Rolling Reissues 2015

Think it's from Johnny Jenkins' cover version (with Duane Allman's accompaniment in the sampled bits)
https://www.youtube.com/watch?v=udAJV4dVNyY

Unwound: Empire

The climactic entry in our four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, Washington, trio. On 1998's Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They'd abdicate entirely just three years later with 2001's Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilarating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked "Who Cares"? The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the '90s, indie rock, Unwound, and civilization as we know it.

While struggling to book European dates during their Challenge tour, Unwound took an invite to record sessions for BBC DJ legend John Peel. On May 24, 1998, the trio taped "Side Effects of Being Tired" and "Hexenszene" from New Plastic Ideas, plus "Kantina/Were, Are and Was or Is" from Fake Train. They're all included on this disc, a pre-order only product pressed for just the top 1000 most rabid Unwound disciples. John Peel, however, was never included. "I think we all thought that's what a Peel Session was: You go and record with John Peel. And it was just some other guy."

Order Now: 4LP or Digital

The Numero Guide to Bonus Records:

Catherine Howe "In The Hot Summer" b/w "Let's Keep It Quiet" 45
Available with the first pressing of NUM012 LP. 21 copies discovered.

Boys: Circuit Overload 10"
Available with NUM024 LP. Still in print.

Pieces "A Flower For All Seasons" b/w "In The Summer The Grape Grows"
Available with first pressing of NUM029 LP. Out of print.

The Deacons "Sock It To Me" b/w Fabulous Fascinators "Is It Because I'm Black" 45
Available with NUM032 LP. Out of print.

Sonny Wimberly & the Sunglows "Moe And Joe Part 1 & 2" 45
Available with NUM033 LP. Out of print.

LIZARD! CD
Available with NUM034 CD or LP. 67 copies discovered.

Mod Squad: Live From Trejbal Dairy LP
Available with NUM035 LP. Out of print.

Special Fourth Class Disc CD
Available with NUM035 CD. 52 copies discovered.

Soul Walkers "I'm Tired of What People Say Or Do" b/w "Never Say You Don't Have It"
Available with NUM045 Box. Out of print.

Supa Chief "Red Brained Woman" b/w "Animal Woman"
Available with NUM048 Game. Still in print.

Twin City Rappers "Twin City Rap" 45
Available with NUM050 LP or CD. Still in print.

Eccentric Soul: The Way Out Label Bonus LP
Available with NUM053 LP. Still in print.

Codeine "Pick Up Song" b/w "New Year's" 45
Available with NUM201 LP. 29 copies discovered.

Unwound: 7/26/2001 LP
Available with NUM202.2 LP. 21 copies discovered.

Unwound: Faked Train LP
Available with NUM202.3 LP. Fewer than 50 copies.

Unwound: Reykjavik, Iceland 6/30/1999 LP
Available with NUM202.4 LP. Fewer than 100 copies.

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FACES: YOU CAN MAKE ME DANCE, SING OR ANYTHING
(1970-1975)

The Collection Includes Newly Remastered Versions Of All Four Studio Albums
With A Bonus Disc Of Rarities And Will Be Available On August 28 From Rhino

Limited Edition Vinyl Version Boasts Remastered Sound Cut From The Original Analog Masters And Packaging That Meticulously Recreates The Original Albums

LOS ANGELES - Faces squeezed a lifetime's worth of rock 'n' roll into just five years. But despite their relatively short time together, Kenney Jones (drums), Ronnie Lane (bass/vocals), Ian McLagan (keyboard), Rod Stewart (vocals) and Ronnie Wood (guitar/vocals) have earned a spot on the short list of the world's greatest rock bands.

Rhino Records will release a boxed set with newly remastered versions of all four of the Faces' studio albums, plus a bonus disc of rarities. All of the music has been remastered from the original analog tapes, making the collection the best-sounding version of the band's music ever released. YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) will be available on August 28 from Rhino Records for a list price of $54.98 on CD and $39.99 digitally.

A beautiful limited edition vinyl version of the collection will also be released the same day. To deliver superior audiophile quality, each album was cut from the original analog master tapes directly to lacquers and pressed on 180-gram heavyweight vinyl. The records will come packaged in sleeves that accurately recreate the original release. For instance, when you push the sleeve for Ooh La La, the man's eyes move and his mouth opens, creating a look that's reminiscent of Terry Gilliam's animation work with Monty Python. This special set will be available for a list price of $129.98.

The YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975) CD set includes: The First Step (1970), Long Player (1971), A Nod Is as Good as a Wink...to a Blind Horse (1971), and Ooh La La (1973), and features unreleased bonus tracks included with each album. Despite their hard-partying reputation, the band was a formidable powerhouse and could play it all-blues, soul, funk, country and boogie. These albums showcase that incredible range from bar stool anthems like "Had Me A Real Good Time," "Miss Judy's Farm," and "Stay With Me," to tender ballads that will leave you crying in your beer like "Ooh La La," "Love Lives Here" and "Glad And Sorry."

In addition to the studio albums, the collection also features a bonus disc that gathers up nine essential tracks that didn't appear on proper albums, including the 1973 single "Pool Hall Richard," a live performance of the Temptations' "I Wish It Would Rain" from the 1973 Reading Festival, and "Dishevelment Blues," a song that came free as a flexi-disc in copies of the British music publication, New Music Express.

The Faces came together in 1969 when former Small Faces Ian McLagan, Kenney Jones and Ronnie Lane hooked up with ex-Jeff Beck Group vocalist Rod Stewart and guitarist Ronnie Wood. The group's impact on music has only deepened since its break up in 1975. In recognition of the Faces' influence, the Rock and Roll Hall of Fame inducted the group in 2012.

YOU CAN MAKE ME DANCE, SING OR ANYTHING (1970-1975)
Track Listing:

THE FIRST STEP
1. "Wicked Messenger"
2. "Devotion"
3. "Shake, Shudder, Shiver"
4. "Stone"
5. "Around The Plynth"
6. "Flying"
7. "Pineapple And The Monkey"
8. "Nobody Knows"
9. "Looking Out The Window"
10. "Three Button Hand Me Down"
11. "Behind The Sun" (Outtake) *
12. "Mona - The Blues" (Outtake) *
13. "Shake, Shudder, Shiver" (BBC Session) *
14. "Flying" (Take 3) *
15. "Nobody Knows" (Take 2) *

LONG PLAYER
1. "Bad 'n' Ruin"
2. "Tell Everyone"
3. "Sweet Lady Mary"
4. "Richmond"
5. "Maybe I'm Amazed"
6. "Had Me A Real Good Time"
7. "On The Beach"
8. "I Feel So Good"
9. "Jerusalem"
10. "Whole Lotta Woman" (Outtake) *
11. "Tell Everyone" (Take 1) *
12. "Sham-Mozzal" (Instrumental - Outtake) *
13. "Too Much Woman" (Live) *
14. "Love In Vain" (Live) *

A NOD IS AS GOOD AS A WINK...TO A BLIND HORSE
1. "Miss Judy's Farm"
2. "You're So Rude"
3. "Love Lives Here"
4. "Last Orders Please"
5. "Stay With Me"
6. "Debris"
7. "Memphis"
8. "Too Bad"
9. "That's All You Need"
10. "Miss Judy's Farm" (BBC Session) *
11. "Stay With Me" (BBC Session) *

OOH LA LA
1. "Silicone Grown"
2. "Cindy Incidentally"
3. "Flags And Banners"
4. "My Fault"
5. "Borstal Boys"
6. "Fly In The Ointment"
7. "If I'm On The Late Side"
8. "Glad And Sorry"
9. "Just Another Honky"
10. "Ooh La La"
11. "Cindy Incidentally" (BBC Session) *
12. "Borstal Boys" (Rehearsal) *
13. "Silicone Grown" (Rehearsal) *
14. "Glad And Sorry" (Rehearsal) *
15. "Jealous Guy" (Live) *

BONUS LP
1. "Pool Hall Richard"
2. "I Wish It Would Rain" (With A Trumpet)
3. "Rear Wheel Skid"
4. "Maybe I'm Amazed"
5. "Oh Lord I'm Browned Off"
6. "You Can Make Me Dance, Sing Or Anything (Even Take The Dog For A Walk, Mend A Fuse, Fold
Away The Ironing Board, Or Any Other Domestic Short Comings)" (UK Single Version)
7. "As Long As You Tell Him"
8. "Skewiff (Mend The Fuse)"
9. "Dishevelment Blues"

* previously unreleased

JAWBOX S/T BACK ON LP AND CD SEPTEMBER 22

Jawbox was formed in Washington, DC in 1989 by guitarist/vocalist J. Robbins, bassist Kim Coletta, and drummer Adam Wade. The trio released their debut 7” in 1990 as a split between Dischord Records and their own label, DeSoto. Over the next three years, Jawbox put out two albums and three 7” singles. Grippe, released in ’91, was the band’s first full-length. Second guitarist/singer Bill Barbot joined the line-up in time to record ’92’s Novelty. Both albums were released on Dischord. Zach Barocas took over drumming duties that same year, performing on For Your Own Special Sweetheart, which was released in 1994 on Atlantic Records.

Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band’s fourth and final album.

If Sweetheart presented the band’s music in a straightforward and unembellished state, Jawbox found the group more open to experimentation. Arrangement-wise, it contains some of the band’s densest compositions (“Chinese Fork Tie”), but also some of its most concise and tuneful songwriting (“Excandescent”). While the basic tracks were recorded more or less live, the songs were later augmented with sounds – toy drum kit, Hammond B3 organ, and saxophone – that were outside of the band’s established palate.

“I feel like that’s our kind of kitchen sink record,” says Robbins. “Sweetheart was bare-bones – just the best, most perfectly played representation of the band playing those songs. By the end of that recording process, we had a groove on who was going to do what and we thought, ‘now we can consciously incorporate our weird influences from other places.'"

By the time S/T was released via the Atlantic subsidiary TAG in 1996, it had become clear that Jawbox was beginning to wind down. “That record coincided with us starting to really burn out,” says Robbins. “We didn’t even know what label we were on at that point. We had toured the USA to the extent that we were ever going to feel like we were doing something new.”

The band toured the album throughout the remainder of the year, but ultimately decided to call it quits, performing its final show in Rochester, NY on February 14th 1997.

“I think that we thought of it as our best record,” says Robbins. “Every other Jawbox record was, like, ‘We have 12 songs, lets go record.’ This was the one record where we had the sense that ‘Are we ready?’ – we had a vision about how things should be, followed it through, and pushed the envelope aesthetically for ourselves.”
Long out of print, Jawbox has been remastered by Dan Coutant at Sunroom Audio and will re-issued on vinyl, CD, and digital download on September 22nd by Dischord and DeSoto Records.

