Rolling Reissues 2015

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)

Sun Dog Propaganda Press Release: Banned In DC Back in Print 6/23
After nearly 10 years out of production, Banned In DC is finally coming back into print.

Assembled by Cynthia Connolly, Leslie Clague, and Sharon Cheslow and originally released in
December of 1988, Banned in DC collects hundreds of photos, flyers, and stories documenting the DC punk scene of the mid-’80s.

It was thought that the sixth edition – which was released in 2005 – would be the final version of the book, as the negatives used to make the printing plates had deteriorated beyond use. However, due to consistent demand Connolly decided to recreate the book, hewing as closely as possible to the original design only this time as a digital negative.

The intention of the book – one of the first to be published on punk in the US – was to capture the feeling and energy of the movement, using stories from the people who were involved. Images of many of the bands of that time can be found in this book: Minor Threat, Faith, Marginal Man, Scream, Red C, Bad Brains, Rites of Spring, Nuclear Crayons, Insurrection, Hate from Ignorance, G.I., Bloody Mannequin Orchestra, Void, Second Wind, and more.

With the seventh edition of Banned in DC, Connolly has added an eight-page afterword explaining how and why the book came together. The story highlights her years growing up in Los Angeles in the late ’70s and early ’80s – going to shows and discovering and documenting the punk scene in DC after her family relocated to the area in 1981. Her personal collection of ephemeral objects such as letters, photos, and notes are used to illustrate her story.
The books will be available June 23, 2015.
EVENTS
- 6/20 Culver City, CA @ Arcana Books w/ Brian Turcotte (Book signing)
- More TBA

fabulous book, very highly recommended

the joy division records JUST GOT REISSUED a few years ago, in fact, I suspect these are straight repackagings of the ones that came out a few years ago. I have Unknown Pleasures from that series, it looked and sounded great on vinyl. The one nice thing there is the expanded Substance.

Yep. Oh btw, that xpost Smokey collection has a few really outstanding tracks, esp. the title song, with a dolorous daddy calling after his wayward, ambitious boyo; "Million Dollar Babies" (not the Alice Cooper number) is in effect something of an answer song, and the second version of it is even better; an anthem, leading/following the Babies out to streets o' smokin' gold, under the stars you can't see for the big city lights!

^^^ so looking forward to that Smokey stuff

the joy division records JUST GOT REISSUED a few years ago, in fact, I suspect these are straight repackagings of the ones that came out a few years ago.

Yeah I'll bet you they're $5-10 more expensive though. Because VINYLSSSS

That extended Substance makes me wonder, though. Also wondering about Frederick Michael St. Jude's Gang War, early 80s dystopian rock opera recently reissued on disc by Drag City
http://www.dragcity.com/uploads/products/2293/images/1046/large_DC623.jpg
Anybody heard it?

Samples here, and they've got some other stuff by him
http://www.dragcity.com/products/gang-war

I'm curious about that one too - heard a couple of tracks from an earlier album by him and one of them was really good, kind of coldly funky with some Roxy Music vibes maybe.

June thing from Numero:

Royal Jesters: English Oldies

Twenty-eight homespun stunners from the Alamo City’s scrappiest souleros. The Royal Jesters were the kings of San Antonio's cross-cultural teen scene in the 1960s, soundtracking lovelorn slow dances with their heart-sick harmonies. For the first time, English Oldies gathers the best early doo-wop, R&B, and blazing Latin rock and soul from these Tex-Mex masterminds—a simmering melting pot of diverse regional flavors, best served hot.

CD/2LP/Digital

White Eyes: S/T

The Summer of Love hadn’t reached Missouri, even by 1969. But White Eyes, a true anomaly of the Midwest, channeled the sound of Haight-Ashbury straight to the plains. The band was among the top performing acts in the “Show Me” state, opening for The Flying Burrito Brothers, Black Oak Arkansas, and Brewer and Shipley. Blending acoustic and electric instrumentation, three-part harmonies, and anti-Vietnam lyrics, this previously unissued LP holds true to the acid-drenched sounds of the Woodstock era.

