Rolling Reissues 2016

Dude you should read the wonderful long big star thread revive, so much knowledge dropped and factoids/memories shared. ilm at its best

Yeah, great stuff from Edd Hurt, for inst, and I've been trying to describe my impressions of the (promo) box on there, as I make time for another listening/posting session.

Meanwhile,

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Nigeria Soul Fever
Afro Funk, Disco and Boogie - West African Disco Mayhem!
Soul Jazz Records

Soul Jazz Records' new Nigeria Soul Fever! is out worldwide in all good retail and internet stores next Fri 9 Sep on 2CD pack/3xLP + download code/Digital.

Sleevenotes by Bill Brewster (author of Last Night A DJ Saved My Life)!

Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. Sleevenotes are by Bill Brewster (author of Last Night A DJ Saved My Life).

Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria.

Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.

These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the of the country.

Nigeria Soul Fever is released as triple-album vinyl + download, double-CD digi-pack and digital download. This album follows on from Soul Jazz Records’ 1960s collection Nigeria Freedom Sounds, released last month, and will be followed by the reissue of the incredibly rare and groovy Nigerian 1980 disco boogie funk album Tee Mac’s Night Illusion.

"Excellent new soul jazz compilation Nigeria Soul Fever: Afrofunk, Disco And Boogie: West African Disco Mayhem!" THE GUARDIAN

READ Guardian top 10 Nigerian Disco full feature here: https://www.theguardian.com/music/musicblog/2016/aug/10/nigerian-disco-10-of-the-best

racklisting
1 Joni Haastrup – Free My People
2 Christy Essien – You Can't Change A Man
3 Akin Richards & The Executives – Afrikana Disco
4 Tee Mac – Nam Myoho Renge Kyo
5 Joni Haastrup – Greetings
6 Don Bruce and The Angels – Ocheche (Happy Song)
7 Benis Cletin – Get Up and Dance
8 Colomach – Enoviyin
9 Joni Haastrup – Do The Funkro
10 Tee Mac featuring Marjorie Barnes – Living Everyday
11 Arakatula – Mr Been To
12 Angela Starr – Disco Dancing
13 Joni Haastrup – Wake Up Your Mind
14 Jimmy Sherry & The Musik Agents – Nwaeze
15 Benis Cletin – Soul Fever
16 Arakatula – Wake Up Africa

More info & audio: https://soundsoftheuniverse.com/sjr/product/nigeria-soul-fever

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Boombox
Early Independent Hip Hop, Electro and Disco Rap 79 - 82

Out now! Soul Jazz Records’ new ‘Boombox’ features some of the many innovative underground first-wave of rap records made in New York in the period 1979-82, all released on small, independent, often family-concern record companies, at a time when hip-hop music still remained under the radar. This first exuberant wave of innocent, upbeat, ‘party on the block’ rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. But where Flash, Kool Herc and Bambaataa were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s ‘Apache’ or Babe Ruth’s ‘The Mexican’, these first rap records were all made using live bands, often replaying then current disco tunes, whilst MCs rapped over the top, creating a unique sound that later became known derisively as ‘old school’. And while hip-hop started in the Bronx, rap on vinyl began in Harlem where long-time established rhythm and blues producer-owned record companies such as Joe Robinson’s Enjoy Records, Paul Winley’s Winley Records, Delmar Donnel’s Delmar International and Jack ‘Fatman’ Taylor’s Rojac and Tayster were the first off the mark to realise the commercial potential of rap music - releasing early ground-breaking records that all quickly followed in the wake of the first rap record, The Sugarhill Gang’s Rappers Delight, a million-selling worldwide hit. This collection celebrates these first old-school rap records, bringing together rare, classic and obscure tracks released in the early days of rap. Deluxe double CD-pack comes with slipcase, 40-page outsize perfect-bound booklet, extensive notes, exclusive photography and original label artwork. Triple-vinyl heavyweight vinyl includes full artwork, text and notes as well as free download code. REVIEWS: "Soul Jazz has a reputation for top-notch compilations that offer crash courses in a variety of of styles and genres both beloved and obscure; they are, in essence, the K-Tel of the millennial generation. This is one of the best Soul Jazz sets in ages, a legitimate party in a box, overflowing with underground deep cuts that have seldom — if ever — been spotted on other collections" FACT
1. Mr Sweety G – At The Place To Be
2. Love Bug Star-Ski and The Harlem World Crew – Positive Life
3. Neil B – Body Rock
4. Super 3 – Philosophy Rappin' Spree
5. Bramsam – Move Your Body
6. Black Bird & Kevski – On The Go
7. Count Coolout – Rhythm Rap Rock (CD only)
8. Harlem World Crew – Rappers Convention
9. Willie Wood & The Willie Wood Crew – Willie Rap
10. Bon-Rock & The Rhythm Rebellion – Searching Rap
11. Sugar Daddy – One More Time
12. Spoonie Gee and The Treacherous Three – The New Rap Language
13. TJ Swan – And You Know That
14. Portable Patrol – Cop Bop
15. Master Jay – We Are People Too
More info & audio (also for many more reissues)https://soundsoftheuniverse.com/sjr/product/early-independent-hip-hop-electro-and-disco-rap

Listening to Boombox now, struck by how much rock is in it so far, though pared down---didn't start w Run-DMC's take on "Walk This Way", for sure.

Speaking of minimalism,
She's ba-a-ack----wanna check Plastic Ono Band, but think I might skip the first two:

Secretly Canadian is honored to partner with Chimera Music on releasing Yoko Ono’s musical output from 1968 to 1985. Comprised of eleven studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

Secretly Canadian and Chimera Music couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968's Unfinished Music No. 1: Two Virgins, 1969's Unfinished Music No. 2: Life with the Lions, and 1970's Plastic Ono Band, all out Nov. 11th via Secretly Canadian and Chimera Music, with more to come in 2017.

John Lennon and Yoko Ono - Unfinished Music No. 1: Two Virgins
Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history's greatest lovers, and Two Virgins is the musique concrète fever dream document of the pair falling in love in real time. The album is a curious and amazing suite recorded over one weekend in Spring 1968 at Lennon's Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. It's two young people attempting to weird one another out, attempting to make one another laugh, falling deeply into one another. John mucks around with delay and loops while Yoko exercises her expressionist vocalizations. The smoke and wine is nearly audible. Secretly Canadian's reissue also includes "Remember Love," which did not appear on the original release.

John Lennon and Yoko Ono - Unfinished Music No. 2: Life with the Lions
If Two Virgins is the ecstatic first kiss shared between two of pop culture's greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of "Our life and our love is our art — every nitty, gritty part of it." The collection begins with a more straightforward — at least in terms of explaining what it is — piece of improvised music, edited down from live performance at Cambridge University's Lady Mitchell Hall in March 1969. The entirety of Side B was recorded in a patient suite at London's Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child, John Ono Lennon II. The album cover photo was taken in the suite, with Ono in her hospital bed and Lennon in a sleeping bag made up on the floor next to her, both of them looking exhausted from the process. Secretly Canadian's reissue also includes Ono's "Song for John" and "Mulberry," which did not appear on the original release.

Yoko Ono Plastic Ono Band
This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Yoko Ono Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voormann and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1970, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 45 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today. Secretly Canadian's reissue also includes four additional songs - "Open Your Box," "Something More Abstract," "Why (Extended Version)," and "The South Wind" - that did not appear on the original release.

YOKO ONO DISCOGRAPHY TO BE REISSUED (bold out 11/11):
Unfinished Music No. 1: Two Virgins (1968)
Unfinished Music No. 2: Life with the Lions (1969)
Yoko Ono Plastic Ono Band (1970)
Fly (1971)
Approximately Infinite Universe (1973)
Feeling the Space (1973)
A Story (recorded in 1974, released as part of Ono Box in 1992)
Season of Glass (1981)
It’s Alright (I See Rainbows) (1982)
Starpeace (1985)
Unfinished Music No. 3: Wedding Album (1969)

trailer:
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

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L.A. label RidingEasy Records and retailer/label Permanent Records proudly announce the third edition in their celebrated compilation series of long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid today with the premiere of the first track via Brooklyn Vegan. The song "Scream (It's Eating Me Alive)" by Grand Theft is available to hear and share HERE. (Direct Soundcloud). http://www.brooklynvegan.com/70s-stoner-rock-comp-brown-acid-the-third-trip-is-coming-stream-a-track/

Dangerous Minds. previously hosted the full album stream of the predecessor, Brown Acid: The Second Trip released back on April 20th, 2016. Hear/share the entire album HERE. (Direct Soundcloud)
http://dangerousminds.net/comments/listen_to_dms_exclusive_stream_of_rare_psychedelic_fuzz_from_the_70s_brown_

About Brown Acid: The Third Trip:

"Screaming out of the gate, here's the third volume of the critically acclaimed Brown Acid series! We curate these heavy compilations so the heads can hear the best songs they've never heard. As usual, this batch of tracks is off the rails. It's an absolute tragedy that these cuts aren't in heavy rotation on classic rock radio...yet.

"We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can't be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night's half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol' US of A with two exceptions, Ash-labelmate Australians, Chook, and the mighty Limeys, Factory.

"We won't take full credit for it, but we're sorry to say that these types of 45s have skyrocketed in value over the last little while and some of the records included in this volume have only changed hands a handful of times on the collector market. Although it's a bummer for the pocketbook, we say "Hell Yeah!" it's about time these rarities have become recognized as the priceless artifacts that they are.

"Unlike many labels doing compilations of rare dusties, we've actually gone to the trouble to contact the bands included here for permission to use their material. It was a long and arduous task to say the least, but it's the way it should be done. And we paid 'em! So sleep easy knowing that no one was ripped off in the making of this record.

"As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you've taken yet. You won't be sorry you did."
Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century -- particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins - often hoarding them in private collections, or selling at ridiculous collector's prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid: The Third Trip.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long.

"I essentially go through hell and high water just to find these records," Barresi says. "Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved," rather than simply bootlegging the tracks. When all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

"There's a long list of songs that we'd love to include," Barresi says. "But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us."

Brown Acid: The Third Trip will be available everywhere on LP, CD and download on October 31st, 2016 via RidingEasy Records.

Taking another shot at the Yoko reissues project trailer (you know you want it)
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

so is this the ilx video glitch again? Happening w Chrome and Firefox both now; Firefox was okay in the previous problem time:
https://www.youtube.com/watch?v=kk9VUUo10Ug&feature=youtu.be

Maybe it's more about the magic of childehood, but this seemed like a reveletory album at the time: more soulfully ironic than the reverse, a convergence of bathhouse and mainstream, or more the underlying connections up front/coming out, a little ahead of the curve re Bowie, Reed etc hitting the big time, but not too far, in a way Madonna and her people made a basic component of her success (right time to "Vogue" with the 'burbs etc), and Lady Gaga is still following ("Born This Way" to Tony Bennett).