Tracklist:
1) Mirrorful
2) Livid
3) Iodine
4) His Only Trade
5) Chinese Fork Tie
6) Won't Come Off
7) Excandescent
8) Spoiler
9) Desert Sea
10) Empire of One
11) Mule/Stall
12) Nickel Nickel Millionaire
13) Capillary Life
14) Absenter

RASTAFARI - THE DREADS ENTER BABYLON 1955-83

http://www.soundsoftheuniverse.com/img/news/492/w/rastafarislve.jpg

Soul Jazz Records new album Rastafari: The Dreads Enter Babylon 1955-83 charts the many links between reggae music and the Rastafarian religion.

Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Ras Michael and The Sons of Negus, Bongo Herman, Roy Ashanti (The Congos), Earth & Stone, Mutabaruka and many more, this is an in-depth look at some of the most unique and righteous music ever made and comes complete with a 40+ page outsize booklet, containing exclusive photography and extensive historical and contextual sleevenotes.

The new religion of Rastafari emerged in Jamaica during a time of intense political and social change in the 1930s. The first stirrings of anti-colonialism and workers’ rights were in motion, while Marcus Garvey’s Back-to-Africa movement was beginning to wane. But the pivotal catalyst to the birth of the Rastafari faith was the crowning of a black king in Africa in 1930.

One of the earliest mentions of Ethiopia in Jamaican music can be found on mento singer Lord Lebby and the Jamaican Calpysonians’ 1955 recording ‘Etheopia’. In the song Noel Williams, aka Lord Lebby, discusses Ethiopianism, the political movement that calls for a return to Africa for black people.

The 1960s saw the emergence of the first Rastafarian music on record with Count Ossie’s Rastafarian drummers. The visit of Haile Selassie to Kingston in 1966 was like an electric current throughout Kingston’s music scene – many of who had become adherents to the Rastafari faith. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, led by the success of Bob Marley and The Wailers.

At the source of the music of Rastafari is the figurehead master drummer and leader Count Ossie, who first bought the deeply spiritual nyabinghi and burro rhythms heard and played at sacred Rastafarian grounation (reasoning) sessions into popular Jamaican music through his many collaborations and performances with artists – from The Skatalites to The Folks Brothers - and producers – including Clement Dodd, Prince Buster and Harry Mudie.

At the start of the 1970s Count Ossie formed the Mystic Revelation of Rastafari with saxophonist Cedric Brooks, which immediately became the most significant group of the Rastafari faith, bringing together authentic rasta nyabinghi drumming together with spiritual and avant-garde jazz influences of Sun Ra, John Coltrane and Albert Ayler into a truly unique and groundbreaking sound.

As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.

This album comes in three separate formats: Deluxe CD with slipcase and 40-page outsize booklet, deluxe limited-edition heavyweight gatefold-vinyl edition + free download code (w/full sleeve notes etc) and as a worldwide digital release.

Tracklisting:
1. Count Ossie and The Rasta Family - Africa We Want Fe Go (1.27)
2. Johnny Clarke - None Shall Escape The Judgement (3.37)
3. Laurel Aitken - Haile Selassie (3.14)
4. Count Ossie and The Mystic Revelation Of Rastafari - Tales Of Mozambique (5.37)
5. Ras Michael and The Sons Of Negus - Booma Yeah (5.39)
6. Mutabaruka - Say (1.13)
7. Bongo Herman and Jah Lloyd - African Drums (3.32)
8. Ashanti Roy - Hail The Words Of Jah (3.49)
9. Count Ossie and The Mystic Revelation Of Rastafari - Sam's Intro (3.36)
10. Bongo Herman, Les and Bunny - Salaam (3.05)
11. Winston and Ansell - Zion I (3.44)
12. Techniques All Stars - Zion I Version (3.21)
13. Lord Lebby and The Jamaican Calypsonians - Ethiopia (2.59)
14. Count Ossie & Leslie Butler - Soul Drums (2.47)
15. The Heaven Singers - Rasta Dreadlocks (3.02)
16. Rod Taylor - His Imperial Majesty (3.12)
17. Q.Q. - Betta Must Come (3.48)
18. Earth & Stone - Jah Will Cut You Down (3.22)
19. Count Ossie & The Mystic Revelation Of Rastafari - Narration (9.03)
20. Ronald Downer and Count Ossie - A Ju Ju Wa (3.34)

Holy Moly, gotta check that, esp. any w Cedric Brooks.

On Monday, July 20th, we received the tragic news that Dieter Moebius had passed away. We at Grönland have had the pleasure to have worked very closely with Dieter in recent years and we will miss him dearly. We knew about his illness and despite this, he continued working closely on the box set with us. He and Grönland always wanted the box to be a statement of this incredible music and of life itself.

Dieter was not only an extraordinary musician, but also a wonderful person with a very special sense of humor.

Our thoughts go out to his family.

Grönland Records

********************

July 22, 2015
For Immediate Release

HARMONIA ANNOUNCE COMPLETE WORKS VINYL BOX SET, OUT OCTOBER 23RD ON GRÖNLAND

CONTAINS 5 RECORDS (ONE PREVIOUSLY UNRELEASED), 36-PAGE BOOKLET,
POSTER, POP-UP AND DOWNLOAD CODE

http://www.harmonia1973.com/

Few bands match the pastoral beauty and majesty of Krautrock supergroup Harmonia, the visionary German band that existed from 1973 to 1976 and brought together Dieter Moebius and Hans-Joachim Roedelius of Cluster, and Michael Rother of NEU!. Though Harmonia was not very well known during their lifetime in their native Germany, their music soon captured the attention of Brian Eno, David Bowie, and other high profile admirers overseas. Eno was so captivated by Harmonia — he once famously called them the “world’s most important rock group” — that he briefly joined the band, recording music with them in 1976.

On October 23rd, Grönland Records will release the entire Harmonia back catalog as a five vinyl box set, including previously unreleased material recorded 40 years ago at Harmonia HQ: Forst, Lower Saxony, Germany.

The box set includes all available records ever made by Harmonia:

Musik von Harmonia (1974)
Digitally remastered

Deluxe (1975)
Digitally remastered

Harmonia and Eno ‘76’s Tracks and Traces
Double vinyl including the "lost" Brian Eno recordings, which were found and originally released in 1997

Live 1974

Documents 1975
Previously unreleased recordings from Hamburg gigs and two studio tracks from Forst

Plus extras:
A lush 36-page booklet including previously unreleased photography documenting the history of Harmonia
The original Harmonia live poster
A beautiful pop-up artwork presenting the Harmonia headquarters in Forst
A download code for all of the songs in the box set


The story begins in 1971, when Dieter Moebius and Hans-Joachim Roedelius moved from Berlin to the wilds of Forst, deep in the countryside of Lower Saxony, next to the Weser River. In Forst, they made their homes within three grand, crumbling houses built several centuries ago. Michael Rother visited Forst in in early 1973. As he recalls, “When Klaus Dinger and I tried to put NEU! on stage in ’72 in Düsseldorf after releasing the first album, it was impossible to find the right musicians for touring because nobody understood our ideas. I remembered Cluster and their track ‘Im Süden,’ and because I saw similarities in the harmonic approach I decided to pay them a visit in Forst.” Rother brought his guitar along, and jammed with Roedelius. “The two instruments we played together immediately clicked, and so I decided to put NEU! on hold. Roedelius and Moebius were equally excited about the idea of the three of us working together and so six weeks later, I left Düsseldorf and NEU! behind and moved to Forst.”

Life in the rambling, rural environs of Forst was as much about surviving with little money as it was about making music. “It’s a very important part of the game that we were able to live at that place, in that beautiful island of silence and beauty, surrounded by cows and horses and geese and pigs,” says Roedelius. “Going to the forest and cutting wood and doing the gardens, that was part of it.” Indeed, the music of Harmonia is part and parcel of the lush landscape of Forst, and its communal spirit.

The differences in musical temperament between the three were clear from the outset. Rother was the only one who had something resembling musical training. Moebius, meanwhile, had noisier, more anarchic inclinations. Roedelius was more overtly romantic and melodic, but his approach to making music had more in common with Moebius than with Rother.

Harmonia released their debut album, Musik von Harmonia, in 1974. They recorded and mixed the album themselves in Forst. "We had three [tape] machines, Revox type, and a very primitive mixer,” says Rother. “The advantage was we could work whenever we wanted and didn‘t have a studio clock ticking away. The record sales, however, were very disappointing, our love for the music was not echoed by the public." The striking Pop Art cover of a detergent bottle, designed by Moebius, gave the band an instantly iconic and modern look.

Harmonia’s second album, Deluxe (1975), was co-produced by the brilliant producer and engineer Conny Plank, who had worked with NEU!, Cluster, Kraftwerk, and many other bands. Deluxe was recorded on Plank’s equipment in Forst in the summer of 1975, and mixed at his studio near Cologne soon afterwards. As described by Rother, “We didn‘t have to push [Conny] to experiment; we were all on the same level. Everybody was looking for new expressions, a new way of creating the sound . . . I remember some really wonderful moments, because he was so talented in picking up your ideas. We never theorized about music, we were intuitive players, musicians.” Deluxe is a breathtaking album, a clear departure in style. It was the most “pop” that Harmonia ever became, with tighter song structures than the more sprawling landscapes of Musik von Harmonia.

After struggling for months about the direction the music of Harmonia should take, Harmonia split up in 1976, but the group briefly reunited later that year to record in Forst with Eno. After the sessions with Eno, the group went their separate ways. Their music has inspired generations of musicians and these days it appeals to audiences, young and old, in a way Roedelius, Moebius and Rother couldn’t have imagined in the 1970s. Despite the differences, there was a shared vision with Harmonia, too. “We were all different individuals — that was clear from the beginning,” says Rother. “But we were similar in our wish for freedom: freedom in the way we chose to live, and in our wish to be independent from record companies and to live a free life.” Harmonia lives on as a document of that magical time in Forst.

Some more info, comments on this reissue:
http://www.ilxor.com/ILX/ThreadSelectedControllerServlet?boardid=41&threadid=90668

Don't have a track listing yet, but Numero Group is doing a box of all of White Zombie's pre-DGC material. I have two hopes:

1) The unreleased songs from the early, early sessions (see Wikipedia for details);
2) Remastering from the original tapes (when DGC put out that Let Sleeping Corpses Lie set a few years ago, most of the early stuff was mastered from vinyl)

3) It's not priced so high that I wince and decide to just buy the CD box instead

http://www.superdeluxeedition.com/wp-content/uploads/2015/05/isley_box2-480x284.jpg

In August this year, Sony’s Legacy Recordings will release a massive 23-disc box set: The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-1983).

This will feature newly remastered versions of The Isley Brothers’ 21 albums released for both labels, nearly all of which are expanded with rare mixes and tracks making their CD and digital debuts. In total this new collection includes 84 rare and previously unreleased bonus tracks.

One of the most significant inclusions is the ‘lost’ live-in-the-studio album Wild In Woodstock: The Isley Brothers Live At Bearsville Sound Studio 1980. This is newly restored and for the first time it is being released in its entirety.