CD/LP/Digital

Saved & Sanctified: Songs of the Jade Label

The rawest DIY gospel ever resurrected. The West Side of Chicago was just an annex of the deep rural South for Gene Autry Cash and his flock of recent Old Dominion transplants looking to cut their fiery, unadorned sounds indelibly to plastic. His Jade label absorbed those God-fearing artists: family bands with wailing kids and barely amateur groups sourced from local parishes, infused with reverberations of country and western and deep soul. Glinting authenticity shines from every track like a diamond in the unpolished rough—each group completely convinced that salvation comes through song.

LP/Digital

Scharpling & Wurster: The Best of the Best Show

Culled from the vaults of WFMU—the world’s most acclaimed free-form radio station—comes more than 20 hours of mind-bending, hilarious phone calls between the renowned comedy duo of Tom Scharpling & Jon Wurster. From 2000 to 2013, their tremendous imaginations took over the WFMU airwaves every Tuesday night with bizarre tales from a fictional town called Newbridge, New Jersey, and the desperate denizens that inhabit it.

Included inside this definitive collection are 75 calls over 16 compact discs, edited by Scharpling & Wurster (more than 50 of them previously unreleased or unaired), a 108-page hardcover book with cover art by Joe Matt that features essays by Patton Oswalt, Julie Klausner, Damian Abraham (lead singer of F*cked Up), and Best Show associate producer Michael Lisk (aka A.P. Mike), a definitive interview with Scharpling & Wurster by Jake Fogelnest, notes on the evolution and inspiration behind each bit written by Scharpling & Wurster, a USB drive with all of the calls plus 4 hours of bonus material, a fold-out map of Newbridge, Philly Boy Roy & Timmy von Trimble Paper Dolls, postcards, and temporary tattoos with The Best Show catch-phrases.

16 CD Box Set

Perk Badger “Do Your Stuff” b/w “Part 2”

The Mighty Pearstine “Perk” Badger cut a handful of sides for Wax-Wel and his own Hit Sound (and Hit Bound) labels in the late 1960s and early 1970s, including a low-fidelity attempt at the anthemic “Do Your Stuff.” A few years later, Perk took another stab, enlisting the help of Arnold Albury’s Rising Sons, a major force in Henry Stone’s TK operation. The results were raw, magical, heavy-hitting funk. It is debatable whether or not the reworked single ever saw distribution, but it would become his closest thing to a hit in 2014 when it found its way from a deep cut on Eccentric Soul: The Outskirts of Deep City to an international Nike ad campaign. Issued here on a bright replica Suncut label with bottom-heavy refurbished sound.

45/Digital

Still fresh:

NUM052.75 Ned Doheny: To Prove My Love 45/Digital
NUM056 Ultra High Frequencies: The Chicago Party CD+DVD/2LP+DVD/Digital
NUM707 Ork: Complete Singles 16x45
NUM1232 The Notations: Still Here 1967-1973 CD/LP/Digital
NUM1238 Bedhead: Live 1998 CD/LP/Digital
ES-049 Funkafize: Because You’re Funky 45/Digital
NBR004 Low’s In The Mid ‘60s LP/Digital

On the way:

NUM202.5 Unwound: Empire 4LP/Digital
NUM1233 The Scientists: S/T LP/Digital
NUM1234 The Scientists: Blood Red River

hey, what's this? some kind of non-numbered dylan bootleg series thing?:

http://www.amazon.com/Dylan-Cash-The-Nashville-Cats/dp/B00VBES6Q4/

Bob Dylan bucked executives at his record label and surprised his fans when he came to Nashville in 1966 to record his classic album Blonde on Blonde. Working with the city s unmatched session musicians, Dylan produced a rock & roll masterpiece and went on to record two more albums there. Dylan s embrace of Nashville and its musicians the Nashville Cats inspired many other artists, among them Neil Young, Joan Baez, and Leonard Cohen, to follow him to Music City. Around the same time, Johnny Cash was recruiting folk and rock musicians including Dylan to appear on his groundbreaking network television show, The Johnny Cash Show, shot at the Ryman Auditorium, home of the Grand Ole Opry.

