Rolling Reissues 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"

Previously unreleased Dusty Springfield album, said to be uneven, but incl. keepers for sure:

http://sun209.com/rediscovered-dusty-springfield-faithful/

That Dusty material has been out before, unevenly split as bonus tracks between Rhino's reissues of A Brand New Me (the two singles) and the deluxe In Memphis (everything else).

I've got a version of Dusty In Memphis with a few bonus tracks; think it's from See For Miles. Pretty old, so maybe not the one you mean. Have to dig that up; anyway I'm intrigued by the unequivocally mixed, non-gushy review.
Of recent Soul Jazz comps, this is the one I'm most curious about:

http://www.soundsoftheuniverse.com/img/releases/41410/w/sjrlp296st1jump-upcover.jpg

New Studio One release featuring loads of killer tunes. Includes booklet text and lots of nice pix!

In the early releases featured here you will find the roots of Studio One’s unique sound – from the first jump-up, boogie-woogie and shuffle recordings made in Jamaica in the late 1950s, as the artists emulated their American rhythm and blues idols – Louis Jordan, Roscoe Gordon, Fats Domino – through to the early Rastafari rhythms of Count Ossie, the righteous Baptist beat of Toots and the Maytals up to the joyous excitement of Ska with tracks by Studio One’s young protégées Bob Marley and The Wailers and the all-mighty Skatalites.

Clement ‘Sir Coxsone’ Dodd first began recording music in the late 1950s, making one-off records to play on his Downbeat Sound System. These ‘exclusive dup-plates’ enabled him to reign supreme in the regular dancehall soundclashes of Kingston, fighting off the competition from rivals including Duke Reid the Trojan and Prince Buster. This new album traces the roots of the legendary label as it created the sound of the young independent Jamaican nation going into the early 1960s.

Sir Coxsone used only the finest musicians in Jamaica for these recordings, including those players that would later become known worldwide as the Skatalites, Don Drummond, Roland Alphonso, Ernest Ranglin, Rico Rodriguez, Cluett Johnson and others. As fans clamoured to get a copy of these ‘one-off’ exclusive records, Clement Dodd eventually decided to start making them available commercially starting in 1959, and so began the birth of an empire.

And so by the time the new Studio One studio/record company/pressing plant complex at 13 Brentford Road opened its doors in 1963, with The Skatalites in place as the in-house band, the foundations of Jamaica’s most important record label had already been firmly established. As well as those listed above, this album brings together some of the finest of these early reggae artists to record for Clement Dodd including Derrick Morgan, Owen Gray, Derrick Harriott, Lord Creator and Owen Gray.
More info, audio here:
http://www.souljazzrecords.co.uk/releases/?id=41410

MELT-BANANA PREVIOUSLY UNCOLLECTED SINGLES

Japanese techno-punk outfit Melt-Banana will be going on two North American headlining tours. To coincide with this two tours, Melt-Banana will release Return of 13 Hedgehogs, a collection of non-album singles.They' ve taken a map of North America and cut it in half diagonally right; the band will first tour the bottom right half in May to mid-June, and will come back in July (and a few dates in August) for the top left half. In addition to these headlining shows, Melt-Banana are also scheduled to perform at two festivals. The first is the Maryland Deathfest in May. In July, the band will appear at the Eaux Claires Music & Arts Festival curated by Bon Iver's Justin Vernon and the National's Aaron Dessner. Melt-Banana' s first show on the first tour will be in Phoenix with Lightning Bolt. For most dates of the second tour, the band will be joined by Torche. I'm hoping you'll consider advancing their show with a feature, advance blurb or album review. Let me know if you need the music.

Return of 13 Hedgehogs is a compilation of 13 singles Melt-Banana has released from 2000 to 2009,and is their second singles compilation following 13 Hedgehogs, which compiled 13 releases from 1994 to 1999. In addition to tracks from their singles, tracks from split singles released with acts such as Fantomas, The Locust, Big D and the Kid's Table, and Young Widows, etc, along with covers of songs such as Italian singer Mina' s "Tintarella Di Luna", Toots & the Maytals' "Monkey Man" (which was famously covered by The Specials), Devo' s "Uncontrollable Urge" and The Damned' s "Love Song" will be included for a total of 29 tracks. These tracks have never been released on any of Melt-Banana' s previous 8 studio albums and 2 live albums.

TR01 : Who did it? Who dig it?

TR02: Dog in Lost

TR03: 2 Knees

TR04: Puddle, float

TR05: Quite Free

TR06: And I...