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DIVINE AND DELUXE

Bette Midler's Iconic Debut, The Divine Miss M, Will Be Remastered For
A New Deluxe Edition That Includes Rare And Unreleased Recordings

Double-CD Set Available From Rhino On October 21

Midler Also To Appear As A Mentor On Season 11 Of NBC's The Voice

"Do You Want To Dance - Single Mix" Available Now

Rhino will revisit the early days of Bette Midler's incredible career with a deluxe version of her iconic 1972 debut album, The Divine Miss M. Midler will also make a "Divine" appearance this fall as a mentor for Team Blake on Season 11 of NBC's hit television series The Voice which premieres on September 19. Fans are also invited to preview the rare track "Do You Want To Dance - Single Mix" by going here:
https://youtu.be/oLwqP3z31Fk

https://www.youtube.com/watch?v=oLwqP3z31Fk&feature=youtu.be

THE DIVINE MISS M: DELUXE EDITION will be available on October 21 as a 2-CD set for a suggested retail price of $19.98 and includes the remastered album, plus a bonus disc of singles, outtakes and demos, as well as new liner notes written by Midler. The album will also be released digitally on the same day.

In the liner notes that accompany this new collection, Midler recalls the origin of her nickname: "I began being called The Divine Miss M around 1969, when I made my first appearance at the Continental Baths, a gay bath house located in the basement of the Ansonia Hotel, at Broadway and 74th Street in New York. My best friend, Bill Hennessy, a hairdresser I met on Fiddler on the Roof, called me that for years. It was my first night at the Baths, and before I went on, the owner, Steven Ostrow, stuck his head into the dressing room and asked how I wanted to be introduced. I said, 'Just tell them I'm divine!' And that's how it started."

The collection features a remastered version of the original album, including the Top 40 hits: "Do You Want To Dance" and "Friends," as well as the Top 10 smash, "Boogie Woogie Bugle Boy." Co-produced by Barry Manilow, The Divine Miss M was released in November 1972, reached the Top 10 on the album chart, and was later certified platinum by the RIAA. The following year, Midler won the Grammy Award for "Best New Artist."

THE DIVINE MISS M: DELUXE EDITION features a second disc with nine additional tracks. Among those are single mixes for "Friends" and "Chapel Of Love," as well as a version of "Do You Want To Dance" mixed by the album's co-producer, Joel Dorn. The set also includes five unreleased recordings: an alternate version "Superstar" (penned by Leon Russell and Bonnie Bramlett); demos for "Saturday Night" and "Mr. Freedom And I," plus the original, 1972 versions of "Old Cape Cod" and "Marahuana," songs that were later remixed for Midler's 1976 album, Songs For The New Depression. Her extensive catalog abounds with indelible hits like, "The Rose," "From A Distance" and the Grammy-winner, "Wind Beneath My Wings."

Bette Midler is one of the world's best-loved and most versatile entertainers. The Divine Miss M helped launch Midler's extraordinary career where she has garnered accolades in all quarters of show business. She's earned four Grammy Awards including Song of the Year (1989: Wind Beneath My Wings; 1990: From A Distance) and Record of the Year (1989: Wind Beneath My Wings); two Academy Award nominations, three Emmy Awards, one Tony Award, three Golden Globe Awards, and nine American Comedy Awards. Bette Midler has sold over 30 million albums worldwide and is only the second female singer to score a Top 10 album in the US in five consecutive decades.

The Divine Miss M: Deluxe Edition
2CD Track Listing:

Disc One:
"Do You Want To Dance"
"Chapel Of Love"
"Superstar"
"Hello In There"
"Am I Blue"
"Friends"
"Daytime Hustler"
"Leader Of The Pack"
"Delta Dawn"
"Boogie Woogie Bugle Boy"
"Friends"


Disc Two:
"Chapel Of Love" - Single Mix
"Boogie Woogie Bugle Boy" - Single Version
"Do You Want To Dance" - Single Mix
"Friends" - Single Mix
"Old Cape Cod" - Earliest Recording & Mix
"Marahuana" - Earliest Recording & Mix
"Superstar" - Alternate Recording *
"Saturday Night" - Demo *
"Mr. Freedom And I" - Demo *


*Previously Unreleased

On September 30, ABKCO will release The Rolling Stones In Mono box set on CD, vinyl, digital and hi res formats and a special limited package that includes The Rolling Stones In Mono (15 CDs or 16 vinyl LPs) bundled with a set of nine extremely limited Rolling Stones 7” vinyl singles. Each single is an exact reproduction of a significant hit record from a different country with original art matching how the single looked in that specific nation at the time of release. After the bundles are sold out, the remaining individual 7”s will only be available in local record stores in their respective countries.

These 7”s are:

Poison Ivy/Fortune Teller (UK, 1963)
Fortune Teller/Sad Day (Australia, 1966)
Tell Me (You’re Coming Back)/Carol (Japan, 1964)
Time Is On My Side/Congratulations (Norway, 1964)
Empty Heart/Around And Around (Netherlands, 1964)
Not Fade Away/I Wanna Be Your Man (Canada, 1964)
2,000 Light Years From Home/She’s A Rainbow (Germany, 1967)
We Love You/Dandelion (France, 1967)
Street Fighting Man/No Expectations (U.S., 1968)

The American version of “Street Fighting Man” was the Stones’ first picture sleeve single without an image of the band. Instead, it features a black and white photo of riot police at a protest, one officer with his foot on a fallen man, and another photo of riot police restraining a man. Released the same month as the 1968 Democratic National Convention, where police brutalized protestors, the art was immediately withdrawn, thereby making it one of the most valuable picture sleeve singles in existence by any artist. ABKCO has restored the controversial art for posterity. The band’s R&B roots are underscored in their version of the Coasters’ “Poison Ivy” and Benny Spellman’s “Fortune Teller” that comprise the UK market 7” that is part of the bundle.

Pre-orders are being taken via uDiscover (with or without 7" bundles) and all other retailers on CD & vinyl (without 7" bundles) in advance of the Sept. 30 release date.

The Rolling Stones In Mono includes the entirety of the band’s studio output in the 1960s, many tracks of which are available in mono digitally for the first time ever. During that era, great care was put into mono mixes, which outsold stereo versions of the same records for the first half of the decade. Mixing in stereo was more of an afterthought, and as a result, mono is thought by many to be sonically superior.

Packaged as 14 separate albums, including Stray Cats, a newly conceived collection of non-LP singles and E.P. tracks, The Rolling Stones In Mono contains key releases from the band’s U.S. and U.K. discographies, organized to include every track from the era while minimizing catalog redundancies. Stray Cats, a single disc in the CD box set and a double album with the vinyl box set, ties up all loose ends, incorporating every 1960s Rolling Stones track that isn’t found on the other 14 albums, for a total of 24 tracks. It includes two versions of the aforementioned “Poison Ivy,” Barrett Strong’s 1959 hit “Money,” as well as “Fortune Teller.” Other rarities include “Con Le Mie Lacrime,” a version of “As Tears Go By” sung in Italian, “Stoned” (the instrumental b-side of “I Wanna Be Your Man”), and the 1965 outtake of Otis Redding’s “I’ve Been Loving You Too Long,” now freed of the fake applause to disguise its studio origin when the track appeared on the 1966 LP Got Live If You Want It.

Stereo overtook mono as the dominant format by 1967. As a result, many mono versions of Stones releases from the latter part of the decade are extremely sought after and rare, and were not released in every territory. When the transition from analog to digital began in the 1980s with the advent of the compact disc, the stereo versions of songs were often the only ones that were reissued on the new format. Of the 186 tracks on The Rolling Stones In Mono, 58 will appear in a digital context (CD/download/streaming) for the first time ever.

The Rolling Stones In Mono [16 LP vinyl box set; 15 CD box set] (all tracks also available digitally)

1) The Rolling Stones (UK, 1964)
2) 12 X 5 (1964)
3) The Rolling Stones No. 2 (UK, 1965)
4) The Rolling Stones Now! (1965)
5) Out of Our Heads (US, 1965)
6) Out of Our Heads (UK, 1965)
7) December’s Children (And Everybody’s) (1965)
8) Aftermath (UK, 1966)
9) Aftermath (US, 1966)
10) Between the Buttons (UK, 1967)
11) Flowers (1967)
12) Their Satanic Majesties Request (1967)
13) Beggar’s Banquet (1968)
14) Let it Bleed (1969)
15) Stray Cats (a new collection of single A & B sides plus E.P. tracks)*

*Stray Cats tracklist

1) Come On
2) I Want To Be Loved
3) I Wanna Be Your Man
4) Stoned
5) Fortune Teller
6) Poison Ivy (Version 1)
7) Bye Bye Johnny
8) Money
9) Poison Ivy (Verison 2)
10) Not Fade Away
11) I've Been Loving You Too Long
12) The Under Assistant West Coast Promotion Man (single version)
13) 19th Nervous Breakdown
14) Sad Day
15) Con Le Mie Lacrime (As Tears Go By)
16) Long, Long While
17) Who's Driving Your Plane?
18) We Love You (single version)
19) Dandelion (single version)
20) Child Of The Moon
21) Jumpin' Jack Flash
22) Street Fighting Man (single version)
23) Honky Tonk Women
24) You Can't Always Get What You Want (single version)

Fela box compiled by Eno, also to be available as individual LPs, out Oct. 14 on Knitting Factory Records:

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more info, incl. audio, video links here:

http://campaign.r20.constantcontact.com/render?m=1112375229202&ca=95e0227f-e3d5-413b-a816-a6f00c83ccbc

Cowboy Junkies have their own label now, Latent, releasing albums by several artists. Also:

We, Cowboy Junkies, have finally untangled the Byzantine labyrinth of major label red tape and will be releasing a newly mastered version of The Trinity Session in late October. The focus of this release is a vinyl re-issue, but it will also be available on SACD (which can also be played in a regular CD player). For this re-mastered release Peter Moore and the band went back and worked with the original session tapes, this is the first time that this has been done since the albums original release in 1988 on Latent Recordings. It sounds beautiful. We'll have more details about pre-orders soon and we will send out an email dealing specifically with the release. We also have some shows lined up in British Columbia, Nashville, Atlanta and Athens, GA. Please check out our tour page for more details.http://www.cowboyjunkies.com/tour/

The Who My Generation 5-disc super deluxe edition rumored for November. No tracklisting yet.

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MNIVORE RECORDINGS RELEASES
A CAREER-SPANNING FIVE-CD SET
CELEBRATING THE MUSIC OF NRBQ
November 11 release contains hits, rarities, concert favorites and previously unreleased gems, plus liner notes, ephemera and previously unseen photos.

high noon n. : The most advanced, flourishing, or creative stage or period.