The exhibit at the Country Music Hall of Fame looks at the Nashville music scene in the late 1960s and early 1970s, a time of great cultural vitality for Music City. This 2CD set is the companion release to this exhibit.

Disc: 1
1. Absolutely Sweet Marie (Bob Dylan)
2. Harpoon Man (Charlie McCoy & the Escorts)
3. It Ain't Me, Babe (Johnny Cash)
4. Down In The Flood (Flatt & Scruggs)
5. The Way I Feel (Gordon Lightfoot)
6. I'll Be Your Baby Tonight (Bob Dylan)
7. You Ain't Goin' Nowhere (The Byrds)
8. This Wheel's On Fire (Ian & Sylvia)
9. Gentle On My Mind (John Hartford)
10. Some Of Shelly's Blues (The Monkees)
11. Turn Around (The Beau Brummels)
12. I'm So Lonesome I Could Cry (Tracy Nelson)
13. If You Don't Like Hank Williams (1968 Demo)(Kris Kristofferson)
14. Bird On The Wire (Leonard Cohen)
15. Hickory Wind (The Byrds)
16. Blowing Down That Dusty Road (Country Joe McDonald)
17. The Boxer (Simon & Garfunkel)
18. Stone Fox Chase (Area Code 615)
19. The Byrds Sweetheart Of The Rodeo Radio Ad (Bonus Track)
Disc: 2
1. Girl From The North Country (Bob Dylan with Johnny Cash)
2. Driftin' Way Of Life (Jerry Jeff Walker)
3. Behind That Locked Door (George Harrison)
4. Crazy Mama (J.J. Cale)
5. Beaucoups Of Blues (Ringo Starr)
6. Going To The Country (Steve Miller Band)
7. Heart Of Gold (Neil Young)
8. If Not For You (Previously Unreleased Version) (Bob Dylan with Lloyd Green)
9. City Of New Orleans (Steve Goodman)
10. The Night They Drove Old Dixie Down (Joan Baez)
11. Blue River (Eric Andersen)
12. Seven Bridges Road (1972 Nashville Version) (Steve Young)
13. Will The Circle Be Unbroken (Nitty Gritty Dirt Band)
14. Sally G (Paul McCartney & Wings)
15. Silver Wings (Earl Scruggs with Linda Ronstadt)
16. A Six Pack To Go (Leon Russell, as Hank Wilson)
17. Matchbox (Live On The Johnny Cash Show) (Derek & The Dominos with Johnny Cash and Carl Perkins)

seems intriguing!

on a similar note bear family's now-into-four-volume series on country-rock (called "truckers, kickers, and cowboy angels" or something like that) is really, really good. well, the first two volumes are. the second two volumes (covering 1970 and 1971) are not as good.

btw you can get bear family CDs for pretty cheap on that ernie b's reggae website.

actually now that i look at it, it's kind of a predictable compilation of country-rock stuff from the later 60s/early 70s

the sony dylan/cash thing i mean

would that they actually released the dylan/cash sessions from 1968 on a bootleg series volume! i'm sure that'll come, though.

(re Bear Family)Cool, thanks!
That double w Dylan etc. is tied in with the exhibit I posted about way upthread, which also involves panels discussions with Nashville cats who played w Dylan, Byrds, Cohen, etc., and concerts comimg from different directions: for inst, Jon Langford performed with some cats, and some of his paintings of country-historical figures (kinda like R. Crumb's portraits of early blues etc. artists) are now in the exhibit, I think. More info about the whole thing here (it's been going on a while now, and apparently is pretty popular)
http://countrymusichalloffame.org/exhibits/exhibitdetail/dylan-cash-and-the-nashville-cats-a-new-music-city#.VW-uhEakQS0

Whether anything is revealed, dunno, but the Country Music Hall of Fame is fun tourist-bait.