TR07: Tintarella Di Luna

TR08: Grave In The Hole (Pitfall Fits A Bit)

TR09: Capital 1060 Hospital

TR10: Too Rough To Scoop (Find A Grain of Greed)

TR11 : Creeps In A White Cake

TR12: Monkey Man

TR13: Operation: 3rd Attack

TR14: Get the Head Back

TR15: About

TR16: Neck On B1

TR17: Get the T (Escaping with the ID card!)

TR18: Steel me lust

TR19: 52 hands, 36 possibilities

TR20: Sweeper

TR21 : Target Inside

TR22: Cat In Red

TR23: ヘビノウタ/ snake song

TR24: アイノウタ/ love song

TR25: Uncontrollable Urge

TR26: Pain In Ash

TR27: Loop Nebula

TR28: Leeching

TR29: Jack And A Red Dog

ORIGINAL RELEASES FOR THE ABOVE TREACKS: Melt-Banana/Three Studies For A Crucifixion Split 8inch Single (2001 Passacaglia Records, USA), Melt-Banana/Dynamite Anna and the Bone Machine Split 7inch Single (2001 Valium Records, Italia), Melt-Banana/ Daemien Frost Split 7inch Single (2001 Alpha Relish, Ireland), Melt-Banana/The Locust split 7inch Single (2002 GSL, USA), Melt-Banana/Big D And The Kids Table split 7inch Single (2002 Fork In Hand, USA), Melt-Banana 6inch Single "666" (2002 Level Plane, USA), Melt-Banana/Narcosis split 7inch Single (2004 Speedowax Records, UK), Melt-Banana/Chung split 10inch Single "Quick Quick Slow Death" (2005 Sounds of Subterrania, Germany), Melt-Banana/Fantomas split 5inch Single (2005 Unhip Records, Italy), Melt-Banana 5inch Single "アイノウタ- Ai no Uta" (2006 Hg Fact, Japan), Melt-Banana/Fatday split CDEP (2008 Dark Beloved Cloud , USA), Melt-Banana/Young Widows split 7inch Single (2009 Temporary Residence Ltd., USA), Melt-Banana 7inch Single "initial T." (2009 Init Records, USA)

All songs by Melt-Banana except TR07, TR12, TR24, TR25.

Release on A-ZAP Records :

http://www.a-zap.com/

http://files.ctctcdn.com/fad5d549001/f6c12e0b-35c5-4a9d-8cb0-98585156a539.jpg

Lone's classic debut album Lemurian gets the deluxe re-issue treatment courtesy of Magic Wire and R&S. Originally released in 2008, it returns in 2015 re-mastered by Matt Colton, with new artwork from Konx-om-Pax and on vinyl for the very first time. The LP has a spot gloss cover, full color printed inner, download codes and initial press is on colored vinyl.

Lone's Lemurian returns perfectly timed for the summer.

What the press said about Lemurian's original 2008 release:

"Kaleidoscopic, shimmering hip-hop instrumentals from Lone that fill your ears with warm nostalgia and sails you away into a nebulae of opiated psychedelia. Superb, accomplished 17 track album for Dealmaker...a perfect seasonal soundtrack." - Bleep (Album of the Week)

"Lens Flare Lagoon conjures up the glistening, watery effect suggested by its name, and 'Buried Coral Banks' has a Boards Of Canada-meets-Jacques Cousteau feel that's hard not to love." - Boomkat (Album of the Week)

Lone
Lemurian
Magic Wire / R&S Records
June 29, 2015
LP / CD / Digital

Track List:

1. Koran Angel
2. Cali Drought
3. Interview at Honolulu
4. Banyan Drive
5. Green Sea Pageant
6. Girl
7. Orange Tree
8. Maya Codex
9. Atoll Mirrored
10. Sea Spray
11. Under Two Palms
12. Lens Flare Lagoon
13. Borea
14. Buried Coral Banks
15. Phthalo Blue
16. Sunken
17. Minor Suns

wtf @ reissuing something that isn't even 10 years old

http://4ad.com/uploads/news/613_c_w_450_h_450.jpg

On 14th August, each of Red House Painters' original studio albums released on 4AD will be resissued on individual black vinyl, after being out of print for over twenty years.

Originally released between 1992 and 1995 - Down Colorful Hill, Red House Painters (Rollercoaster), Red House Painters (Bridge), and Ocean Beach (which has been reformatted as a double 12” LP to also include the Shock Me EP), are now available to pre-order individually, or as a bundle, exclusively through 4AD.