NRBQ n. : An endlessly creative band on a 50-year high that continually amazes and delights its listeners.
BRATTLEBORO, Vt. — There aren’t many bands that have lasted for 50 years, and the list of those still at the top of their creative game is even smaller. High Noon: A 50-Year Retrospective will offer a fascinating look at one of the best. Street date for the set is November 11, 2016.

Over the past half century, NRBQ has proven to be a group of peerless and unique musicians, songwriters and performers, continuing to prove it with each new album and live performance.
Omnivore Recordings will celebrate this legendary band with the release of High Noon: A 50-Year Retrospective consisting of five CDs of classic recordings all carefully remastered along with many rare and previously unissued gems in an attractive package featuring extensive notes and previously unseen photos.

High Noon contains 106 songs and offers a new and fascinating look at a great band, with each disc a unique listening adventure unto itself. The set provides a unique perspective for devoted fans as well as for adventurous newcomers who might only know of NRBQ through other artists’ versions of originals like “Me and the Boys,” “Ridin’ in My Car” and “Christmas Wish” or from hearing their music on TV shows such as The Simpsons, Weeds or Wilfred.

Formed in 1966 in Louisville, Kentucky, NRBQ has always been fueled by a deep, far-reaching love of music ─ from Sun Records to Sun Ra, as founding member Terry Adams told The New York Times in 1969. That abiding and unwavering “music first” philosophy, mixed with joy, spontaneity and a playful, unpretentious virtuosity, has served NRBQ incredibly well over the last 50 years ─ whether at the Fillmore East, the Berlin Jazz Festival, the New York Folk Festival, the Grand Ole Opry or in countless clubs, colleges, concert halls and recording studios; as a quartet or quintet; with or without the Whole Wheat Horns; alone or with rockabilly legend Carl Perkins, country singer Skeeter Davis or wrestling manager Captain Lou Albano. And the band’s well-known fans throughout the years are an equally diverse group, including Jimi Hendrix, Bonnie Raitt, the Replacements, Elvis Costello, John Sebastian, and Penn and Teller.

Of High Noon, Adams says, “I'm very happy to have taken part in this project with Omnivore Recordings. We had a lot of fun putting it together and in doing so, we had to go back to the beginning. It has enabled me to come into direct contact with the original intent. Not only that, but I can feel the spirit of every year of the 50. The band started hot and the band keeps getting hotter!

“They say that you're not supposed to brag, but I have to. I'M WITH NRBQ.
“I think this band is like no other. First of all, we have and always have had some of the best musicians and songwriters on the planet. What we do is unlike any other rock & roll band. Music is always first. We play for the moment. We have never limited our influences and look to life itself for inspiration. I say thanks to all involved who have been there to help make it happen. Wish I could say more, but the rest of the guys just pulled into my driveway. Gotta go!”
Disc One: Everybody
Say Yeah! (2005–2016)
1. Love In Outer Space
2. Never Cop Out (Live)
3. Waitin’ On My Sweetie Pie
4. Ruby, My Dear
5. I’d Like To Know
6. Boozoo And Leona (Live)
7. I’m Alone
8. Can’t Wait To Kiss You
9. Everybody Say Yeah!
10. In Every Dream
11. Here I Am
12. The Animal Life
13. Getting To Know You
14. Talk
15. Snowfall (Live)
16. Keep This Love Goin’
17. Fightin’ Back
18. Let Go (Live)
19. Dutchess County Jail Terry Adams & Steve Ferguson
Disc Two: Ain’t It
All Right (1966–1970)
1. Ain’t It All Right
2. Rocket Number 9
3. Tina
4. I Say Gooday Goodnite
5. Down In My Heart
6. Have You Heard
7. Dr. Howard, Dr. Fine, Dr. Howard
8. Get On The Right Track Baby (Live)
9. You Move So Fast (Live)
10. Flat Foot Flewzy
11. You Got Me Goin’
12. On The Farm
13. You Can’t Hide
14. Step Aside (Live)
15. Benellie
16. I Feel Good (Live)
17. Fergie’s Prayer
18. C’mon Everybody
19. Stomp
20. Stay With We
21. Heartbreaker (1966 Home Recording)
22. The Waiting Song The Seven Of Us
23. We Are Brothers (Live)
Disc Three: Do You
Feel It? (1971–1978)
1. That’s Neat, That’s Nice
2. Green Lights
3. Help Me Somebody
4. Only You
3. Help Me Somebody
4. Only You
5. This Old House
6. Ridin’ In My Car
7. Things To You
8. Do You Feel It?
9. Howard Johnson’s Got His Ho-Jo Workin’
10. Electric Train
11. Magnet
12. Honey Hush (Live)
13. Get That Gasoline Blues (Unedited Single Version)
14. It’s Not Too Late
15. It Feels Good
16. Still In School
17. Be My Woman Tonight (Live)
18. RC Cola And A Moon Pie (Single Version)
19. Get Rhythm
20. You And I And George (Live)
21. It’s Not So Hard
Disc Four: Me And
The Boys (1977–1990)
1. Captain Lou with Lou Albano
2. Me And The Boys
3. Talk To Me
4. I Love Her, She Loves Me
5. Smackaroo (Instrumental)
6. This Love Is True
7. Feel You Around Me
8. Crazy Like A Fox (Live)
9. Rain At The Drive-In
10. S’posin’ (Live)
11. Wacky Tobacky
12. The One And Only
13. How Can I Make You Love Me
14. I Got A Rocket In My Pocket (Live)
5. Boy’s Life
16. Never Take The Place Of You
17. Want You To Feel Good Too
18. I Want You Bad
19. She Got The House (Live)
20. 12 Bar Blues
21. My Girlfriend’s Pretty
22. Christmas Wish
Disc Five: Puddin’
Truck (1989–2004)
1. Little Floater
2. Sail On Sail On
3. Next Stop Brattleboro
4. What You Mean To Me
5. If I Don’t Have You
6. One Big Parking Lot
7. Love Came To Me
8. Dummy
9. Terry Got A Muffin
10. It’s St. Patrick’s Day
11. 21-50 To Headquarters
12. Do The Primal Thing
13. Goodbye
14. Puddin’ Truck
15. Ain’t No Horse
16. Blame It On The World
17. Imaginary Radio
18. Always Safety First
19. Advice For Teenagers
20. Paris (Live)
21. See You Soon
Watch (and feel free to post) the NRBQ trailer: https://youtu.be/9E_cltUB7Ow

The Who My Generation 5-disc super deluxe edition rumored for November. No tracklisting yet.

― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Wednesday, September 14, 2016 12:39 AM (yesterday) Bookmark Flag Post Permalink

I thought 50th anniversary was last year so surprised this is due now.

A career-spanning box was originally announced for last November, but never materialized.

The remaster of Paranoid I currently have sounds great to me, and I really don't care about a "quad mix folded down to stereo," but I think I need this for the 2 bonus live discs.

BLACK SABBATH READIES SUPER DELUXE EDITION OF PARANOID

Four-Disc Collection Includes Rare Quad Mix Plus Two Concerts From The Era
Available November 11 From Rhino

LOS ANGELES - "Paranoid is important because it's the blueprint for metal. It led the world into a new sound and scene," writes Judas Priest front man Rob Halford in the liner notes to the upcoming Super Deluxe edition of Black Sabbath's influential classic, Paranoid. The new collection will arrive this fall as the band nears the conclusion of its triumphant final tour, appropriately titled "The End."

PARANOID: SUPER DELUXE EDITION includes the 2012 remaster of the original album, in addition to a rare 1974 quad mix of the album folded down to stereo, plus two concerts from 1970, from Montreux and Brussels. The four-disc set comes with a hardbound book with extensive liner notes featuring new interviews with all four band members, rare photos, and memorabilia, a poster, as well as a replica of the tour book sold during the Paranoid tour. PARANOID: SUPER DELUXE EDITION will be available on November 11 for $39.98.

After the success of band's self-titled debut in early 1970, Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward returned that fall with Paranoid. The record became the band's first album to top the U.K. charts and has sold more than 4 million copies in the U.S. alone. Today, songs like "War Pigs," "Planet Caravan," "Iron Man," and of course, "Paranoid," continue to inspire a new generation of musicians around the world.

PARANOID: SUPER DELUXE EDITION includes - for the first time ever on CD - a Quadraphonic Mix of the album. Originally released on vinyl and 8-track cartridge in 1974, but subsequently long out of print, it has now been made available as a fold-down to stereo mix exclusively for this set. The collection's final two discs mark the official debut of two 1970 live performances. The first was recorded on August 31 in Montreux, Switzerland shortly before the release of Paranoid. It captures the band, already a tight musical unit, thundering through new songs like "Hand Of Doom" and "Iron Man" while mixing in "N.I.B." and "Behind The Wall Of Sleep" from their debut album.

The other concert was recorded a few months later in Brussels during the band's television performance for the public broadcaster RTBF. Rough bootlegs of this classic show have circulated in the past, but they've never sounded this good. For this set, the entire show has been sourced directly from the RTBF master tapes resulting in the best sound quality to date.

PARANOID: SUPER DELUXE EDITION
Track Listings:

Disc One: Original Album, 2012 Remaster
1. War Pigs/Luke's Wall
2. Paranoid
3. Planet Caravan
4. Iron Man
5. Electric Funeral
6. Hand of Doom
7. Rat Salad
8. Jack the Stripper/Fairies Wear Boots

Disc Two: 1974 Quad Mix fold-down to stereo

Disc Three: Live In Montreux 1970 (Previously unreleased)
1. Intro
2. Paranoid
3. N.I.B.
4. Behind the Wall of Sleep
5. Iron Man
6. War Pigs
7. Fairies Wear Boots
8. Hand of Doom

Disc Four: Live In Brussels 1970
1. Paranoid
2. Hand of Doom
3. Rat Salad
4. Iron Man
5. Black Sabbath
6. N.I.B.
7. Behind the Wall of Sleep
8. War Pigs
9. Fairies Wear Boots

Didn't they just do two and three disc deluxe Paranoid reissues?

Paranoid is the Kind of Blue of metal. You can never reissue it too many times.

If their Twitter account is any indication, Numero Group is working on a Hüsker Dü box.

Numerophiles-

You may have noticed something missing in your recent batch of Numero LPs: download cards. Admittedly, this was a concept we were slow to embrace, but having done it for three years and looked at the data, we’re going to be one of the first labels to jump off board. The problem is that so few people actually use the cards. We’re seeing redemption rates at less than 5%, and when you look at the cost to host, produce, and insert, it’s a losing endeavor (we’re paying close to 30 cents a piece!). Rather than throw another $15,000 away in 2016, we decided to kill them entirely.

