Rolling Reissues 2020

John’s music is a joy to study and to play

it's sort of weird that he refers to his father as "John"

I dunno, how old was he when his father died? And whatever memories you might have, might well be subsumed by such a historical figure, presence...Can I get just the original album, with this latest remastering? Maybe with just a *few* alts? On CD or digital?

Re: that Richard & Linda Thompson box set (which actually has a few differences in the officially announced track list), Warner Music has apparently blocked Universal's sale of that set within the U.S. due to rights issues over Shoot Out the Lights.

As some may remember, Rhino Handmade (which was/is owned by Warner) released a two-disc reissue of that album ten years ago, which quickly went out-of-print as all Rhino Handmade releases typically have a very limited pressing.

Apparently this isn't a complete surprise - Universal and Warner have had a long drawn-out discussion about this for quite some time, but the box set's producers continued on with the project simply because those talks were going extremely slow and taking too damn long and the producers didn't want to delay things further.

The box set will still be available overseas as this deadlock only impacts U.S. distribution. Universal's own online store did have this available though, so I'm guessing it wasn't impacted by the rights issue, but the limited number of sets that were reserved for pre-orders have already sold out. Amazon.com doesn't list it, but Amazon.co.uk and elsewhere do, and some vendors like importcd's are appropriately enough importing any available stock. Reportedly more pressings will be made if the set sells very well, and that's presumably going to happen as pre-orders have already exceeded expectations.

I guess Shoot Out The Lights is tied up via Hannibal who where bound to Rykodisc who were bought by (and folded into) Rhino?

The box set will still be available overseas as this deadlock only impacts U.S. distribution.

In semi-related news, the Thelonious Monk album Palo Alto, containing a previously unreleased quartet live set from 1968, is not coming out in the US but is available in Europe. You can buy it from grooves-inc.com if you want (and you should; it's great). Importcds doesn't have it (yet).

Re: Giant Steps, I have a feeling that reissue will be completely redundant for most Coltrane fans. Before the market for physical media came crashing down to niche levels, that album had been remastered several times in a fairly short period of time, always from the original master tapes. There was the older (first?) CD release that also had many of those alternates, Mobile Fidelity Sound Lab's Ultradisc II reissue, and then a new CD remaster under Rhino's imprint that probably upgraded the old CD to the new mastering used for Rhino's Heavyweight Champion box set (though it's possible it's another new mastering by the same reissue team). Since then there's been good vinyl reissues cuts of that album as well.

Anyway, that Rhino box set also scooped up the remaining alternates. The booklet laments that more unreleased recordings have been lost forever due to the notorious Atlantic warehouse fire in 1978, which was similar to the 2008 Universal fire that wiped out who knows how many master tapes. Giant Steps was actually very, very lucky - copying from Wikipedia:

"Although master tapes of the material in Atlantic's released back catalog survived due to being stored in New York, the fire destroyed or damaged an estimated 5,000–6,000 reels of tape, including virtually all of the company's unreleased master tapes, alternative takes, rehearsal tapes and session multi-tracks recorded between 1948 and 1969. Atlantic was one of the first labels to record in stereo; many of the tapes that were lost were stereo 'alternates' recorded in the late 1940s and 1950s (which Atlantic routinely taped simultaneously with the mono versions until the 1960s) as well as almost all of the 8-track multitrack masters recorded by Tom Dowd in the 1950s and 1960s...Reissue producers and archivists subsequently located some tapes that were at first presumed 'lost', but which had survived because they had evidently been removed from the New Jersey archive years earlier and not returned. During the compilation of the Rhino-Atlantic John Coltrane boxed set, producer Joel Dorn located supposedly destroyed outtakes from Coltrane's seminal 1959 album Giant Steps...Atlantic archivists have since rediscovered other 'lost' material including unreleased masters, alternative takes and rehearsal tapes by Ray Charles, Van 'Piano Man' Walls, Ornette Coleman, Lennie Tristano and Lee Konitz."

I guess Shoot Out The Lights is tied up via Hannibal who where bound to Rykodisc who were bought by (and folded into) Rhino?
That's my guess. I don't know the exact details of what happened to Rykodisc - it used to be a pretty great label - but from what I can tell, the former owner and co-founder has moved on to others while blogging every now and then about his former label, including some interesting stories about the Bowie catalog. (For example, RCA vastly undervalued its worth, a big reason why Bowie went shopping elsewhere.) I noticed that some of Rhino's reissues from a decade ago (like the 2008 remasters of the Replacements' Twin/Tone catalog) carry a Rykodisc logo, right when there wasn't really any more Rykodisc product, so I'm guessing that was when Warner acquired all things Rykodisc as well as existing licensing agreements that were still made out to Rykodisc.