Additionally, we're excited to share the latest edition of Sleeve Notes, our interactive web-series, in which label biographer Martin Aston reflects on the legacy left by Red House Painters, as well as reflecting on his own pivotal role in their discovery. The feature too collects a number of previously unseen photos of the band, along with original press releases for each record, a ten track sampler stream and shots of the very demo cassette where Mark Kozelek's relationship with 4AD began.

You can read Sleeve Notes here.http://4ad.com/sleevenotes/red-house-painters/

wtf @ reissuing something that isn't even 10 years old

Don't know about this particular item but the internet has driven prices for out of print things stupid. And the great thing is that some people will treat a 2009 "original pressing" of something as if it's a sacred, lost artifact.

http://d31hzlhk6di2h5.cloudfront.net/20150507/cd/62/c5/24/9af2bc043fbb975ed31c0e44_280x280.jpg
CARL HALL’S YOU DON’T KNOW NOTHING ABOUT LOVE:
THE LOMA/ATLANTIC RECORDINGS 1967-1972, OUT JUNE 23, 2015,
IS INTRODUCTION TO PROLIFIC, UNDER-THE-RADAR
NORTHERN SOUL SINGER
Compilation’s 19 songs include hits plus 13 unissued bonus tracks.
All were produced by Jerry Ragovoy, and not previously available on album.
LOS ANGELES, Calif. — Carl Hall’s four-octave range first came into prominence on the gospel sides he cut in the 1950s for labels like Vee-Jay and Savoy. His later acting work on Broadway (Inner City, The Wiz, and Truly Blessed: A Musical Celebration of Mahalia Jackson) and in the film version of Hair was renowned. But it’s the soul sides he cut for the Loma and Atlantic labels, with producer Jerry Ragovoy, that are truly sought after. You Don’t Know Nothing About Love: The Loma/Atlantic Recordings 1967-1972 not only fills that need, but delivers in spectacular fashion.
This 19-track CD, set for release on Omnivore Recordings on June 23, 2015, collects the singles from this era and adds an astonishing 13 previously unissued tracks, brand new to soul collectors, who up until now have only had the aforementioned single sides issued on the original 45s. In addition to the title track, “I Don’t Wanna Be (Your Used to Be),” and Hall’s take on Jefferson Airplane’s “Somebody to Love” (re-titled “Need Somebody to Love” for Hall’s version) You Don’t Know Nothing About Love gathers unreleased versions of hits from The Beatles (“The Long and Winding Road”), Broadway’s Stop the World — I Want to Get Off (“What Kind of Fool Am I”) . . . and even The Rolling Stones, who themselves had a hit with their cover of Ragovoy’s “Time Is on My Side,” represented here in a pair of unissued versions.
You Don’t Know Nothing About Love acts as both a primer and a definitive statement on Hall’s six years under the Warner Bros. umbrella. The mystery of why so much of this music lingered in the vaults for so many decades and a historical overview of both Hall’s and his colleagues’ careers are brought to life via an essay from musicologist Bill Dahl.

From Dahl’s notes: “The stratospheric four-octave vocal range of Carl Hall was truly a gift from on high. No less an esteemed authority than Anthony Heilbut declared him the finest male soprano in gospel. But after establishing himself in the sacred field, Hall crossed over to the secular arena, cutting a series of mesmerizing soul singles that showcased his uncanny vocal mastery just as vividly as those spirituals had.”
Omnivore Recordings is proud to present yet another set of recording that many have talked about, but few have had the pleasure of hearing. You Don’t Know Nothing About Love: The Loma/Atlantic Recordings 1967-1972 guarantees you’ll know about Carl Hall. And, make you wish it hadn’t taken so long to find out.
Track Listing:
1. You Don’t Know Nothing About Love*
2. Mean It Baby*
3. Just Like I Told You
4. He’ll Never Love You
5. It Was You (That I Needed)
6. The Dam Busted*
7. I Don’t Wanna Be (Your Used To Be)*
8. Dance Dance Dance
9. What Kind Of Fool Am I?
10. Sometimes I Do
11. The Long And Winding Road
12. It’s Been Such A Long Way Home
13. Time Is On My Side
14. Need Somebody to Love*
15. Change With The Season*
Alternate Takes:
16. Just Like I Told You
(Take 7)
17. It Was You (That I Needed) (Take 12)
18. The Dam Busted (1971 Remake)
19. Time Is On My Side (Takes 1 & 2) 

All selections previously unissued except *

Mostly the top end of that xpost four-octave range, or pretty far up and out there, at least: bold, sweet and raspy, inexhaustible, though sometimes exhausting (at least in a 66-minute bloc, but that wasn't the goal). Sometimes he could use a little edit, and having horns etc. try to answer, rather than accompany, can lead to overheating (mostly in the second half, incl. several outtakes), but the rhythm tracks cook like they should, and the few ballads are mostly revelatory (damn I even almost like "The Long and Winding Road,"in this instance). Rec. to fans of Howard Tate, Janis, Aretha, early Rod, Little Richard, Little Jimmy Scott, even (he's not any of them but maybe close enough if you're jonesing).