Let’s get real for a moment: streaming has won. A subscription to Spotify or Apple Music costs less than a movie. You can get 95% of the history of recorded music on demand for less than the cost of a 13 shot venti soy hazelnut vanilla cinnamon white mocha with extra white mocha and caramel. If you don’t mind listening to a commercial every fourth song you can stream 99.9% of the entire Numero catalog (plus hundreds of tracks we haven’t even released physically) for FREE. Is the money great for us and our artists? Not really, but it’s better than paying for you to download their songs for free.

But all is not lost! We have two options for you lovers of downloads out there:

1. Buy anything from numerogroup.com and get an immediate, free download with your purchase. This option will not be disappearing any time soon and is the best way to ensure that you can take files with you to Antarctica.

2. Get a FREE Spotify trial, follow our account and two of our playlists, and then take a screen grab (shift+command+4). Send it to i✧✧✧@numerogr✧✧✧.c✧✧ and we’ll send you a free album download of Eccentric Breaks and Beats Volume 3.

We’ve got a handful of new records coming this month which we’ll talk about in greater detail below. Plus we’re doing a pop up store tour of the west coast in October. These things are always way too long. Better long than never, right?

After School Special: The 123s of Kid Soul

School is back in session! A decade removed from our acclaimed Homeschooled compilation comes a new class of talent show titans. With enterprising parents, neighbors, and teachers turning play dates into recording dates, groups like Magical Connection, Little Man and the Inquires, and Five Ounces of Soul emulated the Jacksons, who'd made grade-school stardom appear easy as A-B-C. Afterschool Special: The 123s Of Kid Soul contains 19 tiny tunes ranging from bilingual D.A.R.E. anthem, to James Brown bio, to young love and life beyond the playground.

2LP/CD/Stream

Numero Group Factory Outlet Tour

After successful pop up stores in Chicago, New York, and London, we’re taking the Factory Outlet on the road this fall! On sale will be every currently in-print Numero LP, CD, tape, 45, poster, and t-shirt. We’re cramming it all in a 15-passenger van and heading west for two weeks.

Dates, Locations & Hours of Operation

October 7 / Bloomington, Indiana / 213 S. Rogers / 2pm-9PM
October 8 / Kansas City, Missouri / 3810 Broadway Rd. /12pm-6pm
October 10 / Denver, Colorado / 2700 Arapahoe St. / 2pm-10pm
October 12 / Phoenix, Arizona / 214 E. Roosevelt St. / 2pm-10pm
October 13 / Los Angeles, California / 5636 York Blvd. / 12pm-8pm
October 14 / Los Angeles, California / 5636 York Blvd. / 12pm-8pm
October 15 / Los Angeles, California / 5636 York Blvd. / 12pm-8pm
October 16 / Berkeley, California / 651 Addison St. / 12pm-8pm
October 17 / Berkeley, California / 651 Addison St. / 2pm-8pm
October 18 / Berkeley, California / 651 Addison St. / 2pm-8pm
October 20 / Portland, Oregon / 403 SW 10th Ave. / 12pm-10pm
October 21 / Seattle, Washington / 472 1st Ave. N / 12pm-8pm
October 22 / Seattle, Washington / 472 1st Ave. N / 12pm-8pm
(more info about those on numero site)

Of course it wouldn’t be a Numero event with out a special record you can only buy at our store! We’ve pressed up 500 copies of Amethyst’s incredible “Midnight Rendezvous” 45 to commemorate the tour and it’s reason enough to come out. Hit the blood bank, get a loan, or start a life in crime, you’ll need it! It’s unlikely that we’ll return to the west coast for a few years, so this is your chance to stock up on deep Numero catalog at rock bottom prices.

Not really, but it’s better than paying for you to download their songs for free.

Yeahhh but I did kinda pay for the album so

Also fuck streaming forever

It is REALLY interesting that they have such a low rate of people redeeming those cards, though, never would've guessed that. I always use the cards when I get them. But then whenever I've bought used vinyl with a card in it always works so maybe I'm a freak case.

I was surprised by that low conversion rate and am disappointed they have gone down this route. Neat way to get people to buy direct from them though, if that's the only way to get a download included.

Husker Du box sounds interesting.

Never followed these guys, but some did (Joy Press could say why they were worth it)

https://s3-eu-west-1.amazonaws.com/cdn.beggars.com/fourad/site/images/artists/desktop_header/deadcandance.jpg

Dead Can Dance: '3 LP Bundle - Garden Of The Arcane Delights & John Peel Sessions / Within The Realm Of A Dying Sun / Toward The Within'

11th November 2016
info:
http://4ad.com/releases/829

Weird. Why not Garden/Peel, s/t and Spleen?

Oh they did s/t, Spleen and Labyrinth together.

SUB POP TO RELEASE TAD CLASSICS ‘GOD’S BALLS,’ ‘SALT LICK,’ AND ‘8-WAY SANTA’ DELUXE EDITIONS (FINALLY) ON NOVEMBER 4TH

Yes, you read it right. We finally got our collective shit together and the long-unavailable, classic discography of beloved and iconic Seattle band, TAD – God’s Balls (1989), Salt Lick (1990), 8-Way Santa (1991), and assorted singles from the band’s 1988-1992 run – will finally receive the deluxe reissue treatment.

Producer & engineer Jack Endino (who produced God’s Balls, TAD’s first full-length) has lovingly remastered all of the recordings from the original tapes. God’s Balls, Salt Lick and 8-Way Santa will be available throughout the known universe on November 4th of this very year.

These deluxe editions of God’s Balls, Salt Lick, and 8-Way Santa feature new images from celebrated photographer Charles Peterson, bonus tracks, and expansive liner notes from the band and Jack Endino. The bonus material associated with each release will be included on the CD and digital formats; each of the the gatefold vinyl LPs will include that album’s bonus material as part of its free, associated download.

PLUS all of the bonus material, from all three of these monumental heavy rock/punk albums will be collected on an additional bonus LP available for free with purchase of all three (3) albums on vinyl from the Sub Pop Mega Mart and also from select independent retailers.

God’s Balls (1989)
God’s Balls, TAD’s punishing, noise-drenched debut album, was recorded with Jack Endino at Reciprocal Recording in Seattle in 1988 and released early the following year. In addition to their usual arsenal of guitars, bass, and drums, the band employed a variety of unusual instruments – an empty gas tank from a car, a hacksaw, a large brass tube from a microwave transmitter, CB radio mics, a cello bow used on cymbals to emulate guitar feedback – to thunderous effect, adding a Neubauten-esque clang to the band’s rock riffs. After releasing God’s Balls, TAD flew to Europe with Nirvana for both bands’ first European tour. The now-legendary, month-long tour took the bands to the UK, Ireland, Scotland, France, Belgium, Switzerland, Germany, Austria, Czechoslovakia, Hungary, Italy, Denmark and Sweden.

This reissue of God’s Balls features bonus tracks from TAD’s 1988 debut 7”, plus the previously unreleased “Tuna Car” from the 7” session. God’s Balls has been out of print on LP/CD for many years, and this is its first digital release.

Tracklist:
1. Behemoth
2. Pork Chop
3. Helot
4. Tuna Car
5. Sex God Missy (Lumberjack Mix)
6. Cyanide Bath
7. Boiler Room
8. Satan’s Chainsaw
9. Hollow Man
10. Nipple Belt
11. Ritual Device - (from “Daisy” 7” single) **
12. Daisy - (from “Daisy” 7” single) **
13. Tuna Car (Unreleased) **

** w/ CD / Digital / LP Download Card only

Salt Lick (1990)
After their 1989 debut album, God’s Balls, TAD continued to write and record, releasing a string of singles and the Salt Lick EP between 1989 and 1990. Salt Lick features the single “Wood Goblins,” the video for which MTV banned because it was, to the delicate eyes of MTV programmers, “too ugly.” The sounds of Salt Lick are, indeed, wonderfully ugly, thanks in part to the involvement of noise-rock technician Steve Albini (Big Black, Shellac, Nirvana, The Jesus Lizard), who recorded the EP. The band continued to release singles and gain momentum in the press. As TAD himself puts it: “Lyrically we had a lot of subject matter that was meant to be tongue-in-cheek from the beginning but that was presented by both Sub Pop and us as true-to-life. The press took it all seriously and began to feed on and ravenously devour the mythology we created.”

This reissue of Salt Lick includes tracks from the “Wood Goblins” single, a split 7” with Pussy Galore, and the “Loser” 7”. This material has been out of print on vinyl/CD for many years, and this is its first digital release.

Tracklist:
1. Axe to Grind
2. High on the Hog
3. Wood Goblins
4. Hibernation
5. Glue Machine
6. Potlatch
7. Loser (from “Loser” 7” single) **
8. Cooking With Gas (from “Wood Goblins” 12” & “Loser” 7” single)**
9. Habit Necessity (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile) **
10. Damaged (from Pussy Galore split 7” single) **

** w/ CD / Digital / LP Download Card only

8-Way Santa (1991)
In 1991, after tens of thousands of miles on the road in support ofGod’s Balls and Salt Lick, and a run of powerful EPs/singles, TAD released their second full-length album, 8-Way Santa. Recorded at Smart Studios in Madison, WI with Butch Vig, whose work with Killdozer the band admired, 8-Way Santa finds TAD pushing their sound in new directions. Not a band to rest on its laurels, TAD began to add melodic touches to their sound, as evidenced by the lead single, “Jinx.” 8-Way Santa was the last record with the original TAD lineup, and their last album for Sub Pop before jumping to a major label.

This reissue of 8-Way Santa includes tracks from the “Jinx” single, a 1990 EP, and a handful of unreleased album demos recorded by Jack Endino. This material has been out of print on vinyl/CD for many years, and this is the first digital release for the bonus content.

Tracklist:
1. Jinx
2. Giant Killer
3. Wired God
4. Delinquent
5. Hedge Hog
6. Flame Tavern
7. Trash Truck
8. Stumblin’ Man
9. Jack
10. Candi
11. 3-D Witch Hunt
12. Cranes Café
13. Plague Years
14. Pig Iron (from Jinx 7” single) **
15. Nuts ‘N’ Bolts (Unreleased) **
16. Delinquent (8-Way Santa Jack Endino demos) **
17. Giant Killer (8-Way Santa Jack Endino demos) **
18. Wired God (8-Way Santa Jack Endino demos) **
19. 3D Witch Hunt (8-Way Santa Jack Endino demos) **
20. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases – 7”, 12” & CD – and from 8-Way Santa Butch Vig sessions) **

** w/ CD / Digital / LP Download Card only

Bonus LP Compilation Tracklist:
(Available free with purchase of all three albums on vinyl from the Sub Pop Mega Mart and from select independent retailers)
A1. Ritual Device (from “Daisy” 7” single)
A2. Daisy (from “Daisy” 7” single)
A3. Tuna Car (Unreleased)
A4. Loser (from “Loser” 7” single)
A5. Cooking With Gas (from “Loser” 7” single)
A6. Habit Necessity - (from “Dope Guns N Fucking in the Streets” 7” single on Amphetamine Reptile)
A7. Damaged (from Pussy Galore split 7” single)
B1. Pig Iron (from “Jinx” 7” single)
B2. Nuts ‘N’ Bolts (Unreleased)
B3. Delinquent (8-Way Santa Jack Endino demos)
B4. Giant Killer (8-Way Santa Jack Endino demos)
B5. Wired God (8-Way Santa Jack Endino demos)
B6. 3-D Witch Hunt (8-Way Santa Jack Endino demos)
B7. Eddie Hook (from U.S. “Jack” CD & all German “Jack” releases – 7”, 12” & CD – and from 8-Way Santa Butch Vig sessions)

I like this band, but I literally cannot imagine a person buying and actually listening to this much Tad.