A bit more like news, to me, anyway---from Anthology:

Andrew Kidman
Litmus ( 20th anniversary edition)
August 14, 2015
Anthology Recordings

Listen to track "Rain" HERE
https://www.youtube.com/watch?v=h013n-65ZYo&feature=youtu.be

By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture.

Litmus, Andrew Kidman’s first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidman’s band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock ‘n’ roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking -- it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidman’s 2006 follow up, Glass Love, in new form.

Andrew Kidman
Glass Love
August 14, 2015
Anthology Recordings

Andrew Kidman’s Glass Love (2006) serves as an evolution from his first avant-garde surf film, Litmus (1996). Kidman followed the same filmmaking technique from ten years prior: write and record the songs, then set the mise-en-scène to match the rustic, moody, balletic rock. Thanks to Litmus, experimentation in board design had progressed as surfers became more contemplative, questioning, ‘is surfing art or sport?’ Glass Love and its soundtrack highlights this mindset and time period, creating an extra dimension to surfing that is still prevalent today.

Andrew Kidman
Litmus + Glass Love Box Set
August 14, 2015
Anthology Recordings

Andrew Kidman / Windy Hills will performing music from Litmus / Glass Love with film montage screening:
6.12 - Bird's Surf Shed - La Jolla, CA **
6.13 - La Paloma Theatre - Encinitas, CA **
6.14 - Mollusk Surf Shop - Venice Beach, CA
6.15 - Mollusk Surf Shop - Silverlake, CA
6.18 - Fremont Theatre - San Luis Obispo, CA
6.19 - Rio Theatre - Santa Cruz, CA **
6.20 - TBA - San Francisco, CA **
6.22 - Chop Shop - Long Island, NY
6.23 - Union Pool - Brooklyn, NY **
6.24 - Paramount Theatre - Asbury Park, NJ
6.26 - Pilgrim Surf + Supply - Amagansett, NY **
6.28 - Solid Sound Festival - North Adams, MA

All of the dates include a screening of his latest film, Spirit of Akasha.
** indicates the shows where Kidman will screen Litmus/Glass Love montage + he and his band will perform selections from the films.

xpost

the country music hall of fame is a lot of fun. i don't much like contemporary country music, so i was pleased that anything post-1970 is basically relegated to one big room at the end.

Didn't it get closed down for a while either because of flood or some more important downtown development that forced it out?

So sorry, was thinking of What is your favorite item in the Musicians Hall of Fame and Museum in Nashville? (Not a POLL)

Drag City:

Royal Trux fans, rejoice! Your sick fantasies have actually been true all these years! Royal Trux's Twin Infinitives dry run, Hand Of Glory, is being exhumed from the dim-n-dank crow's nest of DCHQ and is once again seeing the light of day! In these revitalized days of Royal Trux fandom with reissues and reunion in the air, what could be more stim'latin' than a cache of dark age Royal Trux tapes? That's what's coming back - Hand of Glory is a missing piece of the Royal Trux puzzle, circa 1989-90.

Hand Of Glory was originally slated to be released following the seminal "Hero Zero"/"Love Is" 7" single (DC1, yo!). Hand of Glory is both bad-ass and half-arsed, upping the ante on what Royal Trux was capable of by doing LESS, somehow. For longer! With fewer people - therefore fewer people to pay. Newly relocated to San Francisco, Neil and Jennifer took advantage of their strange new climate by ignoring it, spending all their time indoors, pouring TONS of time and energy into this Trux direction. With black, white and blue magic floating around it, the Hand of Glory juju is dark and distinctly American, circa the end of the decade horribalis that was the 1980s (just kidding - the 90s were far worse!).