I'd never heard of Pete Yellin (alto sax/flute) or the album Dance of Allegra until this week, but Mainstream reissued it on Bandcamp and I grabbed it. It's from 1972 and sounds uncannily like Miles Davis circa 1970/71, but a little more melodic. The band is Eddie Henderson on trumpet and flugelhorn, Kenny Barron on electric piano, Stanley Clarke on bass, Dom Um Romao on percussion and Billy Hart on drums, and it fucking rips.

https://peteyellin.bandcamp.com/album/dance-of-allegra

https://f4.bcbits.com/img/a2938675747_10.jpg

Oh yeah, thanks for the reminder! I posted about the Mainstream resurrection upthread, forgot to check more Yellin---he's on this sampler, as described at the end of the press release, which also has a link to excerpts:
VARIOUS ARTISTS
This Is Mainstream! LP
WEWANTSOUNDS

£24.98
2 x LP

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect
balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Audio etc.:
https://www.phonicarecords.com/product/various-artists-this-is-mainstream-lp-wewantsounds/162609

― dow, Monday, May 11, 2020

From Smog Veil newsletter---think at least some of this has been released before? So I'll put it here"

https://cdn.shopify.com/s/files/1/0075/9892/products/SV142_HarveyGold-ItsMessyVol1-frontcover-3000px_large.jpg?v=1595942833

(ships by Sept.18)
Harvey Gold "It's Messy, Vol. 1" CD
Describing the musical output of the eclectic Harvey Gold, a founding father of Tin Huey and Half Cleveland, Gold has offered, “We are what we eat and we’ve eaten a lot of different stuff.”
Careening from power pop, to electronic, to “West Akron Appalachian,” this solo album includes an emotional protest/love song in “The Fence,” a sizzling rocker with horns, “In Consideration of Joe Strummer,” a dark take on The Beatles’ “I’ve Just Seen a Face,” AND a nod to Vivian Stanshall with a Music Hall style tune about a hard-boiled egg, “Song For Joanne.” It’s even been suggested that the track, “March of the Elephants,” might be Gold’s instrumental sequel to his Huey’s opus, “Chinese Circus.”

So, he’d like to think he says it all in the title, “It’s Messy Vol. 1.”

Four songs are recorded with Half Cleveland, Gold’s band with mates from Tin Huey, Chris Butler and Bob Ethington.
Another four tracks are with Harvey in the Hall, comprised of Debbie Smith Cahan (Chi Pig), Ethington, and Gold—with a couple of those tunes aided by The Black Keys’ Dan Auerbach, and Byrd and Burrito Brother, Chris Hillman.
“Lemon Beazly” is an epic reunion of the three original members of Tin Huey: Michael Aylward, Stuart Austin, and Gold.
The rest of the album—well, someone mistakenly left him alone in a room with toys, so…

Of note: the song “The Fence” has been remastered for this release and everything Gold receives from it is donated to the Southern Poverty Law Center. Additionally, proceeds from the song “Eidola (inadvertently for Ralph)” go to Sweet Relief in memory of his dear collaborator and friend, Ralph Carney (who briefly appeared on “The Fence”).
More infor, audio:
https://www.smogveil.com/collections/frontpage/products/harvey-gold-its-messy-vol-1-cd

Received my copy of The Stooges - Live At Goose Lake, August 8th, 1970. As with all live Stooges recordings, it sounds terrible, but at least there's interesting liner notes.

I also received the first two The Primevals albums directly from LTM. The reissues were from 2015, but I was not aware of them until recently. RIYL The Gun Club, Cramps, Crazy Horse, Eleventh Dream Day.I wrote about Sound Hole (1986) here.

Earlier I was talking about Compass Point in Nassau, and I recently finished Chris Frantz' book Remain In Love: Talking Heads, Tom Tom Club and Tina, and he gives a good snapshot of what it was like to work and stay down there, and talked about many of the artists who recorded down there, including their surprisingly close friendship with Robert Palmer and his wife. He talked about when James Brown attempted to record there in 1982. Most accounts were that it was Brown's ego that was the problem, but it was Robbie Shakespeare who put his bass in Brown's hands, said, "You play that bumbaclaat part" and walked out. With his 30 year trailblazing career at that point, he could be forgiven for assuming he'd get more respect than that, but to his credit, Brown came back the next day and was conciliatory with the musicians and open to listening to their ideas. The real problem was that he wanted to claim all the songwriting credits, and for Blackwell that was a no go and cut it off after the fourth day. Another big personality that didn't really mesh well at Compass Point was Lee Perry. "Bed Jamming" lol. One musician who everyone had great things to say about was Wally Badarou. His Echoes (1983) and Words Of A Mountain (1989) are long overdue for reissue. I'd think Grace Jones' third in her Compass Point trilogy, Living My Life (1982) would also get a deluxe treatment.