Tad were the best grunge band by far. My pre-order will go in as soon as my Paypal account tops off at the beginning of the month.

I stand corrected! Like I said, I like them a lot. I just think that's, err, a lot of Tad.

You can get 95% of the history of recorded music on demand

sad to see people who should know better parroting this nonsense

http://image.e.wbr.com/lib/fe8e137075670c7572/m/1/Tori+Amos+Boys+For+Pele+Deluxe+2120995.jpg

2-CD Deluxe 20th Anniversary Ed. of Tori Amos's Boys For Pele on Rhino 11/18,
more info: http://view.e.wbr.com/?qs=ce06a0a5743f8c4fba72e4fe014a69806c477d9e57d5bb9a7a2b590060dfd33f302446f13588956dab45967511031dc877f924c18f6b2e38e3098aa9f68f0a5f

7 September, 2016

See What Your Love Can Do- The Terry Dolan Story

I don’t read music and I don’t know half of the names of the chords I use, but I know the sound. –Terry Dolan

When Terry Dolan delivered his self-titled debut record to Warner Bros. in late-1972, he had every reason to be optimistic. Full of great songs, played by an all-star cast of musicians, Terry Dolan was an auspicious album, a whirlwind of songs and musicianship, that seemed certain to elevate its creator to that rarefied “next level” in the rock pantheon. You could hear momentum in these tapes—the fervor in Terry’s voice, coupled with the inspired playing of the unparalleled group of musicians he’d assembled—the album had enormous potential to connect with a wide audience.

As he sings in his signature song, Terry came out from the East Coast—Weston, Connecticut to be exact—where at the age of 14, he first picked up a guitar, learned a few chords from a family friend, and soaked up the elemental and essential music of Lead Belly, Hank Williams, Wanda Jackson, Carl Perkins, and Buddy Holly. Inspired by the early-’60s Boston folk scene, Terry decided to ditch his college political-science studies and decamp to the nation’s capital to become a folk singer. He worked for an economics-consulting firm by day, and played Washington, D.C.’s clubs, bars, and coffee houses at night—honing his sound with just an acoustic guitar and his soul-stirring voice.

If you were an East Coast folkie in 1965, especially one with a rock ’n’ roll heart, there was a current pulling inexorably westward—to a mythic land of open minds, community, and creative possibility. Terry moved to San Francisco that summer. Just 21 years old, he was making the scene and booking gigs almost immediately after he’d arrived. Fellow musicians were Terry’s lifeblood, and through them he forged deep alliances and friendships that would become the musical and social bedrock of his life.

On April 4, 1968, the night Martin Luther King, Jr. was assassinated, Terry met his future wife. “He and his friend and fellow folk singer Michael Hunt got off the same bus as me, at Geary and Fillmore,” Angie Dolan recalls. “I was a newbie from Texas, and they were legitimate hippies. They invited my roommate and me to their gig at a coffee house on Union St. We had never been to a live folk show before, and we were very impressed.”

By then, Terry Dolan had made a name for himself with his wild, electric energy and passionate performances. As he would later remark, “People used to tell me that I played too hard for a folk singer. And when I started playing rock, they said I played too soft and too many ballads. I like ballads. I prefer corners in my music, rather than edges. Rock is just as much a part of me as folk is, and playing both teaches you to find the groove.” Terry became a fixture at hip San Francisco clubs like the Matrix and Keystone Korner, and was soon playing colleges, festivals and larger concert venues, opening for big names, including B.B. King, Elvin Bishop, Blue Cheer, and Taj Mahal.

Greg Douglass, guitarist for Bay Area psychedelic mainstays Country Weather, (and later a member of Mistress, The Steve Miller Band and The Greg Khin Band) remembers Terry’s inveterate fearlessness as one of his band’s regular opening acts. “It was an odd mixture. Country Weather was a kind of somewhat more melodious combination of Cream and Blue Cheer. Terry was a New England transplant, a 12-string-strumming folk troubadour whose role model, both musically and in terms of attitude, was the legendary singer-songwriter Dino Valenti (who would later join Quicksilver Messenger Service). But Terry had balls for days, getting up in front of our audience, armed with only his voice, guitar, and a fiery, Irish inner-flame goading him.”

Douglass and Dolan decided to pool their talents, working out songs at the tiny North Beach apartment Terry shared with Angie, and eventually playing out as a duo. “The transition from folk to rock was when Terry opened shows for Country Weather,” Angie says. “That was the beginning of Terry going from acoustic to electric guitar.” Greg Douglass and Terry Dolan grew close during this period, and Douglass would remain Terry’s lifelong musical ally.

* * *

Writing great songs, steeped in both rock and folk, and gigging with a red-hot guitarist, Terry’s next logical step was to capture some of the music on tape. With the help of a friend who was a roadie for Quicksilver Messenger Service, Terry approached the legendary British session pianist Nicky Hopkins, a newly minted Bay Area resident, to produce two of his songs. Terry was thrilled when Hopkins agreed to both produce and play piano on the sessions. In August of 1970, Terry Dolan made his first demo recordings at San Francisco’s Golden State Recorders. Country Weather was the backing band, and the session was engineered by Dan Healy (who would go on to become chief audio engineer for the Grateful Dead). The musicians cut two Terry Dolan originals: the anthemic, autobiographical, “Inlaws And Outlaws,” and the pristinely beautiful ballad, “Angie,” which Terry had written for the love of his life.

Before the demo was finished, a Bay Area music legend would join the proceedings and add his inimitable guitar playing to Terry’s songs. In an interview from the late-’80s, Terry picks up the story. “John Cipollina had been working over at the old Pacific High Recorders, finishing up the Hawaiian albums with Quicksilver. Halfway through the session, Nicky called him up, and told him to come on over and play some tracks on ‘Inlaws’ and ‘Angie.’ So he came over, and that’s how I met Johnny. He overdubbed about 43 tracks, as usual.”

“It was dynamite,” enthuses Greg Douglass. “Fueled by Ritalin and a new fuzz box, I played my ass off, and the band killed it, and the song “Inlaws And Outlaws” became an instant airplay hit on KMPX and KSAN, the local underground FM stations!”

The high energy of the sessions captured on tape propelled Terry further into the Bay Area rock scene. “‘Inlaws And Outlaws’ was a great song,” says Vicky Cunningham, who was Terry’s manager at the time, as well as Bill Graham’s secretary. “KSAN and KMPX started playing it all the time, and everybody was calling and wanting to buy it—only it wasn’t a record (it was a demo tape). So every time they played that tape, we’d have to announce, it’s not a record, don’t go to the record store. You can’t really get it yet.” Indeed, “Inlaws And Outlaws” became an unofficial #1 hit on KSAN, where DJ Bob McClay played it nearly every day for over a year. KSAN and KMPX DJs who left for gigs in other markets were known to take copies of Terry’s tape with them. “Inlaws And Outlaws” was soon getting good airplay as far afield from San Francisco as Detroit, Boston and New York.

Favorable response to the song was such that on April 24, 1971, The San Francisco Examiner ran a piece on Terry and “Inlaws And Outlaws”.

With things looking pretty good for the former folkie, San Francisco music attorney Brian Rohan, along with Warner Bros. A&R man, Tom Donahue (whose label, Autumn Records, had helped launch the San Francisco music scene in the mid-’60s), used the strength of Terry’s demos to secure him an album deal with Warner Bros. Records. Angie Dolan remembers the Warner’s deal happening very quickly, and with the major airplay “Inlaws And Outlaws” had been receiving, she notes, “some journalists predicted that an album would be an instant hit.”

The contract named Nicky Hopkins as the producer for Terry’s album—the only time he would ever take on that role for another artist. It was an arrangement that caused snags almost immediately. “Things became bogged down due to Nicky’s schedule,” Douglass remembers. “Everybody wanted his time and talent, and The Rolling Stones were a tad higher on the food chain than Terry. Finally, Terry tearfully appealed to Nicky, and time was scheduled. Since I had put in many, many hours with Terry, and knew the songs well, I was the one person from Country Weather to be picked for the sessions.”

With the help of Nicky Hopkins, Terry assembled an incomparable Bay Area backing band that sparkled with talent. Hopkins would again occupy the piano chair, as well as the producer’s. On drums: Prairie Prince, member of both performance-art-rockers The Tubes, and The Golden Gate Rhythm Section (a trio with former Santana members Neal Schon and Greg Rollie, and the embryonic incarnation of future mega-stars Journey). On bass: Lonnie Turner of the Steve Miller Band. Sharing guitar duties with Douglass was John Cipollina of Quicksilver Messenger Service. Singing background vocals were June, Bonnie, and Anita Pointer, a.k.a. The Pointer Sisters—a full year before their own debut album would be released on Blue Thumb. Rounding out the all-star cast was former Jefferson Airplane drummer Spencer Dryden (at the time, drumming with The New Riders), playing percussion.

In mid-January of 1972, Terry and his handpicked group entered Wally Heider’s San Francisco Studios to begin cutting tracks for his debut album. The ensuing sessions re-created the mix of folk-infused, high-octane rock magic that had made the demos so special. Nicky Hopkins, resplendent in a green velvet cape, set the tone. As a novice producer, Hopkins was accommodating. Greg Douglass notes, “Nicky went out of his way to make me personally feel comfortable. He would make suggestions, but would very much let you have your own head. He fell off his chair—literally—after I did my first overdub on a solo. That’s a nice reaction from someone that I absolutely idolized.” Prairie Prince concurs, “It was relaxed and flowed effortlessly throughout the day, with lots of banter and jokes.” The respect and admiration the musicians had for each other radiated throughout the studio. Greg Douglass: “I was just so thrilled to be where I was, with all these big-time players that I felt like a beacon of musical energy. The bassist was Lonnie Turner, who I was flabbergasted to be working with. I was a huge Steve Miller fan, and Lonnie had always amazed me with his seemingly effortless, fluid groove. He was working with Dave Mason at the time, and we instantly hit it off. I do remember the entrance of the ‘rock ’n’ roll raconteur’ John Cipollina, who I had been briefly introduced to at the original Country Weather sessions. John was not just approachable—he was unavoidable in his charisma and outward friendliness. After seeing his onstage persona many times, I was completely unprepared for his nonstop, stream-of-consciousness warmth.”