Sometime in 2000 or 2001, Neil Hagerty went to his parents' home to Virginia,where his father reminded him about a mysterious locked trunk in the basement. When Neil popped the lock on the trunk, he found the Hand of Glory tapes, stashed for around a decade there. "Domo des Burros" was complete and mixed but "The Boxing Story," was still on 4 or 5 little 1/4" reels. They were all supposed to be played on their own tape machines simultaneously. The boxes were marked and notated so he was able to piece them together and mix them down. Drag City even had the original artwork design in the office. First released in 2002 as the final nail in the Trux coffin, this essential, exo-stential collection of material will now be available once again in the confusion and desire that follows the Royal Trux reunion show at Berserktown in August. Reach for a Hand of Glory on August 28th, 2015.

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/825646284047.jpg

THE SISTERS OF MERCY

Four-LP Boxed Set Combines The Band's 1985 Classic
First And Last And Always With Three EPs From That Era

180-Gram Vinyl And Digital Versions Will Both Be Available July 24

LOS ANGELES - The Sisters of Mercy mastered the art of dark and foreboding rock in 1985 with the band's influential major-label debut, FIRST AND LAST AND ALWAYS. To commemorate the album's 30-year anniversary, Rhino will release a vinyl boxed set that includes the original album together with three 12" EPs from that era: Body And Soul, No Time To Cry and Walk Away.

FIRST AND LAST AND ALWAYS VINYL COLLECTION will be available at retail outlets on July 24 for a suggested retail price of $74.98. The set contains four LPs, all pressed on 180-gram vinyl, and comes packed in an attractive card slipcase. On the same day, the set will also be released digitally. The album and EPs that make up the set will also be available for download individually.

When The Sisters of Mercy signed with WEA in May 1984, the band consisted of Andrew Eldritch (vocals), Gary Marx and Wayne Hussey (guitars), Craig Adams (bass), and a drum machine named Doktor Avalanche. The group's first release for the label was the 12" EP Body and Soul . Eldritch once described the release as: "a vision of heaven with everyone on speed." Two of its four-tracks-"Body Electric" (1984 Version) and "Afterhours"-have only been available on the original 12". This new release makes these songs available digitally for the first time ever.

In March 1985, almost a year after Body And Soul, The Sisters of Mercy released its landmark album, First and Last and Always . It climbed to #14 on the album charts in the band's native England. Among the standout tracks are "Marian," "Rock And A Hard Place," and the ominous "Black Planet," which was released as a single in the U.S. Even though the album was enthusiastically embraced by goth rock culture, Eldritch has steadfastly rejected the label, saying the band has more in common with classic rock from the Sixties than the post-punk scene of the Eighties.

Also featured in this set are two singles from First and Last and Always that were issued as 12" singles with multiple b-sides. "Walk Away" was backed with "Poison Door" and "On The Wire." With was followed by "No Time To Cry," which was backed with "Blood Money" and "Bury Me Deep."

http://4ad.com/uploads/news/621_c_w_450_h_450.jpg

Following last year’s represses of Cocteau Twins’ Blue Bell Knoll and Heaven or Las Vegas, this July will see their combined EPs of Tiny Dynamine / Echoes In A Shallow Bay and long out of print, early-80s compilation, The Pink Opaque, officially released on 17th July.

With a history of releasing singles between albums, the two EPs of Tiny Dynamine and Echoes In A Shallow Bay were originally released two weeks apart back in November 1985. Seen as companion pieces, they acted as a precursor to their fourth studio album, Victorialand. 30 years later, they’re now being married together on to one piece of vinyl, completed with reformatted artwork.

A year later The Pink Opaque was compiled to bring together the best of the Cocteau Twins’ early works to become the band’s first official release in the US. Already a cult band on college radio, some classics like ‘Pearly-Dewdrops' Drops’ and ‘Aikea-Guinea’ were given new mixes for this release, while it’s noted for also featuring ‘Millimillenary’, the first run out for incoming band member Simon Raymonde. To this day, it remains a great entry point to a wonderful band.

Using new masters created from high definition files transferred from the original analogue tapes, both these albums will receive 180g vinyl pressings this July. HD audio downloads of both albums will be made available through specialist retailers at the same time.

very nice