased until Richard struck gold at his next destination, Specialty Records.

It was at New Orleans’ legendary J&M Music Shop that Richard chanced upon Specialty’s New Orleans A&R rep, Bumps Blackwell, who brought him to the attention of Rupe in Los Angeles. On September 14, 1955, Richard, Blackwell, and New Orleans’ R&B “A team” of session players (Lee Allen and Red Tyler, saxophones; Huey Smith, piano; Justin Adams, guitar; Frank Fields, bass and Earl Palmer, drums) went into Cosimo Matassa’s studio on Rampart Street. Sadly, despite the roomful of talent, the session was, as Vera describes “an exercise in commonplace.”

An unexpected bout of magic would shortly ensue. As Vera writes, “During a lunch break at the Dew Drop Inn, Richard hopped up on the piano and began shouting out a ribald tune he always performed, usually in drag, for those college boys, ‘Tutti Frutti, Good Bootie.’ Blackwell’s eyes lit up, for the first time hearing something special in the entertainer. Spotting local songwriter Dorothy LaBostrie across the room at another table, he asked if she could clean up the naughty lyric for public consumption. She did so back at Cosimo’s and, ‘Wop bop-a-loom-bop alop bam boom,’ a hit and a career were born.”

Over the next two years, Little Richard went on to place fourteen songs in the Rhythm & Blues top ten. These include his iconic performances of “Lucille,” “Jenny Jenny,” “Keep a Knockin’” and “Good Golly Miss Molly.” The astonishing fact is, all these classics were recorded within a mere 18-month period.

Richard continued with Specialty until 1964, when he was brought to the attention of Chicagoans Vivian Carter and Jim Bracken — whose first initials formed the name of Vee-Jay Records. Having freshly lost both The Beatles and The Four Seasons, and having lost control of the company in a move to the West Coast, the label was on its final legs. It didn’t help that in the studio Richard used his road band, the Upsetters, who were not quite studio quality at a time the Wrecking Crew was setting the standard. On top of that, the Beatles had broken big, and a fellow flamboyant Georgia native named James Brown had broken onto the R&B scene with a brand new bag. With a young Jimi Hendrix on guitar, Richard recorded a Don Covay tune (Covay had once been employed by Richard as his chauffer and opening act), “I Don’t Know What You’ve Got But It’s Got Me,” which reached #12 on the R&B chart. The song was done in James Brown’s style and briefly brought Richard back. However, music had changed, and the R&B sounds of the day were now emanating from Stax and Motown.

Little Richard continued to make records for South Los Angeles’ Modern Records, CBS R&B subsidiary OKeh, Brunswick, and briefly, Specialty again (in 1971), before signing to Reprise, where his “Freedom Blues” cracked the Top 50 pop and Top 30 R&B. His peak recording years behind him, Richard remained on the scene into the ’80s and early ’90s as a colorful personality.

Vera elaborates: “Changing his look, wearing an outlandish wig, outrageous outfits and letting his large personality come out, he became a sought after guest on talk shows, like Johnny Carson, Dick Cavett and Mike Douglas, taking over every conversation and talking over even the hosts. Couch potato America loved it and high paying concerts followed.”

In recent years, the Rock ’n’ Roll Hall of Fame inductee and Hollywood Walk of Fame star recipient has stayed closer to the homefront. But the three-CD set Directly From My Heart: The Best of the Specialty & Vee-Jay Years is a reminder of the time, place and circumstance that helped define rock ’n’ roll.

DISC ONE:
1. Lonesome and Blue (2:15)
2. Wonderin’ (2:50)
3. All Night Long (2:13)
4. Maybe I’m Right (2:13)
5. Directly From My Heart (2:19)
6. Baby (2:05)
7. I’m Just a Lonely Guy (All Alone) (2:36)
8. Tutti Frutti (2:23)
9. Chicken Little Baby (1:42)
10. True, Fine Mama (2:40)
11. Kansas City (2:37)
12. Wonderin’ (2:59)
13. Slippin’ and Slidin’ (Peepin’ and Hidin’) (2:41)
14. Long Tall Sally (The Thing) (2:08)
15. Miss Ann (2:15)
16. The Most I Can Offer (Just My Heart) (2:24)
17. Oh Why? (2:07)
18. Heeby-Jeebies Love (2:09)
19. I Got It (2:19)
20. Ready Teddy (2:06)
21. Hey-Hey-Hey-Hey (2:06)
22. Rip It Up (2:20)

DISC TWO:
1. Lucille (2:24)
2. Heeby-Jeebies (2:10)
3. All Around the World (2:24)
4. Shake a Hand (2:51)
5. Can’t Believe You Wanna Leave (2:26)
6. She’s Got It (2:24)
7. Jenny, Jenny (2:01)
8. Good Golly, Miss Molly (2:08)
9. Baby Face (2:14)
10. The Girl Can’t Help It (2:30)
11. By the Light of the Silvery Moon (2:04)
12. Send Me Some Lovin’ (2:17)
13. Keep a Knockin’ (2:11)
14. Ooh! My Soul (2:10)
15. I'll Never Let You Go (Boo Hoo Hoo Hoo) (2:19)
16. Early One Morning (2:12)
17. She Knows How to Rock (1:59)
18. Whole Lotta Shakin’ Goin’ On (1:52)
19. Bama Lama Bama Loo (2:13)
20. Poor Boy Paul (2:03)
21. Annie Is Back (1:57)