The two guitarists bonded on the spot, with the elder statesman Cipollina praising Douglass’ melodic playing, and enthusiastically asking him about the amp he used for solos. Prairie Prince remembers, “I was a bit star-struck, recording with these veterans.” But beyond the resumes of the respective musicians, Prince was struck by the soulfulness of both Terry’s songwriting and the man himself. “Terry was a real talented guy, and a kind gentleman who treated me with such respect. I was impressed with his song writing and lyric content. His songs spoke of new loves, and finding a path of some kind of righteousness.”

The four tracks that comprise the first side of Terry Dolan take the singer-songwriter template that was wildly popular at the time and turn it on its head. Terry was able transcend his own experiences of walking the musical tightrope between folk and rock. The sound he and his musical conspirators generated was such a true synthesis of the genres that the seams that bound them were all but invisible.

Terry Dolan’s songs grab hold of the listener, sounding entirely fresh yet strangely familiar at the same time, as if we’ve been singing along for years. The point of departure is his voice: authoritative and supple, celebratory and yearning. It is the instrument that flows elegantly throughout the variety of textures on the album. From all-out rockers to the sweetest of ballads, Terry’s voice rides effortlessly with the music, coaxing it along, rather than merely accompanying it. The hours Terry had spent playing and singing his way up to these sessions can be felt viscerally in his singing, while The Pointer Sisters adorn his words with gorgeous layers of gospel-infused harmonies.

Inspired by Terry’s inviting melodies and his hard-strumming, rhythm guitar playing, John Cipollina and Greg Douglass conjure a wealth of guitar tones, from languid, acoustic slide playing to raging, electric solos. The highlight is the epic, two-man guitar interplay on “Inlaws And Outlaws,” with Cipollina’s swooping, electric slide moans, playing perfectly off of Douglass’ searing riffage. The song is quintessential Terry Dolan music: infectious, burning, direct, and brimming with soul and passion. It begins innocently enough, with a baroque Nicky Hopkins piano introduction, before building into a churning anthem of personal liberation. With its exhilarating, near-proselytizing, post-hippie refrains—“Alive, alive, alive!” “Run, hide, be free!” and “Living, my life, free!”— it’s easy to imagine “Inlaws And Outlaws” blasting from FM radios everywhere (if only it had been released). If there’s any justice in the world, classic rock radio will simply pick up the song and start playing it, as if it had been with us all this time.

Terry Dolan also serves as a definitive showcase of the brilliance of Nicky Hopkins’ piano playing. Hopkins’ wondrously splashy yet consummately tasteful runs are prominently out front. The expansive and generous musical landscapes of Terry’s songs elicited some of the most majestic and fiery playing of the high-flying pianists’ career. Hopkins was always sensitive and spot-on as an accompanist, but it’s his instinctive feel for the grand gesture that is on full display here, as he unleashes torrents of lightning-quick notes, and crafts stunningly melodic progressions of arpeggiated chords.

The sessions were bursting into full flower, and looked like they were on the verge of producing a groundbreaking album. Then in mid-February came a major setback when, after recording and mixing only four songs, Nicky Hopkins was called to Los Angeles by The Rolling Stones for overdubbing sessions on Exile On Main Street, to then be followed by a U.S. tour, and on to Jamaica to record Goat’s Head Soup. Terry’s album had ground to a halt, and seemed in danger of being abandoned. Vicky Cunningham weighs in: “It was good, but Warner Bros. was taking too long to come up with the money to finish the record, to do side two.” The loss of Hopkins seems to have compounded the label’s reluctance.

“Nicky was out with the Stones, making ungodly amounts of money,” Douglass says. “Terry had lost not only his producer, but also one of the chief bargaining chips that got him his deal in the first place. Terry’s album was the first thing Nicky had ever produced, and Terry became a victim of the fact that ‘Mr. Hopkins’ was now the hottest keyboard player in rock. Terry was beyond distraught. The label was pissed.”

While the four songs produced by Nicky Hopkins constituted only one-half of an album, the sessions had been singular—the chemistry spawning outstanding performances, and forging deep friendships between the musicians, resulting in lifelong collaborations amongst many of those involved. Although none of the participants could have predicted it at the time, something serendipitous had taken place, the result of which can be heard and felt in the music they laid down.

* * *

The unexpected departure of the producer/pianist loomed large, casting doubts about the album’s future. After months of inactivity, Terry was eager to come up with a solution that would please the label and keep the project moving forward. That solution came in the form of one Pete Sears, who, like Hopkins, was a musically virtuosic Englishman, and who had also recently taken up residence in the Bay Area. A gifted multi-instrumentalist with excellent taste and instincts, Sears already had an impressive resume by the time he met Terry. Best known for playing bass and keyboards on Rod Stewart’s early solo albums, he had been a U.K. session musician since 1964, a member of the mid-’60s, cult-psychedelic band Les Fleur de Lys, had recorded a seminal U.K. folk-rock album called Fly On Strange Wings with members of Pentangle, King Crimson and The Spencer Davis Group, and had recently played with Stoneground and Copperhead, two Bay Area rock bands.

An agreement was reached, and Sears was onboard to produce the second side of Terry’s album. He would also play bass, keyboards and piano (as well as guitar on the album’s sole, non-Dolan original, J.J. Cale’s “Magnolia”). Terry and Pete got together to go over the songs Dolan had written for the album’s second side. Excited by the strong material, and Terry’s infectious enthusiasm, Sears began gathering a choice cast of players to bring the songs to life: guitarist Neal Schon, who had recently departed Santana and was on the cusp of cofounding Journey (with Prairie Prince, among others); David Weber, the drummer of John Cipollina’s hot, new band Copperhead; Greg Douglass, who had returned on guitar; Mic Gillette, from the renowned horn section of the Oakland funk band Tower Of Power, on French horn; and providing background vocals, Kathi McDonald, who was a member of Ike and Tina Turner’s Ikettes before replacing Janis Joplin in Big Brother & The Holding Company.

The sessions for Terry Dolan finally resumed in late-August 1972, at Pacific High Recorders. Greg Douglass recalls that the six-month break in recording had led to less-than-ideal conditions in the studio. The increased pressure to deliver a finished album to Warner Bros. resulted in a situation where, according to Douglass, “nothing was gelling as naturally as the first part of the album had.” Pete Sears had indeed stepped into challenging waters, however, it’s clear he navigated them with aplomb, drawing from his tasteful sonic palette for the album’s second side.

Sears, as was his goal, maintained the high-quality production levels set by his predecessor. The distinction being that Hopkins was more of a rock ’n’ roll traditionalist, while Sears was going for an “of-the-moment” sound. He achieved this by arranging tastefully contemporary rootsy settings, and juxtaposing them with the incendiary playing of 18-year-old Neal Schon, the primary guitarist on the album’s second side. Schon’s playing, with its pyrotechnical displays of virtuosity, signified a new direction in the sound of lead guitar. According to Greg Douglass, “A young guitarist, who was already rich, and working with Santana, sauntered in and quickly put me in my place.” Douglass continues, humbly, “He was simply a superior player, and Pete and Terry’s feet were to the fire, so they had to go with much of Neal’s work in place of mine. The kid was a shredder.”

Schon’s rapid-fire, stratospheric playing on “Purple An Blonde…?” and “Burgundy Blues” point straight towards the superstar status he would soon achieve with Journey. This was the incipient sound of the soaring, ’70s arena-rock guitar-god, strategically placed by Sears within Terry’s earthy, earnest, folk-rock treasure.

Additionally, there is wonderfully organic vibe, exemplified by Sears’ deeply soulful organ and piano ensemble playing, and Mic Gillette’s lovely French horn on J.J. Cale’s reverie of a song, “Magnolia.” Sears’ masterful arrangement imparts a yearning poignancy to Terry’s music that allows the singer to reach deep into the depths of his soul.

In fact, it is no stretch to call Pete Sears the “secret weapon” of Terry Dolan’s unreleased debut album. His production brilliantly complements the tracks Nicky Hopkins had sheperded six months earlier. His piano playing is inspired throughout, and while not as pyrotechnically inclined as Nicky Hopkins (he does come pretty close at times), his playing on the slower songs has a tremendous range of depth and emotion. On bass, his playing is fluid, strong and meaty, especially on “Purple An Blonde…?” with its effortlessly funky intro. And Sears’ organ playing is simply stunning: soulful, melodic, rippling, breathtaking. He also co-wrote the album’s final track “To Be For You,” with Terry.

* * *

By September 1972, the album was finished and Warner’s assigned it a catalog number: BS 2669. They designed front and back cover art (using legendary San Francisco rock photographer Herb Greene), LP labels, and made test pressings. The publicity department worked up a two-and-a-half page Terry Dolan bio, commissioned a Warner Bros. PR photo shoot of Terry (Herb Greene, again), and a full-page article on the album was featured in Warner Bros. hip monthly radio and retail trade magazine, Circular. The record was slated for a February 1973 release. As Angie recalls, “The reality of the album hit when Terry and I went to Herb Greene, a renowned rock photographer, who took pictures for the album cover. We were so thrilled to have a sense of financial security, and Terry was finally rewarded for paying his dues as an artist.”

And then, the unthinkable happened: Terry Dolan’s debut album was cancelled by Warner Bros., just two months before its scheduled release date, and Terry was summarily dropped from the label. There has been a great deal of speculation over the last 43 years, as to exactly what happened, and still there is no definitive answer. Even by the notoriously capricious nature of the music industry, Warner Bros.’ last-minute cancellation of the Terry Dolan album seems unusually callous, especially in light of its undeniable artistic caliber, and all the resources they had put into its production. “Many times over the years, I wondered what happened to those sessions,” says a puzzled Prairie Prince. Greg Douglass, the man who took Terry electric, posits, “Without Nicky Hopkins’ complete participation, Warner’s deemed the album not commercially viable, and decided not to release it.” Bassist David Hayes, a Bay Area stalwart, best known for his work with Van Morrison, has a different take on the matter. “I first met Terry when he had just been dropped,” he says. “It had nothing to do with his music. It was a purge. Dozens of artists were dumped.” But of course, in the end it’s all just speculation—time waits for no one, trends come and go, and we’re left holding a curiously potent historical artifact that resonates with unfulfilled potential and the passion and poetry of the musicians that created it.