As can be seen from the image above, the CDs come in card sleeves accompanied by a booklet with everything residing in what looks like a clamshell box. This Isley Brothers anthology was compiled and produced by Leo Sacks, with the help of Jeffrey James and Jeremy Holiday. The music has been newly remastered from the original analog tapes by Mark Wilder at Battery Studios.

The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-83) will be released on 24 August 2015.

In the box…

The Isley Brothers: The RCA Victor and T-Neck Album Masters (1959-1983)

* denotes the inclusion of bonus tracks)

• Shout! (RCA Victor, 1959)*
• It’s Our Thing (T-Neck, 1969)*
• The Brothers: Isley (T-Neck, 1969)*
• The Isley Brothers Live At Yankee Stadium (T-Neck, 1969)
• Get Into Something (T-Neck, 1970)*
• In The Beginning…The Isley Brothers & Jimi Hendrix (T-Neck, recorded 1964-1965; remixed/released 1971)*
• Givin’ It Back (T-Neck, 1971)*
• Brother, Brother, Brother (T-Neck, 1972)*
• The Isleys Live (T-Neck, 1973)
• 3+3 (T-Neck, 1973)*
• Live It Up (T-Neck, 1974)*
• The Heat Is On (T-Neck, 1975)*
• Harvest For The World (T-Neck, 1976)*
• Go For Your Guns (T-Neck, 1977)*
• Showdown (T-Neck, 1978)*
• Winner Takes All (T-Neck, 1979—2 CDs)*
• Go All The Way (T-Neck, 1980)*
• Wild In Woodstock: The Isley Brothers Live At Bearsville Studios 1980 (previously unreleased)*
• Grand Slam (T-Neck, 1981)*
• Inside You (T-Neck, 1981)*
• The Real Deal (T-Neck, 1982)*
• Between The Sheets (T-Neck, 1983)*

That Isley Brothers box was originally about £40 on Amazon, hesitated about ordering (a lot of IBs for a newcomer!) and it's now £80. Still a pretty good deal but will wait.

There was an original albums series about 5 years ago that covered the T Neck years stuff. Not sure if it was easily available before that.

Tempted for the '71 remix of tracks w Jimi in particular, but some other goodies in there as well, the few I'm familiar with, at least

from Rhino:

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/0825646077038.jpg

SISTERS OF MERCY

Four-LP Set Combines The Band's Influential Second Album Floodland With
12" Versions Of "This Corrosion," "Dominion" And "Lucretia My Reflection"

180-Gram Vinyl And Digital Versions Will Both Be Available September 25

LOS ANGELES - The Sisters of Mercy broke up soon after the band finished the tour for its 1984 debut, First and Last and Always. Undaunted, the group's founder and frontman Andrew Eldritch kept the name and continued to make music with his faithful drum machine Doktor Avalanche. The Sisters of Mercy came back stronger than ever in 1987 with its second album, Floodland , a commercial and artistic breakthrough.

Earlier this year, Rhino released a vinyl boxed set that focused on the music surrounding the band's first album. Continuing that trend, the next set will spotlight the group's influential sophomore album, and will include a trio of 12" singles from that era: "This Corrosion," "Dominion" and "Lucretia My Reflection."

FLOODLAND ERA VINYL BOX SET will be available at retail outlets on September 25 for a suggested list price of $74.98. The set contains four LPs, all pressed on 180-gram vinyl, and is packed in a handsome card slipcase. On the same day, the set will be released digitally, and all the songs will be available for download individually.

The second incarnation of The Sisters - which featured bassist Patricia Morrison of Gun Club - explored new sonic avenues on Floodland. The tone was still dark and moody, but now the loud guitars shared space with keyboards and the rich orchestrations of producer Jim Steinman (Meat Loaf) on tracks like "This Corrosion" and "Dominion/Mother Russia." When the album was released in November 1987, it climbed the charts in England where it reached the Top Ten.

Along with the studio album, FLOODLAND ERA VINYL BOX SET also includes essential music released during that time, including the 12" version of the first single, "This Corrosion." It features a different mix of the title track, along with the B-sides "Torch" and "Colours."

The 12" version of the second single "Dominion" also appears in this set. It contains a different mix of "Dominion," as well as three additional tracks: "Untitled," "Sandstorm" and "Emma." The third single, "Lucretia My Reflection" is represented here by the 12" version from 1988 that features the B-side "Long Train." This new boxed set marks the digital debut for all the songs featured on the 12" singles.

Crazy price, esp. consid. that three of the four "albums" AKA 12" singles.

yeah was just trying to work out how they equated 12" to lp. I thought it had more to do with playing duration and the 4 12"s together might just equate to one lp. But there you go.
Maybe its just newfangled people not used to the old style medium of vinyl?

I think I can live with CDs of Some Girls Wander and the Essential Albums set (or whatever it's called - $13 and includes the first three albums with bonus tracks)...

https://www.dropbox.com/s/3mw6vj2f0we102a/SPLPS%20copy.JPG?dl=0

Whats Your Rupture and Terminal Records are thrilled to announce the reissue of two albums by The Sunday Painters—Something to Do (1982) and 4th Annual Report (1985).

The Sunday Painters were wide-ranging DIY art-punks. Operating out of Wollongong, Australia in the early 80s, they seemed to want to be every band from the Velvet Underground to King Crimson to the Sex Pistols to Throbbing Gristle. And they wrote catchy, often beautiful, songs, the greatest of which are also commentaries on the costs of containing such multitudes.

The Painters were formed in late 1978 by Peter Raengel and Peter MacKinnon. They released three singles on their own Terminal Records between 1979 and 1981 (collected in January, 2015 on the In My Dreams LP). Then, with a new bassist, Dennis Kennedy, they recorded their first album, Something To Do, which came out in 1982 as a run of 500 copies, also on Terminal. It’s as diverse a record as art-punk ever delivered, from the recessional dirge of its title track to the blitzkrieg minute of “Emotion Sickness” to “ECT,” the seven-part, industrial-punk-prog piece that closes the album.

Recording for 4th Annual Report began soon thereafter, and most of it would be finished by the end of 1983; however, the record did not come out until 1985, when a pair of songs were added. Out in a run of just 250 copies, it is the dense work of a band that had absorbed the full range of DIY and industrial sounds. At its heart is one of the great pop moments of Post Punk—“Love Factory,” which launches itself with a beat that would do the Ronettes proud, then throws a couple songs simultaneously beneath a proto-jungle skitter.

Included with each album are booklet inserts and download codes for all tracks, plus bonus live material.

For fans of the Homosexuals, Total Control, SPK, Swell Maps

http://whatsyourrupture.bigcartel.com

https://www.dropbox.com/s/3mw6vj2f0we102a/SPLPS%20copy.JPG?dl=0

Looking fwd! US Amazon's got vinyl pre-release sales, and they've already got an mp3 version of 4th Annual Report, apparently downloadable today---does the reissue edition in your post add tracks?

The vinyl has only the original LP tracks, but the download also includes a live set.

4th Annual Report gets a live radio broadcast from December 1982:

1. DISCIPLINE (Throbbing Gristle)
2. LET’$ BE MODERNE
3. CONCERTINA
4. DO THE LOTUS
5. PLEASE KILL ME
6. SANG-FROID
7. IMAGEND
8. DESERTS OF LOVE
9. REBEL REBEL (Bowie)
10. LOVE FACTORY

While Something To Do gets the hour-long live cassette, Any Port in a Storm, which was recorded also in '82 and came out that year in a run of 100 copies:

1. DO THE LOTUS
2. FLESH
3. OLD WORLD (Modern Lovers)
4. SELF-CONTROL
5. USA
6. BE OBJECTIVE
7. PATHS OF GLORY
8. TOO SAD TO CRY
9. EMOTION SICKNESS
10. MANTRA
11. SOMETHING TO DO
12. REMA-REMA (Rema Rema)

Some sample audio files:

"Something To Do"

https://soundcloud.com/krazypunx/sunday-painters-something-to-do

And "Through A Shattered Lens"

https://soundcloud.com/krazypunx/sunday-painters-shattered-lens

Thanks! Will check.

LATE LOST-SOUL SINGER-SONGWRITER
DENNY LILE’S DEBUT ALBUM AND STORY
EMERGE AFTER 40 YEARS IN THE VAULTS
VIA CD + DVD SET FROM BIG LEGAL MESS ON OCTOBER 16.
Hear the Bang: The Life and Music of Denny Lile spotlights
a masterful-but-obscure artist whose music foreshadowed Americana

LOUISVILLE, Ky. — Denny Lile was a local legend — a gifted songwriter, singer and guitarist who seemed poised for fame, but his once-rising star sputtered out in a tragic spiral that ended with his death from alcoholism at age 44 in 1995. The new CD-and-DVD set Hear the Bang: The Life and Music of Denny Lile blends Lile’s brilliant and visionary unreleased debut album with a documentary film that tells his ultimately tragic story. Within its fabric lie 16 songs that foreshadow the arrival of the Americana genre and were recorded at the same time as Neil Young’s foundational Harvest album. Lile’s story also stands as a broader fable. It parallels that of many other formidable regional talents who lived and died in obscurity within the sprawling landscape of American popular music. The set will be released on October 16, 2015 on Oxford, Mississippi’s Big Legal Mess Records.
When Big Legal Mess head Bruce Watson — who, as co-owner of Fat Possum Records, has specialized in resurrecting and releasing obscure-but-great music from the South since the early ’90s — first listened to Hear the Bang, the debut full-length that Lile recorded in 1972, his reaction was typical of those who get their initial earful of the brilliant singer, songwriter and guitarist’s work. “I thought, ‘My God, I can’t believe nobody’s heard this,’” he recalls. “‘This guy’s a great singer-songwriter who never got his due. I’ve got to put this out!’”
Lile’s recordings, which spent four decades entangled in a web of legal issues, reveal an artist of subtlety and depth, with a streak of melancholy. His songs, including the haunting title track and the country-rocker “Looks Like the Feeling’s Slowly Fading,” often deal with lost love and its complexities: longing, alienation, issues unresolved. But with his honey-and-butter voice and shimmering lightning-strike guitar, even the bitter pills go down sweetly. As with Harvest, the songs on Hear the Bang — which was recorded when Lile was just 21 years old — are filled with imagery from the American landscape: rivers, freight trains, blue jeans and tee shirts, sun-dappled spring days. Also like Harvest, the instrumentation blends acoustic and electric elements — including Lile’s own six-string and dobro — mostly played by musicians who performed with Lile in various Louisville-area bands: the Matchbox, Soul Inc., Elysian Fields, Otis and Puddinfoot. Of course, there are also unqualified love songs, like the moon-eyed “Rag Muffin” and the soaring “Oh Darlin’.” And “’Cause You’re Mine” taps the era’s psychedelic vein with its ringing raga-like chords.
As these musical gemstones reveal, and Lile’s surviving bandmates and one-time song publisher attest in the documentary DVD, melody and lyrics were the cornerstones of his art. He polished them until they gleamed, sometimes working on a song for more than a year before revealing it even to his closest collaborators. Forty-three years later, these tunes are still radiant and remarkably undated.
The film was made by Lile’s nephew Jer, a 39-year-old Zionsville, Indiana-based custom guitar and amplifier maker. Denny has hung over Jer’s life and his own career in music like a specter. By the mid-’80s Denny, battling alcoholism, was largely estranged from Jer’s father Dwight and his family. So the movie is as much the tale of Denny Lile’s rise and fall as an attempt by Jer to get to know and understand his uncle as a man and an artist.
Including interviews with Denny’s friends, bandmates, business associates, ex-wife and daughter, and a Ken Burns-like assemblage of still photos and artifacts, the doc begins with Denny’s childhood, which was fractured by his parents’ divorce. The break-up greatly affected Denny’s outlook, which was already emotionally insulated due to their style of parenting. “We were expected to take care of ourselves,” Dwight explains. “Mom and dad were not nurturing.”
Melancholy and insecure, Denny nonetheless rose to fame around his native Louisville with a series of bands and had numerous near-scrapes with the big time, including a major-label signing that crumpled before he entered the studio to cut an album and a disastrous no-show at Nashville’s annual country music confab Fan Fare, where Denny was unable to take the stage after drinking too much in an effort to calm his perennial stage fright. Denny’s biggest break arrived when Waylon Jennings recorded his song “Fallin’ Out” and it became a top 10 single on Billboard’s Hot Country Singles & Tracks chart in 1987. He built a studio and bought a conversion van with the money. As his relationship with his wife and daughter fell apart due to his alcoholism, that van became his home. It was also where he died, alone.
Jer Lile described the process of making the film as both enlightening and heartbreaking to Insider Louisville writer David Serchuk. “I’ve talked with all these people to get a better sense of who he was, and that kind of makes the sense of loss a little more intense, more defined … I can’t tell you how often I’ve cried during this process.
“If I could have dinner with anybody, he’d be at the top of my list,” Jer told Serchuk. “I’d want to find out why … why couldn’t you kick it? You had people that loved you, talent and all these opportunities to succeed. It seemed like every time he made a step forward, he took two steps back.”