DISC THREE:
1. Goin’ Home Tomorrow (3:09)
2. Goodnight Irene (2:37)
3. Money Honey (2:18)
4. Lawdy Miss Clawdy (2:17)
5. Blueberry Hill (1:48)
6. Cherry Red (2:33)
7. Only You (2:24)
8. Memories Are Made of This (2:12)
9. Groovy Little Suzy (2:14)
10. Short Fat Fanny (2:10)
11. Cross Over (2:40)
12. My Wheels They Are Slippin' All the Way (2:24)
13. It Ain’t Whatcha Do (It's the Way How You Do It) (2:20)
14. Something Moves in My Heart (2:12)
15. Without Love (3:16)
16. Dance What You Wanna (2:16)
17. Talkin’ ’Bout Soul (2:08)
18. Dancing All Around the World (2:56)
19. You Better Stop (3:05)
20. I Don’t Know What You’ve Got but It’s Got Me (4:05)
21. Why Don’t You Love Me (Like You Used to Do) (3:06)

SMOKEY, THE LOST GREAT AMERICAN GAY PRE-PUNK ICONS, REISSUED BY CHAPTER MUSIC

FIRST EVER COLLECTION, HOW FAR WILL YOU GO?: THE S&M RECORDINGS, 1973-81, OUT JUNE 23RD
Listen To Title Track:
https://soundcloud.com/chaptermusic/smokey-how-far-will-you-go/s-Id100

Chapter Music is excited to present the first ever reissue of wild and outlandish 1970s LA pre-punk icons Smokey. Featuring cameos from James Williamson of the Stooges, Randy Rhoads of Quiet Riot/Ozzy Osbourne and members of the Motels, King Crimson, David Bowie’s Tin Machine, Suburban Lawns and many others, the Smokey story has to be heard to be believed.

In 1973, two wide-eyed young music fans made their way to Los Angeles and were introduced by a notoriously touchy-feely road manager for the Doors. They fell into a relationship that would produce five of the most criminally neglected singles of the decade, as well as a treasure trove of unreleased recordings.

John “Smokey” Condon was a bewitchingly beautiful Baltimore transplant, himself no angel after spending his teenage years partying with the John Waters crowd. EJ Emmons was a budding record producer from New Jersey, already starting to work in small studios around Hollywood.

Condon had marched in New York the night after the Stonewall Riots in 1969, and so by the time he and EJ created Smokey, they weren’t about to hold back. Released in 1974, first single Leather b/w Miss Ray wasn’t just openly gay, it was exultantly, unapologetically gay, examining front-on the newly-liberated leather and drag scenes thriving in America’s urban centers. The single was shopped around to labels using Emmon’s industry contacts, but doors were regularly slammed on the duo, with industry execs stating their music was simply “too gay,” while also adding “but it is really good.”

So Smokey formed S&M Records, with a logo featuring a muscular arm encased in studded cuffs, and “S&M” tattooed on the bulging bicep. They went on to self-release five singles that span pre-punk, stoner jams, disco, synth-punk and more, all stamped with Smokey’s fearless candor. 1976 single and compilation title track “How Far Will You Go...?” features guitar from EJ’s studio buddy James Williamson, fresh from his adventures recording Raw Power with Iggy & the Stooges in London with David Bowie. The live band played almost weekly at Rodney Bingenheimer‘s English Disco, with a band featuring 14-year-old future Quiet Riot members Randy Rhoads and Kelly Garni.

All-in-all, How Far Will You Go? is a revelation, lovingly restored by Emmons from original master tapes, and even mastered for vinyl by Emmons on his own cutting lathe. With extensive liner notes and photos, How Far Will You Go? tells the story of America’s greatest 70s should-have-beens, a band so amazing that the only reason you haven’t heard of them is because they were gay, and they didn’t give a damn.

HOW FAR WILL YOU GO? TRACKLISTING
1. Leather
2. Strong Love
3. DTNA
4. Topaz
5. How Far Will You Go…?
6. Fire
7. I’ll Always Love You
8. Puttin’ On The Ritz
9. Temptation
10. Million Dollar Babies
11. Miss Ray
12. Piss Slave
13. Hot Hard & Ready
14. Ballad of Butchie & Claudine
15. Topanga
16. Million Dollar Babies (alt version)

Chapter Music Online: https://chaptermusic.com/

You had me at piss slave

see also

Smokey: "Lost Great American Gay Pre-Punk Icons"

Not music, but zany energy x blithe spirit

http://img2.ymlp331.com/6464Sunset_EAEKdrum600.jpg

SHOUT! FACTORY EXTENDS ERNIE KOVACS DISTRIBUTION DEAL THROUGH 2020

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

FOR IMMEDIATE RELEASE

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

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

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

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

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

The Library of Congress Collection highlights include:

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

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

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

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

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

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


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Record Collector Mag ‏@RecCollMag 28m28 minutes ago

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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