Adding insult to injury, Warner Bros. failed to personally inform Terry of their decision. “They didn’t even bother to tell me. I found out after making some inquiries on my own,” Terry told an interviewer in 2006. Angie adds, “When we found out the album was being shelved, Terry was devastated, and yet he was determined to continue booking gigs. The whole ordeal changed our lives forever because we struggled to keep the faith.” Terry’s brush with major label validation left him badly shaken. “His world collapsed completely,” Douglass says. “Terry was inconsolable, and I did not hear from him for a very long time.”

* * *

Terry eventually rallied, channeling his passion and drawing upon his deep friendships and connections in the music scene to form an ongoing musical phenomenon: Terry & The Pirates. The Pirates became a nexus for Bay Area musicians, a fluid and enduring community of kindred musical spirits. There were no grand ambitions, no pretense of rock stardom, just the love of music and the joy that comes from playing with longtime friends. It was as though Terry was preserving the dying embers that warmed those earlier, magical sessions.

“Once Terry got over licking his wounds from being dropped by Warner’s, he reached out to me, and we became very close once again,” says Douglass. “Somehow, for the life of me, I can’t remember how, I ended up in his basement with Cipollina and the Copperhead rhythm section, plowing through a number of tunes. The friendships and contacts made during the Wally Heider’s sessions morphed into one of the most fun and fulfilling projects I’ve ever been involved with, Terry & The Pirates. John Cipollina and I were paired on guitar, and our disparate styles gelled into something completely different, a kind of Duane Allman and Dickey Betts on acid.” Terry & The Pirates garnered a reputation for playing with absolute conviction, as if every song were an encore. Audiences were treated to some of the best, gut-level, hard driving, free-form rock music at every gig. The band, led by Terry’s wild-man guitar strumming and powerhouse singing, rocked with a reckless abandon, leaving everything on the stage at the end of the night.

Terry & The Pirates would continue, in one form or another, from June 1973 until the tragic passing of John Cipollina, who was only 45 years old, on May 29, 1989. The bonds that had formed so profoundly on recording sessions that had taken place almost 20 years earlier came into sharp focus. Nicky Hopkins was in Australia, touring with Art Garfunkel, when he heard the sad news of Cipollina’s death. He dropped everything and rushed to San Francisco so he could play with Terry & The Pirates in a tribute concert for his fallen friend and collaborator. John Cipollina’s sister Antonia wasn’t surprised by Hopkins’ mad dash around the globe. “He was just in time to go out on stage and, after not being with these guys for years, it was as if he’d been playing with Terry all along.”

There was a magical, alluring energy that percolated through the musicians who played on Terry’s unreleased album, an energy that only grew stronger over the years. His enthusiasm, passion, humor, and generous, affirming vision touched all who knew him. Over the course of 40 years, Terry brought together a large and disparate group of world-class musicians, time and time again—whether they were playing with Terry, or on each other’s countless projects. Bands had been formed, deep friendships established and endured, and countless hours of joyful music had been played. “See what your love can do,” Terry Dolan sang, and he lived by those words, giving his love freely and watching it ripple outwards and then back again. “Terry was rich in friends,” notes Vicki Cunningham. “He had more friends than anybody I knew.”

Terry took some time off after John Cipollina’s passing. For nearly 20 years, John and Terry had not only been the closest of friends, they’d made music together on an almost continual basis: on stage, in the studio, or just sitting around on one of their front porches. Entering the ’90s, Terry began assembling various lineups of old and new Pirates alike for the occasional gig. For the “old Pirates,” who were getting the chance to play with one another again for the first time in years, it felt like no time at all had passed since the last gig. Playing in Terry & The Pirates was like that.

David Hayes (Van Morrison’s longest-serving bass player) played his first show with Terry & The Pirates at Winterland on February 7, 1975. “The songs and musicians were great, so I stuck with The Pirates for the next 14 years!” he says. “Terry was an excellent songwriter, but had few organizational skills, so we had total freedom to arrange the songs the way we wanted,” Hayes continues. “It would never have gone on for all those years if it hadn’t been for Terry. He wrote the songs and held it all together. He wrote good vehicles for all of us to play on, so when I was off the road with Van I played with them. Nicky [Hopkins] was allowed to float in and out more than anybody, and we were always honored to have him. When he was coming in, we all just moved over, gave him space, and off he went.”

Although the Pirates did once spend 72 hours in Europe (playing three shows in December 1982, including the renowned, live TV concert Rockpalast), they rarely ventured further from San Francisco than San Jose. And that was just fine, as Terry & The Pirates had become a beloved fixture of the Bay Area music scene. Their evolving and revolving lineup comprised a virtual “Who’s Who” of the San Francisco music community. Relix magazine proclaimed, “Terry & The Pirates are perhaps San Francisco’s best kept secret.” David Hayes takes the sentiment one step further, maintaining that Terry & The Pirates were “the most underground of the underground bands ever to come out of San Francisco.”

On January 15, 2012, Terry Dolan passed away due to heart failure. His family, friends, fellow musicians and fans were devastated. After the initial shock wore off, Terry’s longtime friend and manager of close to 30 years, Mike Somavilla, organized a memorial tribute concert for Terry, featuring more than 35 musicians playing and singing his songs, in honor of the man and his legacy. There was an abundance of love and musical magic on stage and in the air that night. From his firebrand, acoustic guitar-wielding shows of the ’60s, to the excitement surrounding his wildly popular first demos, and the disappointment of the cancelled album, through the ascendance of Terry & The Pirates and their decades of legendarily mind-blowing performances, Terry Dolan had become such a fundamental a part of the Bay Area music scene, that with the end of the night, came the end of an era that reached back more than 45 years.

“I really got a taste of how great a songwriter Terry was when I performed at his memorial concert,” Douglass reflects. “I got to hear the Dolan catalog interpreted by a number of varied performers, and it was a real eye-opener. The songs were little gems, each and every one, and it was an epiphany to realize I’d been present at their gestation. I can only hope that I played okay on these. If there is an afterlife, I’m sure Mr. Dolan won’t be shy about letting me know if I screwed up in that regard. We’ll have a big fight, won’t talk for a year, and then make up and create some bitchin’ music. Actually, that would be a cool concept of heaven. I’d better start behaving!”

That Warner Bros. chose not to release Terry Dolan is beyond puzzling. That we can hear it now, 43 years after its intended unveiling, is cause for celebration. With this first-time-ever release of Terry Dolan’s debut album, the world can finally hear how those early sessions—and the friendships, collaborations, and glorious hours of music they spawned over the years—still echo across the ages. “Those first sessions changed my entire professional career trajectory,” asserts Greg Douglass, who, during the recordings, met Lonnie Turner, the bassist with whom he would later write “Jungle Love.” First played in Terry & The Pirates live repertoire, it became a huge hit when they recorded it in The Steve Miller Band.

“This record was the start of the Pirates’ journey,” states David Hayes. And Greg Douglass, who was there from the beginning, playing beside Terry Dolan since the late-1960s, has sage words for anyone experiencing this musical revelation for the first time: “For those of you about to dive in these sonic waters, listen for the heart and humanity. It’s there in every note. Buried treasure, unearthed many decades later.”

—High Moon Records

Dolan w/ Terry & the Pirates, live in the '70s, not the version on the solo album: https://www.youtube.com/watch?v=-9zkiMy0ecE

I've heard of Dolan and Terry And The Pirates, but not nearly all of that---will check more, thanks.

https://d235mwrq2dn9n5.cloudfront.net/wp-content/uploads/2016/09/autechre-060616-616x440.jpg

Autechre reissues first three albums on vinyl---more info here, w tour dates, link to review of new four-hour listening-object:
http://www.factmag.com/2016/09/22/autechre-reissue-albums-european-tour-dates/

More from xpost Sound Of The Universe eletters--dunno how old these are, but seem worth looking for, starting here:

https://soundsoftheuniverse.com/img/a29GeituT2lDcStvUXF6dGVhS3VUZz09/e2-e4-2016-35th-anniversary-edition-manuel-gottsching.jpg
Göttsching was a member of experimental Krautrock group Ash Ra Tempel. 'E2-E4' revolutionised modern dance music at the time and continues to innovate to this day. Considered to be one of the most sampled and remixed albums of the 20th Century and influential across the house, techno, electronica and prog rock scenes. Notably, massively influencing many from Detroit Techno music, from Carl Craig, Juan Atkins to Derrick May. Larry Levan used to close his legendary Paradise Garage sets in New York with this and even insisted on E2-E4 to be played at his funeral.

180-gram LP version with embossed chessboard artwork print and printed inner sleeve.(also on CD).
more info here:https://soundsoftheuniverse.com/product/manuel-gottsching-e2-e4-2016-35th-anniversary-edition

Speaking of Ash Ra T.:

https://soundsoftheuniverse.com/img/dWQ1K3RWc0VyeWFxcTAyalJQanJpdz09/le-berceau-de-cristal-ash-ra-tempel.jpg
Kosmiche score to Philippe Garrel's arthouse flick starring Nico and Anita Pallenburg. Music by Ash Ra Tempel (Manuel Gottsching). Reissued in 2016 on Gottsching's MG.ART label.
info: ps://soundsoftheuniverse.com/product/ash-ra-tempel-le-berceau-de-cristal

https://soundsoftheuniverse.com/img/Y05ycWRLUDV0TEhtMk1aU01NVUhpZz09/sory-bamba-du-mali.jpg

One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical cross overs which occurred in Mali's post-Colonial period.

In 1957 Sorry formed his first band, Group Goumbe, named after a popular Ivory Coast dance style. In 1960 Mali gained independence from France, Bamba and his group benefited from a new openness toward local music on the state-run radio network Radio Mali. Sorry then went on to form two award-winning, further collectives Bani Jazz and later the Kanaga Orchestra. They fused Latin jazz, Western R&B, Psychadelic and funk, and traditional Malian styles made them a favourite in Mali and beyond.

In 1979 Sorry produced his third LP for the Paris based Sonafric group - 'Du Mali'. This 6 track masterpiece fuses pulsating rhythms, powerful expansive drums, with psych guitar and punchy horns to create a masterpiece of up-tempo African psychedelia.

Highly sought after and extremely rare.