David Katz wrote a great piece on that era:
http://racketracket.co.uk/music/compass-point-story/

Thanks for all that! Will have to check out The Primevals, and prob Frantz book too, sounds better than expected.
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Brazil Funk Power - Brazilian Funk & Samba Soul
Limited Edition Record Store Day 7" Boxset
Soul Jazz Records

This release features some of the funkiest Brazilian music ever made - music by Jorge Ben, Banda Black Rio, Tim Maia, Toni Tornado, Cassiano performing some of the best tunes ever to come out of Brazil!

Classics from the superb 70s Afro-Brazilian Funk & Soul era of Brazil’s own Black Power Movement (‘Movimento Negro’) sit alongside a dancefloor-heavy selection of Samba Soul and Boogie, Afro-percussive Brazilian funk and more!

All tracks have been digitally re-mastered and the singles come housed in a thick, heavyweight deluxe card box.

This box set is a one-off pressing exclusively for Record Store Day.

Release Date
29 August 2020

1. Jorge Ben – Meus Filhos, Meu Tesouro
2 Brasil Ritmo – Novo Dia
3 Azymuth – Manha
4 Donato & Deodato – Whistle Stop
5 Tim Maia – Gostava Tanto De Voce
6 Jorge Ben – Taj Mahal
7 Cassiano – Onda
8 Luiz Gonzaga Jr – O Comeco Da Festa
9 Novos Baianos – Tinindo Trincando
10 Dom Um Romao – Kitchen (Cosinha)

More Info & Audio:https://soundsoftheuniverse.com/sjr/press/ic6m0heocly9

I'm sure you must want to know this is coming out but not sure why it is.

Sigue Sigue Sputnik: Flaunt It, 4CD Deluxe Capacity Wallet

£19.99
Released October 9, 2020.

**LIMITED EDITION COLLECTORS BADGE AVAILABLE WITH PRE-ORDER WHILE STOCKS LAST**

 Deluxe 4CD set showcasing one of the most notable albums of the mid-1980s, and the phenomenon that surrounded it.

 The Giorgio Moroder produced album, B-sides, remixes and rarities (including many never before on CD) PLUS A COMPLETE PREVIOUSLY UNRELEASED LIVE SHOW recorded at London’s Abbey Road Studios in front of an invited audience.

 Includes the international hit singles ‘Love Missile F1-11’, ‘Sex Bomb Boogie’, ‘21st Century Boy’ and ‘Massive Retaliation’, plus remixes and versions.

 Produced with input from band members Tony James and Neal X.

 Material remastered from the original tapes.

In the mid-1980s, former Generation X founder Tony James pieced together a pop group like no other. Taking the greatest rock ‘n roll traditions and clichés and fusing them with a utopian vision of modernism, commercialism and the future, Sigue Sigue Sputnik brought together a previously unknown and inexperienced collection of would-be musicians and faces and turned them into the must-see band of the era. Under James’ strategic masterminding, Sputnik were hyped in the media before a note had been released, were courted by major labels and television stations, became regulars on London’s glittering social circuit and developed a reputation for chaos and grandiosity which appealed to the mainstream tabloid press as much as it did the music papers.

Working with studio legend Giorgio Moroder, the band crafted a club-oriented, electronic rock ‘n roll sound littered with immovable basslines, pop culture samples, familiar licks, self-glamorising lyrics and a futurist aesthetic. Marketing and advertising were warmly embraced – the album included paid-for adverts between tracks – and Sputnik resolutely insisted on their own brilliance, whether you liked it or not. THE ULTIMATE PRODUCT FROM THE ULTIMATE GROUP, they declared, and they weren’t far wrong.

This celebratory package brings together “Flaunt It” and its many remixes, B-sides and rarities, alongside a brilliant and chaotic live recording made at London’s Abbey Road Studios, providing the perfect counterpoint for the rule-bending studio manipulation found elsewhere. Sputnik’s star burned brightly, and their influence stretched into the late 1980s and 1990s as technology and globalisation

brought their crossover sound and bold visual aesthetic into the mainstream. This set is a must-have for fans of the band and 1980s pop culture, and for believers in a glittering future.

TRACK LISTING

DISC ONE

FLAUNT IT
1. LOVE MISSILE F1-11
(RE-RECORDING PART II)
2. ATARI BABY
3. SEX-BOMB-BOOGIE
4. ROCKIT MISS U.S.A.
5. ADVERTISEMENT:
THE SPUTNIK CORPORATION
6. 21ST CENTURY BOY
7. MASSIVE RETALIATION
8. ADVERTISEMENT: THE SIGUE SIGUE SPUTNIK COMPUTER GAME
9. TEENAGE THUNDER
10. SHE’S MY MAN
11. ADVERTISEMENT: EMI RECORDS
BONUS TRACK
12. FROM THE GUTTER TO THE STARS