CONCORD MUSIC GROUP TO REISSUE CLASSIC SOUNDTRACKS:
AMADEUS, ONE FLEW OVER THE CUCKOO’S NEST
AND J.R.R. TOLKIEN’S THE LORD OF THE RINGS.
Deluxe vinyl box sets available September 11;
features include 180-gram vinyl, new liner notes and film ephemera
LOS ANGELES, Calif. — Concord Music Group is proud to introduce the Original Soundtrack Classics series, a limited-edition line of vinyl reissues, each designed with both the music lover and the film buff in mind. To kick off the series, three scores from the Fantasy Records archives will be reissued on September 11, 2015 in deluxe, 180-gram vinyl LP box sets: Amadeus, One Flew Over the Cuckoo’s Nest and J.R.R. Tolkien’s The Lord of the Rings.

Though Amadeus was a widely acclaimed hit film, taking home eight statues at the Academy Awards (including Best Picture), the overwhelming success of the classical soundtrack was a surprise hit when it was released in 1984. The score, which received a GRAMMY Award for Best Classical Album, astonished music executives worldwide as it jumped up the Billboard album charts — matching record sales of some of the biggest popstars of the day, and becoming one of the most popular classical releases of all time. This Original Soundtrack Classics box set will mark the first time that the entire score is available on vinyl, in one collection. The three discs are each housed in their own unique sleeves, featuring new artwork. Completing the package is a 23” x 36” theatrical poster and a 16-page booklet, complete with new liner notes by the score’s esteemed conductor, Sir Neville Marriner, plus original liner notes by music historian Grover Sales, detailed information on each track, an annotated plotline and stills from the film.

Next in the collection is the Academy and GRAMMY Award-nominated score from the 1975 hit film One Flew Over the Cuckoo’s Nest. Composed by prolific producer and musician Jack Nitzsche (Phil Spector, the Rolling Stones, Neil Young), the soundtrack has long been praised for its edgy and effective nature (including the eerie instrumental use of a saw in the opening and closing themes). Inside the Original Soundtrack Classics box, fans will uncover the LP in a reproduction of its 1975 gatefold jacket. Accompanying the score is a 24” x 36” poster which was included in the original packaging; two collectible pin-back buttons (“Beware Big Nurse” and “McMurphy Rules”); as well as a 16-page booklet containing rarely seen stills from the film, insightful notes by director Miloš Forman and an essay on Nitzsche by documentarian Kristian St. Clair.

Completing the initial set of Original Soundtrack Classics reissues is the timeless score to the 1978 animated feature J.R.R. Tolkien’s The Lord of the Rings, from Academy Award-winning composer Leonard Rosenman (East of Eden, Rebel Without a Cause, Barry Lyndon). This highly collectible, 2-LP box set is filled with a wealth of ephemera, and will be a must-have for fans of the landmark film.

The album is housed in a reproduction of the soundtrack’s original gatefold jacket, and includes a 24” x 36” alternate theatrical poster, featuring Gandalf, as well as a lobby car — both reproduced from 1978 marketing materials. Also in the box is a map of Middle-Earth, as well as a production cel and a sticker — all reproductions of items previously available only to Tolkien Fanclub members in the 1970s and ’80s. A 16-page booklet rounds out the collection, featuring stills from the animation and behind-the-scenes photos, all contextualized with liner notes by Tolkien Enterprises’ Laurie Battle, plus a new Rosenman appreciation by Jon Burlingame, the nation’s leading writer on the subject of music for films and television. Music historian and box set producer Bill Belmont also offers a backstage look at the making of the film.

Additional titles will be announced in 2016 from the Original Soundtrack Classics line.

Sorry, I left out this Denny Lile link:
HEAR an exclusive track ("Fallin' Out") via Blurt: http://bit.ly/1eK4EgV

BEAR FAMILY RECORDS READIES DEFINITIVE
TENNESSEE ERNIE FORD SET,
DUE OUT IN U.S. SEPTEMBER 25
Five-CD, 154-track musical selection
augmented by 124-page hardcover book.
Fall 2015 marks 60th anniversary of Ford’s iconic “Sixteen Tons.”
VOLLERSODE, Germany — Inarguably a major recording act, Tennessee Ernie Ford (1919-1991) sold an estimated 90 million albums worldwide, and charted 17 Top Ten country singles and four Top Ten pop singles over a 35-year recording career. And he played significant — and pioneering — roles in radio and television broadcasting.

On September 25, 2015, Bear Family Records will release Tennessee Ernie Ford: Portrait of an American Singer (1949-1960). The deluxe 12x12x1.5-inch box set contains 154 tracks on five CDs including all of the secular-themed studio recordings from the first dozen years in the career of one of the most important crossover acts in the history of American popular music. The package also contains a 124-page hardcover book with newly written essays, track-by-track album notes, a discography, label scans, and many rare photographs and illustrations. The book was authored by three-time Grammy Award-nominated music historian Ted Olson, Ph.D., from the department of Appalachian Studies/Bluegrass, Old-Time and Country Music Studies Program at East Tennessee State University. Olson also produced the reissue.

The set contains early country hits including the chart-topping “Mule Train” (1949) and the pioneering “hillbilly boogie” smash “The Shotgun Boogie” (1950), as well as Ford’s first major crossover hit, the 1950 duet (with Kay Starr) “I’ll Never Be Free.” There are classics such as “Rock City Boogie” (with the Dinning Sisters, 1951) and “Blackberry Boogie” (1952) as well as such overlooked delights as the train song “Tennessee Local” (1952), and Ford’s 1953 interpretation of Willie Mabon’s R&B hit “I Don’t Know.”

This boxed set includes a never-before-released song (“Slow Down”), numerous singles and album tracks not previously reissued on CD, and several rarities, including Ford’s 1955 recitations of Davy Crockett tales, as well as his 1958 public service jingles to promote the U.S. Marine Corps’ Toys for Tots charitable program.

Ford’s hit “hillbilly boogie” singles from 1949 to 1953 — including “Smokey Mountain Boogie” (1949), “The Shotgun Boogie” (1950), “Rock City Boogie” (1951), and “Blackberry Boogie” (1952) — blended black and white stylistic influences and are widely considered to have been pioneering rock ’n’ roll records.

In the early months of 1955, Ford’s version of “The Ballad of Davy Crockett” was a top five hit on the country chart as well as on the pop chart, foreshadowing the artist’s ultimate crossover achievement. Also that year, his hit “Give Me Your Word” was the #1 pop single in the U.K. And toward the end of ’55, Ford’s smash single “Sixteen Tons” topped both charts simultaneously, and rose to #1 in the U.K., selling more than four million copies and proving to be one of the most influential singles of the 1950s, reaching #1 on the country chart for ten weeks, and #1 on the pop chart for eight weeks. Long considered Ford’s signature song, “Sixteen Tons” was eventually inducted into the GRAMMY® Hall of Fame and into the National Recording Registry.
This boxed set provides a thorough exploration of Ford’s first dozen years (1949-1960) as a recording act, and listeners today can marvel at the range of his repertoire and (considering that for much of that period he was a musician part-time and a television host full-time) at the extent of his productivity.

Although he spent his career in California, Ford was from Bristol, Tennessee, which has been called “The Birthplace of Country Music” for its role is hosting the legendary 1927 recording sessions in which Jimmie Rodgers and the Carter Family were first recorded. (Bear Family Records released the definitive version of the so-called Bristol Sessions in 2011.)

In 1984 Ford became the first country artist to receive the Presidential Medal of Freedom, the highest governmental award given to a civilian. He was inducted into the Country Music Hall of Fame in 1990 and into the Gospel Music Association’s Gospel Hall of Fame in 1994.

The wide range of artists who have specifically cited Ford as a formative influence on their own music include American musicians such as Bob Dylan, Elvis Presley, Johnny Cash, The Everly Brothers, Glen Campbell, Micky Dolenz, Odetta, Della Reese, Dolly Parton, Tom Waits, Steve Young, Tom Petty, Meat Loaf, and the bands ZZ Top and They Might Be Giants, as well as British musicians including John Lennon, Eric Burdon, Tom Jones, Jeff Beck, Billy Fury, Elton John, Nick Lowe, and the Clash.

Ford made innovative and influential recordings, all of which can be heard in Portrait of An American Singer.
According to producer Olson, “In recent years Tennessee Ernie Ford has been primarily remembered for his mid-1950s crossover smash hit ‘Sixteen Tons’ and for some of his gospel records. But the singer made many other exciting recordings, and Bear Family Records and I decided it was time to showcase Ford’s influential early studio recordings in order to make a case for his enduring significance as a compelling popular recording artist. Presenting all of Ford’s secular-themed recordings from the most influential period (1949-1960) of his long career while providing a written and illustrated narrative of his varied and pioneering roles in the entertainment industry, this new box set, we hope, will help people realize that Ford was not only a figure of historical importance but also an inimitable American singer who left us many timeless and delightful recordings.”