We love this!!!! LP, more info on this and others on Africa Seven label here:
https://soundsoftheuniverse.com/product/du-mali

https://soundsoftheuniverse.com/img/WGFRZkZja0RMUmszVDkySkt5ZXE4Zz09/black-gold-the-very-best-of-the-rotary-connection-rotary-connection.jpg

Brilliant double disc compilation of the best tracks from the great psychedelic soul-rock fusion band! Rotary Connection were fronted by the amazing voice of Minnie Ripperton and produced and arrange by the genius that was Charles Stepney! This compilation features loads of their best tracks including 'Respect', 'Sunshine of Your Love', 'Love Has Fallen On Me', and more! 33 tracks.
info:https://soundsoftheuniverse.com/product/rotary-connection-black-gold-the-very-best-of-the-rotary-connection

https://soundsoftheuniverse.com/img/ekQ4L3BIUjdSS3RiNFBHd1lWYTFnQT09/r-950916-1329647327-jpeg.jpg

Amazing, super-funky album supervised by Charles Stepney with the classic trio line-up of bassist Cleveland Eaton and EWF's Maurice White on drums. Includes "If You've Got It, Flaunt It", "Do What You Wannna", "Uhuru", "Bold And Black" and more CD and reissued LP, more info here:
https://soundsoftheuniverse.com/product/the-ramsey-lewis-trio-another-voyage-1969

Brilliant double disc compilation of the best tracks from the great psychedelic soul-rock fusion band! Rotary Connection were fronted by the amazing voice of Minnie Ripperton and produced and arrange by the genius that was Charles Stepney! This compilation features loads of their best tracks including 'Respect', 'Sunshine of Your Love', 'Love Has Fallen On Me', and more! 33 tracks.
info:https://soundsoftheuniverse.com/product/rotary-connection-black-gold-the-very-best-of-the-rotary-connection

― dow, Saturday, September 24, 2016 7:35 PM (fifty-four minutes ago) Bookmark Flag Post Permalink

That's funny, looks a lot like the cd I picked up from HMV before it closed earlier this year

Will have to check out the Rotary Connection best-of. I have a good two-disc comp, Black Gold, which hits some high points. I don't think there's been a really good reissue of Riperton's great 1970 Come to My Garden--deserves the whole annotated bit, though there is a decent Varese Vintage CD from 2002. It's one of the essential pre-post-rock documents and most likely Charles Stepney's masterpiece. Stepney deserves a box set. I put together a 75-minute best-of from Stepney that had the Dells, Riperton, Phil Upchurch, Junior Wells, Ramsey Lewis and a few others-- Marlena Shaw' "California Soul," et al.

Sound Of The Universe carries several of those, and always jumps at the chance to namecheck Stepney in the blurbs. Will have to look for that Riperton album; I've only heard her with RC. The one I pasted about and linked above *is* Black Gold, so there's one you don't have to look for!

OK, it's the same comp that came out a few years ago. Definitely check out Come to My Garden. Brilliant simulation of content-compressed form music I never tire of; superior to all her other records, which are conventional by comparison. I love this one so much: https://www.youtube.com/watch?v=55xb0LYWqt4

There was a great Marlena Shaw compilation around a few years back. Had her 1st 2 lps plus contemporary singles.
I picked it up when I found out that the vocal version of Wade In The Water that used to get played in mod revival clubs in my teens was by her.

Prev. released not all that old, but incl. prev. unreleased:

P.S. Eliot's "2007-2011" Out Now, Named Best New Reissue at Pitchfork

A 2xCD anthology, 2007-2011 collects the complete works of Birmingham, Alabama's P.S. Eliot. The set gathers the group's two LPs, Living in Squalor 7", and a number of demos and home recordings. All have been digitally remastered. Mail-order copies will also include a limited-edition zine with an extensive oral history of the band assembled and edited by Liz Pelly.

"2007-2011" Named Best New Reissue by Pitchfork

This month, P.S. Eliot's core lineup -- Katie and Allison Crutchfield, Katherine Simonetti, and Will Granger -- will reunite to perform a number of shows.

Sisters Katie and Allison Crutchfield formed P.S. Eliot in Birmingham, Alabama in 2007. After a few early lineup changes, the core group would come to include the Crutchfields (Katie on guitar and vocals, Allison on drums), bassist Katherine Simonetti, and guitarist Will Granger. It was this version of the band that appeared on P.S. Eliot’s first full-length, Introverted Romance In Our Troubled Minds, which came out in 2009 on Salinas Records.

Read an excerpt from Liz Pelly's oral history of P.S. Eliot and stream the song "Shitty and Tragic" HERE.
http://pitchfork.com/thepitch/1270-how-allison-and-katie-crutchfields-ps-eliot-came-to-be/

In 2010, P.S. Eliot recorded its second and final LP, Sadie. After completing that session, Granger left the band. Allison and Katie relocated to Brooklyn, NY and did one last tour as P.S. Eliot in 2011. The group called it quits for good later that year, following goodbye shows in Brooklyn and New Brunswick, NJ.

P.S. Eliot on Tour:

9.9.16 - Los Angeles, CA @ The Echo
9.10.16 - San Francisco, CA @ Rickshaw Shop
9.13.16 - Chicago, IL @ Subterranean
9.15.16 - Brooklyn, NY @ Market Hotel w/ Ought
9.16.16 - Asbury Park, NJ @ New Alternative Music Festival
9.19.16 - Philadelphia, PA @ PhilaMOCA
9.20.16 - Philadelphia, PA @ PhilaMOCA

On December 2, The Clean will release a deluxe version of 2001’s Getaway in honor of the album’s 15th anniversary. The double-LP reissue marks Getaway’s first appearance on vinyl and includes an 18-song bonus CD that compiles the hard-to-find, tour-only releases Syd’s Pink Wiring System and Slush Fund. A double-CD version includes the full album plus the bonus disc.

Listen to and share "Stars" from remastered Getaway reissue
https://www.youtube.com/watch?v=Ix5I2j-YtF0&feature=youtu.be

Getaway came out in August of 2001, with cover art by drummer Hamish Kilgour whose original paintings were the actual size of a compact disc case. After the release of the album, The Clean set out on a tour that included a stop in New York City, where they happened to be during the terrorist attacks of 9/11. They coped with the tragedy by playing gigs with their American friends and staying in the same creative space they’d been in since before starting work on the album.

A live version of the pulsing, soaring “Stars”—along with a couple of other Getaway songs and Clean classics like “Fish,” “Side On,” “Quickstep,” and “Point That Thing Somewhere Else”—appears on the rare 2003 album Syd’s Pink Wiring System. That record is included with the Getaway reissue, along with the more experimental, piano-driven EP Slush Fund from the same era. These bonus tracks reinforce the idea of the Getaway-era Clean as especially plugged in, generating inspired and beautiful music almost on instinct.

Indeed, they’ve done justice to Getaway, a key album in The Clean discography—a record that honors the band’s origins as garage-rock-loving New Zealand kids, excited just by the hum of a good, cheap amplifier. Songs like the twangy, easygoing “Crazy,” the jaunty acoustic snippet “Cell Block No. 5,” and the trance-inducing “Circle Canyon” are more fine examples of Robert Scott and the Kilgour brothers’ interest in immediacy and a strong vibe, applied to catchy melodies.

“Each album is a completely different beast,” Robert says. “We all change in different ways between each one, bringing different things to the table, and sometimes bringing nothing much at all.” But if Getaway proves anything, so long as all three members of The Clean are in the same space at the same time, anything can happen.

try this link or Search for
The Clean "Stars" (2016 Remaster)

https://www.youtube.com/watch?v=Ix5I2j-YtF0&feature=youtu.be

shit

More Sound Of The Universe updates

https://soundsoftheuniverse.com/img/S2M4ZHBwcHNxVnl1V3NXaU9XcHB4UT09/boogie-breakdown-south-african-synth-disco-1980-1984-various.jpg

Reliable compilers Cultures Of Soul focus in on a collection of disco and boogie from the South African scene in the early to mid-80s. Featuring dance floor-friendly cuts from the likes of The Cannibals, Neville Nash, Harari and the immense electro-boogie monster, 'Flash A Flashlight' by Benjamin Ball.
more info, audio: https://soundsoftheuniverse.com/product/various-boogie-breakdown-south-african-synth-disco-1980-1984

https://soundsoftheuniverse.com/img/di8wWFloYldkM2I2QmNPakFFeTJoUT09/unnamed.jpg

Matthewdavid's Leaving Records reissue Laraaji's self-released '84 recording 'Om Namah Shivaya' that surfaced for a moment only on cassette. Pressed on limited edition orange vinyl.
more info. audio: https://soundsoftheuniverse.com/product/laraaji-om-namah-shivaya

http://d31hzlhk6di2h5.cloudfront.net/20160929/d4/4b/d7/c5/99f9119bcc9f082c3a782c07_560x560.jpg

TIM BUCKLEY’S WINGS: THE COMPLETE SINGLES 1966-1974
CONTAINS A & B SIDE OF EVERY U.S. AND U.K. SINGLE,
INCLUDING ONE THAT WAS NEVER ISSUED

21-song compilation, due out November 18th on Omnivore Recordings,
contains recordings produced by legendary
Jac Holzman, Paul Rothchild, Bruce Botnick, and Jerry Yester.
LOS ANGELES, Calif. – From folk, to rock, to psychedelia, to jazz, to soul, singer-songwriter Tim Buckley continued to evolve and explore — pushing boundaries at every turn. Through the course of his career, ten singles were issued from his nine albums, and they are collected for the very first time on Wings: The Complete Singles 1966–1974. Street date is November 18, 2016.
Each producer — Paul A. Rothchild, Jac Holzman, Jerry Yester, and Jerry Goldstein — brought the right feel to Buckley’s progressing musical persona. With material running chronologically from his self-titled debut from 1966 through 1974’s Look at the Fool, the Wings compilation traces his development as an artist and writer. Of special note is the unissued 1967 single “Once Upon a Time” b/w “Lady, Give Me Your Key” with the latter making its first appearance anywhere!

The booklet features photos and ephemera, as well as an extensive, new interview with Buckley’s longtime friend and collaborator, lyricist Larry Beckett, conducted specifically for this collection. Mastered by Grammy-winner Michael Graves, the audio sparkles as never before.

According to Buckley’s widow, Judy, quoted in the liner notes, “(Tim) always felt lucky that he could make a living doing something he loved to do.”

An excellent primer for the curious (and for fans of Tim’s son, Jeff Buckley) and essential for those in the know, Wings: The Complete Singles 1966–1974 lets the legacy of the great Tim Buckley fly.
Track listing:
1. Wings
2. Grief in My Soul
3. Aren’t You the Girl
4. Strange Street Affair Under Blue
5. Once Upon a Time

6. Lady, Give Me Your Key
7. Morning Glory
8. Knight-Errant

9. Once I Was

10. Pleasant Street
11. Carnival Song

12. Happy Time

13. So Lonely

14. Move With Me
15. Nighthawkin’
16. Quicksand

17. Stone in Love

18. Dolphins

19. Honey Man

20. Wanda Lu

21. Who Could Deny You
all tracks stereo, except 1–9 mono
# # #
Watch (and feel free to post) the Tim Buckley video trailer:
http://youtu.be/ykFVsNF4mV8

if paste of link for video doesn't work, it's also in the online press release:
https://t.e2ma.net/message/m5uui/mdpv1d