(When he slows down a little, leaves more room, there's more oxygen to mold and ignite each note,)

(But he can do it fast too, maybe with some circular breathing.)

vinyl bubble's gettin outta hand:

JOY DIVISION

The Band's Studio Albums And Essential Compilations Are Coming Out On
180-Gram Vinyl This Summer As "Love Will Tear Us Apart" Celebrates 35 Years

A New Version Of Substance Featuring Two
Additional Tracks Will Arrive On 24th July
To celebrate the 35th anniversary of "Love Will Tear Us Apart" on June 27th, Rhino is pleased to announce the re-issue of four iconic Joy Division releases on heavyweight 180-gram vinyl. The studio albums UNKNOWN PLEASURES (1979) and CLOSER (1980) will be available on June 29th at retail outlets. They will be followed on July 24th by STILL (1981) and an expanded version of SUBSTANCE (1988), both available as a double-LP set.

Each design replicates the original in painstaking detail, including the gatefold covers used for Still and Substance. The music heard on the albums was remastered in 2007 when Rhino introduced expanded versions of the albums. The lone exception is Substance, which features audio remastered in 2010 for the +- singles box and for the first time on vinyl, the expanded tracklist from the original CD release, plus two additional songs: "As You Said" and the Pennine version of "Love Will Tear Us Apart." In addition to the vinyl format, Rhino will also release this expanded version of Substance as a 19-track CD, available on July 24th.

Joy Division recorded two albums before singer Ian Curtis tragically took his own life in 1980. But what the Manchester quartet lacked in longevity, it more than made up for in quality. The band's only two studio albums were groundbreaking and helped shape the sound and mood of the alternative music that followed in the band's wake.

Ian Curtis (guitar/vocals), Bernard Sumner (keyboard), Peter Hook (bass), and Stephen Morris (drums) released their debut, Unknown Pleasures, in 1979. By the end of the year, the album's atmospheric sound had won over fans and critics with tracks like "She's Lost Control" and "Day of the Lords." Closer , the group's second album, arrived the following year and its dark and melancholy tones continued to earn rave reviews for songs like "Isolation" and "Heart and Soul."

The compilations Still and Substance fill in the missing pieces of the band's history with non-album singles ("Transmission" and "Love Will Tear Us Apart"), unreleased studio tracks ("Something Must Break" and "Ice Age"), and choice live recordings ("Disorder" and the only performance of "Ceremony.")
Unknown Pleasures
Side A
1. "Disorder"
2. "Day of the Lords"
3. "Candidate"
4. "Insight"
5. "New Dawn Fades"

Side B
1. "She's Lost Control"
2. "Shadowplay"
3. "Wilderness"
4. "Interzone"
5. "I Remember Nothing"
Closer
Side A
1. "Atrocity Exhibition"
2. "Isolation"
3. "Passover"
4. "Colony"
5. "A Means to an End" Side B
1. "Heart and Soul"
2. "Twenty Four Hours"
3. "The Eternal"
4. "Decades"
Still (2LP)
Side A
1. "Exercise One"
2. "Ice Age"
3. "The Sound of Music"
4. "Glass"
5. "The Only Mistake"

Side C
1. "Ceremony"
2. "Shadowplay"
3. "Means to an End"
4. "Passover"
5. "New Dawn Fades"
6. "Twenty Four Hours"
Side B
1. "Walked in Line"
2. "The Kill"
3. "Something Must Break"
4. "Dead Souls"
5. "Sister Ray" Side D
1. "Transmission"
2. "Disorder"
3. "Isolation"
4. "Decades"
5. "Digital"
Substance (1CD and 2LP Track Listing)
1. "Warsaw"
2. "Leaders Of Men"
3. "Digital"
4. "Autosuggestion"
5. "Transmission"
6. "She's Lost Control"
7. "Incubation"
8. "Dead Souls"
9. "Atmosphere"
10. "Love Will Tear Us Apart"

11. "No Love Lost"
12. "Failures"
13. "Glass"
14. "From Safety To Where"
15. "Novelty"
16. "Komakino"
17. "As You Said"
18. "These Days"
19. "Love Will Tear Us Apart" (Pennine Version)