# # #

http://d31hzlhk6di2h5.cloudfront.net/20150805/e1/e7/b2/4f/b55b60a3f68c5cd394612c59_219x280.jpg

**Listen now to a previously unreleased Tennessee Ernie Ford track via The Wall Street Journal's SpeakEasy: http://on.wsj.com/1IXqgEk

http://ecx.images-amazon.com/images/I/519ublDniAL.jpg

A definitive collection of Billy Cobham’s early career as a bandleader on Atlantic, lavishly packaged, remastered and featuring unreleased material, as well as singles.

• Clamshell Box
• Unreleased material and singles included
• Each Atlantic album in a mini-LP CD cardboard replica sleeve with spine of the original artwork
• 60-page, perfect-bound booklet, with period photos and liner notes

Disc 1: Spectrum
1. Quadrant 4
2. Searching For The Right Door
3. Spectrum
4. Anxiety
5. Taurian Matador
6. Stratus
7. To The Women In My Life
8. Le Lis
9. Snoopy's Search
10. Red Baron
11. All 4 One (Outtake)
12. Stratus - Pt. I (Mono)
13. Stratus - Pt. I (Stereo)
14. Stratus - Pt. II (Stereo)

Disc 2: Crosswinds
1. Spanish Moss - A Sound Portrait: Spanish Moss
2. The Pleasant Pheasant
3. Heather
4. Crosswind
5. Crosswind
6. Le Lis

Disc 3: Total Eclipse
1. Solarization: Solarization / Second Phase / Crescent Sun / Voyage / Solarization - Recapitulation
2. Lunarputians
3. Total Eclipse
4. Bandits
5. Moon Germs
6. The Moon Ain't Made Of Green Cheese
7. Sea Of Tranquility
8. Last Frontier
9. Moon Germs

Disc 4: Shabazz
1. Shabazz (Recorded Live in Europe)
2. Taurian Matador (Live in Europe) (Revised)
3. Red Baron (Live in Europe) (Revised)
4. Tenth Pinn (Live in Europe)

Disc 5: A Funky Thide Of Sings
1. Panhandler
2. Sorcery
3. A Funky Thide Of Sings
4. Thinking Of You
5. Some Skunk Funk
6. Light At The End Of The Tunnel
7. A Funky Kind Of Thing
8. Moody Modes
9. Neu Rock N' Roll (Outtake)

Disc 6: Life & Times
1. Life & Times
2. 29
3. Siesta / Wake Up!!! That's What I Said
4. East Bay
5. Earthlings
6. Song For A Friend, Pt. 1
7. On A Natural High
8. Song For A Friend, Pt. 2
9. Natural Essence
10. Natural Essence

Disc 7: Magic
1. Hip Pockets
2. Ivory Tattoo
3. Space Lady
4. Almustafa The Beloved
5. Do What Cha Wanna
6. Frankenstein Goes To The Disco
7. Sweet Wine
8. Juicy
9. Do What Cha Wanna
10. Hip Pockets

Disc 8: Inner Conflicts
1. Inner Conflicts
2. Muffin Talks Back
3. Nickels And Dimes
4. El Barrio
5. Arroyo

I'm kinda tempted by this, for the new remasters and the bonus tracks, but I bought an Original Album Series box that has the first 5 albums from this set (minus the single edits, etc.) not two months ago. So I don't know.

Another missed opportunity to call one of his releases "Ham on the Cob"

My friend Jason has compiled a beautiful set of 14 country songs, all taken from 45's and all custom releases, or private press. I can not recommend this enough!
http://lightintheattic.net/releases/1946-small-town-country-vol-1

Wow! I think I'm in.

Bikini Kill: Revolution Girl Style Now

Reissue Featuring Three Unreleased Songs
Available For The First Time On Vinyl, CD & Digitally
September 22 via Bikini Kill Records

Revolution Girl Style Now Video Trailer Released Today,
ft. Exclusive Band-Made & Original Live Footage
https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/492e63e5-8139-424e-9cb9-72bfef392065.jpeg
Photo Credit: Allison Wolfe

Bikini Kill is the infamously fierce, riot grrrl band featuring feminist punk pioneers Kathleen Hanna, Tobi Vail, Billy Karren and Kathi Wilcox. Bikini Kill’s first collection of work, Revolution Girl Style Now, will be released on vinyl, CD, and digital formats for the first time on September 22 via Bikini Kill Records. There will also have a limited edition replica version of the demo cassette available by mail order only.

The Revolution Girl Style Now reissue features three previously unreleased and mostly unheard tracks: “Ocean Song”, “Just Once”, and “Playground”. These songs feature a decidedly more grunge sound than the rest of the Bikini Kill catalog. Fun fact: the tape actually runs out as they’re recording “Playground”.

https://www.youtube.com/watch?v=pR-WxoUOQyM&feature=youtu.be
Watch the Revolution Girl Style Now Video Trailer featuring footage from Bikini Kill’s first Olympia, WA show
Filmed by Brian Ruff, edited by Kathleen Hanna and Kathi Wilcox.

The Revolution Girl Style Now demo tape was originally self released in May of 1991. The demo was recorded by Pat Maley at the ABC House in Olympia, WA earlier that year. Bikini Kill played one of their first shows at the house the night before and left their equipment set up to record the demo the next day. The songs were mixed by Guy Picciotto (Fugazi) and mastered by John Golden for this reissue.
Bikini Kill was a feminist punk band based in Olympia, WA and Washington DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar, and Kathi Wilcox played bass. Sometimes they switched instruments. Bikini Kill is credited with instigating the Riot Grrrl movement in the early 90’s via their political lyrics, zines, and confrontational live show.

Bikini Kill Records was started in 2012 by Bikini Kill to document and reissue their back catalog. They are exclusively distributed by Dischord Direct.

Track listing:
1) Candy
2) Daddy’s L’il Girl
3) Feels Blind
4) Suck My Left One
5) Carnival
6) This Is Not A Test
7) Double Dare Ya
8) Liar
9) Ocean Song*
10) Just Once*
11) Playground*

* = bonus tracks

https://gallery.mailchimp.com/1d59aca4aeedaab429816159e/images/6118a97f-1dc7-49ed-94f5-f04efbfb9f6c.jpg
Good backstory and recent interview here:

http://www.rollingstone.com/music/premieres/bikini-kill-on-riot-grrrls-legacy-taping-over-nirvana-cassettes-20150818?utm_source=newsletter&utm_content=daily&utm_campaign=081815_16&utm_medium=email&ea=YmFtYWxsYW1hQGFvbC5jb20=

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Artist: John Renbourn
Title: The Attic Tapes
Catalogue No: TUGCD1089
Barcode: 605633008920
Label: Riverboat Records
Release date: 16 October 2015

Lovingly remastered from a series of long lost tapes dating back to the early 1960s, The Attic Tapes, is a vintage collection of previously unreleased recordings and early works by John Renbourn, one of guitar music’s truly great innovators. Due for release by Riverboat Records on 16th October 2015, The Attic Tapes represents in John’s own words, “what was happening to me at the time and a reflection of the general scene” These recordings were made in the two or three years before his first ever official release for Transatlantic Records, released in February 1966.

The 20 tracks include many true classics, all brilliantly performed and with particular care taken over the sound quality despite the rudimentary sources. There are a number of songs written by Renbourn (‘Judy’, ‘Plainsong’) alongside his unique interpretations of classic tracks which remained in his set throughout his life (‘Candyman’, ‘Can’t Keep From Crying’, ‘Come Back Baby’) plus others written by his contemporaries including Jackson C Frank’s ‘Blues Run the Game’ and Davy Graham’s ‘Anji’. This latter is a particular find: “What’s curious is that the date on the tape box is 1962,” says Renbourn in his notes, “which would make it a very early recording of Davy Graham’s classic….” Renbourn had first heard ‘Anji’ via his friend and guitarist Mac MacLeod; it was MacLeod who discovered the tape box in his attic, which began the chain of events and further discoveries that led to this invaluable new collection.

John Renbourn is accompanied on two tracks by MacLeod and by others on the scene at the time including Davy Graham and Beverley Martyn whose two tracks were recorded at a gig they shared with visiting American Spider John Koerner (one third of Koerner, Ray & Glover). Beverly Kutner, as she was at the time, was a powerful blues singer, then playing folk clubs usually as part of The Levee Breakers and several years before meeting John Martyn. Another unique track on The Attic Tapes captures John Renbourn performing with one his most inspirational heroes, Davy Graham, on a version of ‘Nobody Knows You When You’re Down and Out’, sung by Davy and recorded at an arts centre in Stamford. “It was a treasured moment for me,” writes Renbourn in the notes.

His wonderful reminiscences provide another highlight of this album, written only very shortly before his death in March 2015. They capture the times brilliantly, written in John’s warm, self-deprecating way. “Mostly it’s me plunking – occasionally in the company of friends from way back.” He had put a lot of time into this project and over the last couple of years had carefully selected tracks, cleaned them and was looking forward to the release with great enthusiasm.

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‘Unfortunately we were due to send over the finished artwork to him the day after he passed away, so it’s really sad that he never got to see the finished product... He was also going to do some further digging to see if he could find out the dates, so unfortunately we will never know exactly when most of these recording were made’. – Neil Record and Brad Haynes from Riverboat Records

John Renbourn has long been regarded as one of the world’s greatest contemporary acoustic guitarists. Over the last five decades he has pursued a remarkable musical journey - dedicated to innovation and technical mastery. His unique guitar style - often called folk-baroque - fuses English and Celtic folk music with jazz, country blues and pre-Renaissance, together with influences from Western and Eastern classical traditions.

John Renbourn was born John McCombe in Marylebone, London in 1944: his father, Robert, was killed in the second world war, and his mother, Dorothy (nee Jopling), married Edward Renbourn, a physician, in 1952, when John’s surname was changed by adoption. The family moved to Surrey, where John had piano lessons and was introduced to early music. He took grade examinations in classical guitar, which influenced his later folk and blues guitar arrangements. He attended Kingston Art School in the early 1960s while living on a boat before acquiring a Scarth guitar and performing at clubs around London, most famously Les Cousins in Soho. Through the American singer, Doris Henderson, who he later recorded two albums with, Renbourn met T-Bone Walker, John Lee Hooker and Memphis Slim. In 1964, Renbourn was introduced to his lifelong friend and musical collaborator, Bert Jansch. In 1967, Pentangle came together through gigs at a club begun by John the year before at The Horseshoe, off Tottenham Court Road. Releasing their debut album in 1968, Pentangle would achieve considerable world-wide acclaim before disbanding in 1973. John continued to record solo and with the John Renbourn Group and Ship of Fools, and continued touring around the world. Having lived in America for some years John returned to the UK and in the mid-1980s studied for a degree and took up a teaching post at Dartington College in Devon. In later years he toured regularly, often in company with Stefan Grossman, Robin Williamson and Wizz Jones who he was touring and recording with at the time of his death. John’s last official album was 2011’s Palermo Show, itself his first album in 13 years, which makes this new collection of vintage, unheard and unreleased recordings all the more desirable.

John Renbourn was a brilliant exponent of the guitar, and despite considerable successes, never fully received the recognition he deserved. He was a very modest man and never seemed to mind. He was much admired and is greatly missed.

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New LITA Release | Françoise Hardy 5-Album Reissue Series

We all know and love the cool, glamorous French yé-yé girls of the ’60s, but one of them stands out from the pack: Françoise Hardy. With her brunette hair and alluring bangs, she was one of the few girls at the time who wrote her own songs, and she did so from a place of depth and subtlety. Though she was a muse to the likes of Bob Dylan, Mick Jagger and husband Jacques Dutronc, Hardy was wary of fame, preferring privacy and modesty. She was a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon incredulous of others’ admiration of her.

We are so proud to present our Françoise Hardy reissue series of the five French-language albums she released yearly between 1962-1966. We’ve remastered each release from the original tapes, in their original French format, to sound better than ever!

The liner notes for these releases include an exclusive new interview with the illusive songstress. As Hardy has rarely been involved with prior reissues, this is quite a coup!

All five albums are available for preorder on both CD & deluxe LP now.

CDs will be out October 16th.
Deluxe LPs will be out January 29th, 2016.
There is also an option to collect all five in one format at a discounted price! This option is available on each album release page.

The complete CD set is $50.
The complete LP set is $90.

Should be enough motivation, finally, for me to check her out. LITA my life!

Numero provides more detail re those xpost Scientists:

Scientists: S/T (Pink Album)

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled “Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

“They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?”—Warren Ellis

Scientists: Blood Red River

After trekking east from the suburbs of Perth to take new root in Sydney, in 1983 the Scientists hooked up with producer Chris Logan, who’s credited with the album’s imposing sonic girth and rumbling low end, and premier Aussie punk label Au Go Go for an album that would define their unmistakably swampy, psychotic aura. These six songs revisited band leader Kim Salmon’s interest in the Cramps and the Stooges, while adding in the repetitive dementia of Suicide and elements of cow punk twang, with Salmon’s distinctly unrefined Australian accent snarling tales of lust, confusion and angst.

“The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!”—Jon Spencer

New Numbers

Syl Johnson: The Complete Twinight Singles 2LP

Saved & Sanctified: Songs of the Jade Label LP

Royal Jesters: English Oldies 2LP/CD
Next Numbers

Elyse Weinberg: Greasepaint Smile LP/CD

Edge of Daybreak: Eyes of Love LP/CD

Unwound: Empire

Endangered Numeros:

NUM005 Fern Jones: The Glory Road CD

NUM022 Brotherman: OST LP

NUM025 24-Carat Black LP

NUM035.5 Local Customs: Burned At Boddie CD

VELVET UNDERGROUND:
LOADED: RE-LOADED 45TH ANNIVERSARY EDITION

Classic Album Expanded As A Six-Disc Set With Stereo, Mono And Surround Mixes, Rarities, And Live Recordings, Including An Unreleased 1970 Club Performance

Available From Rhino On October 30

LOS ANGELES - Jenny's life was saved by "Rock and Roll" in the classic Velvet Underground song of the same name. A similar fate has befallen many of those who've heard Loaded, the 1970 album that included the song. In 1997, the album's legend grew when Rhino introduced Fully Loaded, a double-CD with unreleased versions of every song on the original, and more.

This fall, one of the greatest albums of all time will return as a six-disc collection that includes:
- The original album remastered in both stereo and mono.
- A generous selection of demos, early versions and alternate mixes from that era.
- A newly remastered/re-edited version of Live At Max's Kansas City.
- Two high resolution mixes, plus a surround sound mix in DTS and Dolby Digital.
- An unreleased May 1970 concert recorded in Philadelphia.

LOADED: RE-LOADED 45TH ANNIVERSARY EDITION will be available on October 30 for a suggested retail price of $79.98.

Remastered stereo and mono versions of the album fill out the first two discs, along with various outtakes, and the mono mixes for the unissued singles: "Rock & Roll" and "Lonesome Cowboy Bill." The third disc explores the creative process behind many of the songs on the album with more than 20 demos, early versions and alternate mixes.

Also included is a remastered version of Live At Max's Kansas City, which was recorded at the storied New York nightclub on August 23, 1970, the day Lou Reed left the band. Along with the performances from the original 1972 album, the disc includes additional performances selected from the expanded version of the album that Rhino introduced in 2004.

Fans will be excited to hear the unreleased club performance featured on the fifth disc. It was recorded on May 9, 1970 at the Second Fret in Philadelphia by Bob Kachnycz, a fan who hitchhiked to the show and recorded it on reel-to-reel. The band was down to a trio that night: Lou Reed, Sterling Morrison and Doug Yule, who alternated between bass and drums to fill in for Moe Tucker, who was pregnant at the time. Loaded, which came out six months after the show, is well represented with seven songs, including: "Cool It Down," "Oh! Sweet Nuthin'" and "Sweet Jane."

The final disc is an audio only DVD that features three different mixes of Loaded:
- Surround Sound Remix in DTS and Dolby Digital
- 96/24 High resolution Stereo Downmix
- 96/24 High resolution Original Stereo Mix

For the Surround Sound and Stereo Downmix, the original track listing has been re-sequenced slightly to include the segue that was originally planned for "I Found A Reason/Head Held High."

LOADED: RE-LOADED 45TH ANNIVERSARY EDITION

Disc One: Loaded Remastered
1. "Who Loves The Sun"
2. "Sweet Jane" - Full Length Version
3. "Rock & Roll" - Full Length Version
4. "Cool It Down"
5. "New Age"
6. "Head Held High"
7. "Lonesome Cowboy Bill"
8. "I Found A Reason"
9. "Train Round The Bend"
10. "Oh! Sweet Nuthin'"
Session Outtakes:
11. "I'm Sticking With You" - New Remix
12. "Ocean"
13. "I Love You"
14. "Ride Into The Sun"

Disc Two: Loaded Remastered
Promotional Mono Version
1. "Who Loves The Sun"
2. "Sweet Jane" - Full Length Version
3. "Rock & Roll" - Full Length Version
4. "Cool It Down"
5. "New Age"
6. "Head Held High"
7. "Lonesome Cowboy Bill"
8. "I Found A Reason"
9. "Train Round The Bend"
10. "Oh! Sweet Nuthin'"
Singles and B-Sides
11. "Who Loves The Sun"
12. "Oh! Sweet Nuthin'"
13. "Rock & Roll" *
14. "Lonesome Cowboy Bill" *

Disc Three: Demos, Early Versions and Alternate Mixes
Demos
1. "Rock & Roll" - Demo
2. "Sad Song" - Demo
3. "Satellite Of Love" - Demo
4. "Walk And Talk" - Demo
5. "Oh Gin" - Demo
6. "Ocean" - Demo
7. "I Love You" - Demo
8. "Love Makes You Feel Ten Feet Tall" - Demo Remix
9. "I Found A Reason" - Demo
Early Versions
10. "Cool It Down" - Early Version, Remix
11. "Sweet Jane" - Early Version, Remix
12. "Lonesome Cowboy Bill" - Early Version, Remix
13. "Head Held High" - Early Version, Remix
14. "Oh! Sweet Nuthin'" - Early Version, Remix
Alternate Mixes
15. "Who Loves The Sun" - Alternate Mix
16. "Sweet Jane" - Alternate Mix
17. "Cool It Down" - Alternate Mix
18. "Lonesome Cowboy Bill" - Alternate Mix
19. "Train Round The Bend" - Alternate Mix
20. "Head Held High" - Alternate Mix
21. "Rock & Roll" - Alternate Mix

Disc Four: Live At Max's Kansas City Remastered
1. "I'm Waiting For The Man"
2. "White Light/White Heat"
3. "I'm Set Free"
4. "Sweet Jane"
5. "Lonesome Cowboy Bill"
6. "New Age"
7. "Beginning To See The Light"
8. "I'll Be Your Mirror"
9. "Pale Blue Eyes"
10. "Candy Says"
11. "Sunday Morning"
12. "After Hours"
13. "Femme Fatale"
14. "Some Kinda Love"
15. "Lonesome Cowboy Bill" - Version 2

Disc Five: Live At Second Fret, Philadelphia, 1970*
1. "I'm Waiting For The Man"
2. "What Goes On"
3. "Cool It Down"
4. "Sweet Jane"
5. "Rock & Roll"
6. "Some Kinda Love"
7. "New Age"
8. "Candy Says"
9. "Head Held High"
10. "Train Round The Bend"
11. "Oh! Sweet Nuthin'"

Disc Six: Audio DVD
96/24 Hi-Resolution Surround Sound Remix
96/24 Hi-Resolution Stereo Downmix
96/24 Hi-Resolution Original Stereo Mix

*previously unreleased

The album famously reviewed in (I believe) Musician magazine as "GTR: SHT" is getting the deluxe reissue treatment...

‘GTR: 2CD DELUXE EXPANDED EDITION’
RELEASE DATE : FRIDAY, SEPTEMBER 18TH 2015

• NEW DELUXE AND EXPANDED 2 CD DIGIPACK EDITION OF THE 1986 ALBUM BY STEVE HACKETT & STEVE HOWE’S BAND GTR
• WITH BONUS 14-TRACK CD OF GTR LIVE IN LOS ANGELES IN JULY 1986 & THREE BONUS TRACKS TAKEN FROM RARE SINGLES & EPs
• NEWLY REMASTERED
• FULLY RESTORED ARTWORK AND ESSAY WITH NEW LINER NOTES

Esoteric Recordings are proud to announce the official release of a 2 disc deluxe edition of GTR, the self-titled 1986 album by Steve Hackett and Steve Howe’s band GTR.

GTR was formed in 1985 following guitarist Steve Howe’s departure from ASIA. Teaming up with the equally legendary guitarist Steve Hackett, GTR was assembled with the addition of vocalist Max Bacon, bassist Phil Spalding and drummer Jonathan Mover.

The band’s sole album was produced by Geoff Downes and was issued in July 1986 and was a US Top 20 hit album and also was a UK Top 50 hit. Two singles drawn from the record (‘When the Heart Rules the Mind’ & ‘The Hunter’) were also hits in the USA. Although a short lived group, GTR also toured to promote the album (with the addition of Matt Clifford on keyboards) performing material from the album, as well as songs such as ‘Roundabout’ and ‘I Know What I Like (in Your Wardrobe)’, made famous by YES and GENESIS respectively. Although GTR ceased to exist as a band in 1987, the group’s sole album is an important moment in rock music of the 1980s.

This Esoteric Recordings edition has been newly re-mastered and is presented here with the addition of a bonus 14-track CD of GTR live in Los Angeles in July 1986. There are also three bonus tracks taken from promotional 12-inch singles of ‘When the Heart Rules the Mind’ & ‘The Hunter’, two of which appear on CD for the first time.

This expanded deluxe edition of "GTR” also includes a booklet that fully restores the original album artwork and features a new essay.

DISC ONE: GTR REMASTERED
1. WHEN THE HEART RULES THE MIND
2. THE HUNTER
3. HERE I WAIT
4. SKETCHES IN THE SUN
5. JEKYLL AND HYDE
6. YOU CAN STILL GET THROUGH
7. REACH OUT (NEVER SAY NO)
8. TOE THE LINE
9. HACKETT TO BITS
10. IMAGINING

BONUS TRACKS
11. THE HUNTER (SPECIAL GTR MIX)
12. WHEN THE HEART RULES THE MIND (SINGLE VERSION)
13. THE HUNTER (SINGLE VERSION)

DISC TWO: GTR LIVE IN LOS ANGELES IN JULY 1986

1. JEKYLL AND HYDE
2. HERE I WAIT
3. PRIZEFIGHTERS
4. IMAGINING
5. HACKETT TO BITS
6. SPECTRAL MORNINGS
7. I KNOW WHAT I LIKE (IN YOUR WARDROBE)
8. SKETCHES IN THE SUN
9. PENNANTS
10. ROUNDABOUT
11. THE HUNTER
12. YOU CAN STILL GET THROUGH
13. REACH OUT (NEVER SAY NO)
14. WHEN THE HEART RULES THE MIND

Craw
1993–1997
Northern Spy Records
11 December 2015

Northern Spy reissues the first three records by Cleveland, Ohio, post-hardcore band Craw in a limited-edition vinyl box set, 1993–1997. All out of print for two decades or more, these full-lengths—1993’s self-titled debut, 1994’s Lost Nation Road and 1997’s Map, Monitor, Surge—complete a story that concluded on Bodies for Strontium 90, released in 2002 by Hydra Head Records. The new box set lovingly reintroduces these records in a deluxe package including three remastered double LPs and an exhaustive 200-page page book. The book, designed by the team behind one-of-a-kind visually driven label Aqualamb—who have also overseen visuals for the entire release—includes a wealth of unpublished photos and ephemera, an exhaustive oral history of Craw drawn from newly conducted interviews, and a detailed timeline of band activities, shows and releases, stretching from Craw’s 1988 formation to their 2002 break-up.

Thanks to the passion of writer and musician Hank Shteamer, who served as project organizer for the set and funded it through Kickstarter, Craw’s music finally receives the reissue it deserves. We hope that 1993–1997 will spur a reexamination of the band’s place in the lineage of aggressive, challenging, radically unorthodox underground rock and metal.

To celebrate the release of this epic set, Craw are reuniting for two special shows, taking place Friday, December 18, at the Grog Shop in their hometown of Cleveland, Ohio, and Saturday, December 19, at Saint Vitus in Brooklyn, New York. All band members that played on the albums included in 1993–1997 will be on hand at each show, participating in career-spanning performances drawn from these releases as well as Bodies for Strontium 90.

"Craw’s music is explosive, eerie and downright riveting, combining the visceral rush of metallic post-hardcore, the compositional majesty of progressive rock and the purposeful abstraction of experimental improv, while at the same time achieving a rare, insular coherence all its own.” — Hank Shteamer, writer, musician and project organizer

"Craw was one of those things where the first time I saw it, it just completely blew me away. I'd never heard anything quite like Craw up to that point. They were this strange mixture of noise-rock and metal with this very eccentric preacher-type character doing these weird pseudo sermons over the top of the music. It was just a very potent concoction of elements. Having a seen a band like that expanded the horizons of what was possible, so in that way, Craw definitely rubbed off on Isis." — Aaron Turner, Isis and Hydra Head Records

"What Craw will use as a moment in one song, another band might use as a theme for a whole album. Craw's sound is spread out across a universe of disparate musical genres. They never imitate. Other bands imitate them.” — Steve Albini

Label: Northern Spy Records
Street Date: December 11th, 2015
Formats: 6 LP box set, Digital
Packaging: Wrapped box with Wide Spine Jackets, 200 Page Book

On the band Craw

Craw were an underground band from Cleveland, OH, active from 1988 through 2002. Their sound touched on metal, post-hardcore and progressive rock while remaining wholly distinct from any movement. Anyone interested in dark, heavy, complex rock/metal—everything from Tool, Meshuggah and King Crimson to Neurosis, Don Caballero, Isis, Rodan, Kayo Dot and Gorguts—needs to know their work. Craw's final album, Bodies for Strontium 90, came out on the visible, well-respected label Hydra Head in 2002, yet their early discography, including the stunning full-lengths Craw (1993), Lost Nation Road (1994) and Map, Monitor, Surge (1997), is little known even among connoisseurs. A new Kickstarter-funded box set, 1993–1997, aims to remedy that.

Each of these albums, all beautifully recorded or co-recorded by Steve Albini, is an endlessly involving labyrinth in which elegiac beauty presses up against nightmarish ugliness. The records feature air-tight, ingeniously off-kilter riffs; vocals that range from a faint whine to a horrifying shriek; epic, multichapter song structures; intoxicating guitar textures; an immense dynamic range; and esoteric lyrical themes. The songs don't follow conventional patterns, but their internal logic is uncannily sound; they're scientific in their microdetail, yet at the same time, bracingly emotional.

These records aren't special merely because they're obscure; they're not second best to everything you've already heard from their era. We truly believe that these three LPs stand alongside acknowledged ’90s masterworks such as Slint's Spiderland, the Jesus Lizard's Goat and Shellac's At Action Park

Craw
1993–1997: Self-titled (1993)
Northern Spy Records

Recorded by Steve Albini in June, 1993, Craw was the band's debut album, originally issued by the Chicago label Choke, Inc. in October of that year. Craw is arguably the group's most intense and direct statement of purpose, a record that juxtaposes punishing heaviness and demented complexity with a remarkable attention to pacing and dynamics. Vocalist Joe McTighe uses the full range of his voice, from an eerie whine to a harrowing shriek, and some of the most strikingly unusual lyrics ever heard on a heavy rock album, to portray a variety of unsettling scenarios: a woman survives a plane crash only to be plagued by a stalker ("405"), a terrorist calling himself the Lord's Avenger attempts to assassinate an environmental activist ("Stomp," based on a true story). Clocking in at 69 minutes, Craw is a thrilling, unsettling epic.

Self-Titled
Chris Apanius - bass
Rockie Brockway - guitar
Neil Chastain - drums
David McClelland - guitar
Joe McTighe - voice
Craw
1993–1997: Lost Nation Road (1994)
Northern Spy Records

Also recorded by Steve Albini, one year after the session that yielded Craw, Lost Nation Road came out on Choke, Inc., in November of 1994. Craw's second full-length finds the band distancing itself somewhat from the metal and post-hardcore elements that featured prominently on its first LP. The sound here is murkier, more shaded and arguably richer and even more menacing than what came before. Driven by conservatory-trained drummer Neil Chastain and virtuosic new bassist Zak Dieringer, the band pushed their esoteric compositional sense into deeply outlandish realms, incorporating saxophones, samples, strange vocal effects and a heightened sense of dynamics.

"It's like this constantly surging, undulating thing that sucks you in," says Isis frontman and Hydra Head cofounder Aaron Turner of Lost Nation Road. "All the little guitar lines and intricate drum fills feel like these little tendrils that interlock with each other and overlap and wrap around inside your skull.”

Lost Nation Road
Rockie Brockway - guitar
Neil Chastain - drums
Zak Dieringer - bass
David McClelland - guitar
Joe McTighe - voice

The following appear on "Cholera, Botulism + Tarik" and "All This Has Made Me":
Marcus DeGrazia - alto saxophone
Matt Dufresne - baritone saxophone
Craw
1993–1997: Map, Monitor, Surge (1997)
Northern Spy Records

Map, Monitor, Surge was co-recorded by Steve Albini and esteemed Cleveland metal producer Bill Korecky at Korecky's Mars Recording studio in December of 1996. Craw's third album came out on Cambodia Recordings, a label owned by Craw guitarist and cofounder Rockie Brockway, in the spring of 1997. Map, Monitor, Surge is a strikingly different record than the two that preceded it. This record features new drummer Will Scharf—later known for his work in the crushing math-metal outfit Keelhaul—who brought a looser, more unhinged feel to Craw's music. The contrast between Scharf's intuitive, jazz-informed style and the guitarists' continued interest in wildly elaborate song structures yields some of Craw's most wired and visceral work, including a three-part suite of through-composed prog-punk miniatures and the 12-minute concluding journey "Days in the Gutter / Nights in the Gutter." Map, Monitor, Surge would be Craw's final album with cofounding guitarist David McClelland, whose texture- and noise-driven approach was an integral element of the band's early work.

Map, Monitor, Surge
Rockie Brockway - guitar
Zak Dieringer - bass
David McClelland - guitar
Joe McTighe - voice
Will Scharf - drums

https://www.youtube.com/watch?v=rYcZq5s1Sk4&feature=youtu.be

HERE WE GO:

Smog Veil Records announces a new series of archival and newly recorded material to be released individually and as bundled specials, called Platters du Cuyahoga, Series 1. The series will highlight and celebrate Cleveland's long running and rich history of challenging, culturally significant, and often bombastic music.

The initial three releases are: (1) X__X: Albert Ayler's Ghosts Live at the Yellow Ghetto (November 20, 2015 release date); (2) Robert Bensick Band: French Pictures In London (1975); (3) Mr. Stress Blues Band: Live At the Brick Cottage 1972 - 1973. All the releases will be formatted on vinyl as well as CD and download/streaming. A hallmark of the series will be that each release contains extensive liner notes, all carefully researched. Byron Coley (Forced Exposure, NY Rocker, Boston Rock, Spin, Arthur magazine column with Thurston Moore) penned the liner notes for X__X, and Nick Blakey (The Boston Phoenix, EQ, Chunklet, Your Flesh) wrote the liners for the Robert Bensick and Mr. Stress releases.

The X___X LP is on blue vinyl and contains lock grooves on both sides of the record. The Robert Bensick Band LP will also be pressed on colored vinyl. The Mr. Stress Blues Band LP contains a free download with extra tracks. X___X will ship to you on or before November 20, 2015. Mr. Stress Blues Band test pressings have been approved and art design is in the final stages. The Robert Bensick Band masters are done, art is nearly done, and will ship to you this winter.

The X__X release will feature new recordings from one of Cleveland's most notable late 1970s post punk outfits. The band plans live dates to coincide with this release, expect fireworks and power tools. The Robert Bensick Band album is an unreleased studio record recorded at Agency Recording Studio in 1975. Tapes were saved this year by Alan Howarth and Paul Hamann. The band and this release represent an important era of the downtown artist colony/apartment/hang out known as The Plaza and besides Robert Bensick features an all-star cast including Scott Krauss and Tom Herman (Pere Ubu), Albert Dennis, Michael Hronek, and Cynthia Black. Paul also engineered the Mr. Stress Blues Band never before released live set, culled from their rowdy sets at The Brick Cottage (aka, the Sick Brick).

Pre-sale is live for the 3 LPs and CDs that represent the first entry in the Platters du Cuyahoga series as well as the X___X LP and CD. The pre-sale ends on Thursday, November 5, 2015.

Thanks to all our fans for helping us clear our warehouse shelves and for finding new homes for many CDs that we had very few left. The vast majority of those are now gone, but there are still a few titles available, that is, until NOON, FRIDAY SEPTEMBER 4. After that, you still may be able to find some of these titles at places like Interpunk, but not for the insanely low sales price we offer. So, very last and final call for a number of CDs in stock with very low inventory.
If you notice releases missing at this page on the Smog Veil site, that means that title is all gone, forever, kaput. So, act now or forever be reduced to listening to these releases by download or stream.

Also, this month, hearpen.com has a new release. Here's what we know of it: this is Pere Ubu synthesizer Allen Ravenstine's first solo album, titled "the pharaoh's bee", recorded in 2015. He played the Moog Theremin and a Doepfer Dark Energy. William Blakeney helped produce and master the recordings. An extensive set of liner notes is included as a PDF file. Check it out here:

http://hearpen.com/hr182.html

I wrote about that Craw box back in May. There's an exclusive live track at that link.

Thanks, will check it out. Glad you got the news so early.

DFL

RELEASE 20th ANNIVERSARY EDITION OF 'PROUD TO BE'

AVAILABLE FOR THE FIRST TIME ON 12-INCH LP

OUT SEPTEMBER 11, 2015

Proud to Be, the Epitaph debut of Dead Fucking Last (referred at as DFL hereafter) will be released on 12-inch LP for the first time on September 11, 2015 to celebrate the album's 20th anniversary. Additionally, two bonus tracks "Decision" and "Follow the Leader" will be released digitally which were previously only available in a 1995 issue of Strength Magazine on flexi disc. There will also be a cassette version released by Burger Records. The band's guitarist and vocalist Monty M. states:

"Since we've gotten back together the response has been fucking out of control! We play old fashioned hardcore and we're stoked Epitaph is bringing our lo-fi sound to a new generation."

DFL's Proud to Be is a bombshell of hardcore energy; a missive from the days of when 20 tracks of adolescent guitar/vocal angst clocked in at 30 minutes. The album was produced by Adam Horowitz of the Beastie Boys, who also wrote the band's original. Read an excerpt here:

"In January 1995, I took a chance and called the group for an audition. I was overwhelmed by their showmanship…and their fresh, outgoing appeal…

The vital characteristics of Dead Fucking Last are their humour and the way each member of the group is able to relate in a spontaneous, witty way to the others.

Offstage, the boys are delightful companions. Onstage, this comes across. There is no jealousy, no individual vanity, and I can’t think of any other group in the U.S. which exceeds them in stage presence.
This is why I’m happy and proud to produce this album. We live in an age of groups, and by the time this album is tattered and worn out with playing, many of DFL’s contemporaries will have dissolved and vanished."

Adam Horovitz

P.S. We happened to get a sneak look at a copy of these notes. We think Adrock’s a gas, too.
Honest Tom and Monty

Proud to Be Track Listing:

1. Proud To Be DFL
2. Word Of Mouth
3. Lost Cause
4. Return Of The Knucklehead
5. Mr. Popular
6. Function At The Center
7. Home Is Where The Heart Is
8. Hit The Floor
9. Club Stupid
10. Minus Adam
11. Better Off Dead
12. S.B.C.G.
13. Free Haircut
14. Society's Pressure
15. Self Pity
16. Action Everybody
17. Sourpuss
18. Insane Authority
19. Good Cop, Bad Cop
20. What's The Difference

** Bonus tracks "Decision" and "Follow the Leader" available digitally.

For more information on DFL, visit:

https://www.facebook.com/proudtobedfl
https://twitter.com/proudtobedfl

Mentioned this Lizzy M Desloux reissue on the Ze thread (and Dow added his nice review from years back)

Press Color (1979)

Press Color has been reissued on Light in Attic

some coverage:

http://thequietus.com/articles/18663-lizzy-mercier-descloux-reissues-interview

http://www.villagevoice.com/music/a-new-reissue-illuminates-the-hidden-history-of-no-wave-pioneer-lizzy-mercier-descloux-7473354

Superior Viaduct continues to hit it out of the park, after a bunch of L Voag related releases, they've got two Ilitch LPs. I've been waiting to get 10 Suicides for well over 10 years.

yeah it is almost an embarrassment of riches at this point - not a complaint!

I just saw that they reissued Electricity by Peter Jefferies.

yeah, and they were involved with a US tour for him...until the dept of homeland security got involved.

Penetration and The Ruts each have 4cd "Virgin Years" box sets coming out on 10/9.

I'm having a hard time believing that Penetration has that much good material, but my ears will be open. I do like "Don't Dictate," especially the version from Race Against Time.

I also mentioned this on the jazz thread; coming November 6, John Coltrane, A Love Supreme: The Complete Masters. A 3CD set; here's the track listing:

Disc 1
1. The Original Stereo Album, Impulse! AS-77 Part I Acknowledgement
2. The Original Stereo Album, Impulse! AS-77 Part II Resolution
3. The Original Stereo Album, Impulse! AS-77 Part III Pursuance
4. The Original Stereo Album, Impulse! AS-77 Part IV Psalm
5. Trane's Original Mono Reference Masters Part I Acknowledgement
6. Trane's Original Mono Reference Masters Part II Resolution
7. Trane's Original Mono Reference Masters Part III Pursuance
8. Trane's Original Mono Reference Masters Part IV Psalm

Disc 2
1. Day 1: December 9, 1964 Part I Acknowledgement undubbed version
2. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 2
3. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 3
4. Day 1: December 9, 1964 Part II Resolution take 1 / breakdown
5. Day 1: December 9, 1964 Part II Resolution take 2 / breakdown
6. Day 1: December 9, 1964 Part II Resolution take 3 / breakdown
7. Day 1: December 9, 1964 Part II Resolution take 4 / alternate
8. Day 1: December 9, 1964 Part II Resolution take 5 / breakdown
9. Day 1: December 9, 1964 Part II Resolution take 6 / breakdown
10. Day 1: December 9, 1964 Part IV Psalm undubbed version
11. Day 2: December 10, 1964 Part I - Acknowledgement take 1 / alternate
12. Day 2: December 10, 1964 Part I - Acknowledgement take 2 / alternate
13. Day 2: December 10, 1964 Part I - Acknowledgement take 3 / breakdown with studio dialogue
14. Day 2: December 10, 1964 Part I - Acknowledgement take 4 / alternate
15. Day 2: December 10, 1964 Part I - Acknowledgement take 5 / false start
16. Day 2: December 10, 1964 Part I - Acknowledgement take 6 / alternate

Disc 3
1. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Introduction by M.C. Andre Francis
2. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part I - Acknowledgement (Live)
3. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part II - Resolution (Live)
4. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part III - Pursuance (Live)
5. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part IV - Psalm (Live)

Some of those alternate studio takes are performed by a six-piece band that includes Archie Shepp on second sax and Art Davis on second bass. This'll be my third copy of that live performance (Coltrane only performed ALS live the one time, but it was broadcast on radio), but I'm buying this thing anyway.

NEW YORK, NY, September 22, 2015- A Tribe Called Quest and Sony Legacy have announced a special 25th anniversary edition collection of the group's classic debut album Peoples' Instinctive Travels And The Paths of Rhythm will be released on November 13th. In celebration of the 25th anniversary, the album will be remastered from the original tapes by Grammy-Award winning engineer Bob Power, and re-released with exclusive new remixes by a few of today's biggest hip-hop artists who have credited A Tribe Called Quest as a major creative influence. Remixes will be announced in the coming weeks.This album will mark the debut release in a series of re-releases by A Tribe Called Quest over the course of the next few years.

#ATCQ25 teaser video and news story: http://pitchfork.com/news/61302-a-tribe-called-quest-announce-peoples-instinctive-travels-and-the-paths-of-rhythm-reissue/

"I had this album in my head for years before I did it. Looking at it overall, to see the thoughts of a 16 year old gain any kind of acknowledgement makes me feel like I have arrived... But to see it in this incarnation ... I'm humbled" - Q-Tip

"This album means a lot. It was the beginning of our careers; the beginning of our imprint; the beginning of seeing life the way we saw it, and being able to put it down in words and music." - Ali Shaheed Muhammad

People's Instinctive Travels And The Paths Of Rhythm made its debut in 1990 and came at a crucial time for hip-hop. The Queens-raised childhood friends-- Q-Tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi White-took the traditional hip-hop formula and threw it out the window. Like their contemporaries in De La Soul and the Jungle Brothers, all of whom would become known as the Native Tongues collective, their lyrical and musical influences were unlike any hip-hop group on the scene. While many built breaks around vintage soul and funk samples, ATCQ utilized samples of jazz and '70s rock. Their verses were conversational instead of confrontational, addressing socially conscious topics with laid-back candor and slightly off-kilter humor.

Critics and hip-hop audiences understood the sea of change ATCQ represented. The Source gave the album a perfect score of five mics (a first for the publication), while The Village Voice praised it as "upliftingly dope."

A TRIBE CALLED QUEST
Queens, New York natives Q-Tip , Phife Dawg , and Ali Shaheed Muhammad of Brooklyn, formed A Tribe Called Quest in 1985. The group is one of hip-hop's most legendary, beloved and revered groups of all time. Easily recognized for their unique approach to rap music by employing jazz infused soundscapes to Afro centric rhymes, ATCQ was largely responsible for the popularity of a new genre that dominated the East Coast sound of the early 1990s. Sonically, ATCQ was a decisive and welcomed tangent of jazz, bass-heavy rhythmic vibes and eclectic sampling when compared to the mundane recycling of soul loops, breaks and vocals of their contemporaries. Lyrically, emcees Q-Tip and Phife Dawg addressed social issues relevant to young blacks such as use of the n word and its relevance, date rape and other interpersonal relationships, industry politics and consumerism with infectious energy and fun and having a good time while still promoting positivity. ATCQ composed a number of successful singles and albums with their creative approach to rap music. In 1990, the group released Peoples Instinctive Travels and the Paths of Rhythm. Their sophomore effort, The Low End Theory, considered one of the greatest albums in hip-hop history that would solidify them as legends. In recent years, the anticipation for another ATCQ album has been building. The Abstract Poetic, Five Foot Assasin, and Mr. Muhammad have yet to grace the studio for another record, but have hit the road again. Today, the power of their music is still evident in their dynamic stage shows and in the reception of their adoring fans.