DISC TWO

REMIXES
1. TRAILER MIX
2. LOVE MISSILE F1-11 (7” SINGLE MIX)
3. LOVE MISSILE F1-11 (THE BANGKOK REMIX)
4. LOVE MISSILE F1-11 (DANCE MIX)
5. LOVE MISSILE F1-11 (EXTENDED ULTRA VIOLENCE VERSION)
6. LOVE MISSILE F1-11 (VIDEO MIX)
7. LOVE MISSILE F1-11 (JAPANESE REMIX)
8. LOVE MISSILE F 1-11 (WESTBAM REMIX SHORT VERSION)
9. MASSIVE RETALIATION (THE SUPER MASSIVE UK REMIX)
10. MASSIVE RETALIATION (SHUT UP DUB REMIX)
11. SEX BOMB BOOGIE (MAGIC FLUTE) 12. SEX BOMB DANCE

DISC THREE

REMIXES, RARITIES AND B-SIDES
1. HACK ATTACK
2. BUY EMI
3. DANCERAMA (1986 VERSION)
4. SUICIDE (LIVE IN LONDON SEPT’ ’86)
5. 21ST CENTURY BOY (EXTENDED T.V. MIX)
6. 21ST CENTURY BOY (GERMAN REMIX)
7. 21ST CENTURY BOY (DANCE MIX)
8. BUY EMI (£4,000,000 MIX)
9. SHE’S MY MAN (REMIX)

DISC FOUR

LIVE AT ABBEY ROAD
1. SEX BOMB BOOGIE
2. 21ST CENTURY BOY
3. TWIST & SHOUT
4. SHE’S MY MAN
5. SHOOT IT UP
6. JAYNE MANSFIELD
7. ROCKIT MISS U.S.A.
(PREVIOUSLY UNRELEASED)

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Brooklyn, New York (August 25, 2020) - Other Music, a documentary about the legendary NYC record store that closed in 2016 is available today in a wide digital release via Factory 25. The store helped launch the careers of countless indie stars and served as a cultural hub in New York City for 21 years. The film is now available on Amazon Prime, iTunes, Google Play, Kanopy, etc.

The film was slated to have a theatrical run in April which was cancelled just as Covid hit. The filmmakers made lemonade out of lemons by partnering with over 200 temporarily-shuttered record stores and theaters on a Virtual Cinema release, which raised over 25k dollars for those places in a time when it was desperately needed. Tickets to stream the film were sold via the partners with 50% of the proceeds going to the store or theater in need. The cancelled April theatrical release was planned for the week of Record Store Day, and this wide digital release coincides with the week of Record Store Day's rescheduled 'RSD Drops' event.

The film delves into the iconic New York City record store's influence with appearances by Tunde Adebimpe (TV On the Radio), Jason Schwartzman, Martin Gore (Depeche Mode), Matt Berninger (The National), Janeane Garofalo, Ezra Koenig (Vampire Weekend) and more.

"It's a story about record stores, sure, but moreover it's about the power of community, and the changing face of our cities and towns and culture. The film is a joyous celebration of creativity and the people and places that matter in this life. And it feels all the more relevant today." - Josh Madell, Former Owner of Other Music

Other Music was an influential and uncompromising New York City record store that was vital to the city’s early 2000s indie music scene. But when the store is forced to close its doors due to rent increases, the homogenization of urban culture, and the shift from CDs to downloadable and streaming music, a cultural landmark is lost. Through vibrant storytelling, the documentary captures the record store’s vital role in the musical and cultural life of the city, and highlights the artists whose careers it helped launch including Vampire Weekend, Animal Collective, Interpol, Yeah Yeah Yeahs, William Basinski, Neutral Milk Hotel, Sharon Van Etten, The Rapture and TV On The Radio.

***THE DIRECTORS & SELECT INTERVIEW SUBJECTS ARE AVAILABLE FOR PRESS***

Contacts, trailer, other links in here:
https://forcefieldpr.cmail19.com/t/ViewEmail/j/7AD4BCF7B23E0C412540EF23F30FEDED/BF4BAE8F94987422F1E87EB810D8F10A

One Little Independent Records has revealed details on the Crassical Collection, a collection of seminal avant-punk collective CRASS’ legendary albums, restored from the original analogue studio tapes.

Set for release in North America on October 30, the Crassical Collection includes Stations of the Crass(1979), Feeding of the Five Thousand (The Second Sitting) (1981), Penis Envy (1981), Christ – The Album (1982), Yes Sir, I Will(1983), Ten Notes on a Summer’s Day(1986) and Best Before 1984(1986). Each of the records have been repackaged and bolstered by rare and unreleased tracks, and stunning new artwork from Gee Vaucher, who has lovingly created what could only be considered a true artifact.

The first six albums include two CDs, with the first disc being the main album remastered by Alex Gordon at Abbey Road Studios and the second being a mixture of rare live and remastered studio recordings. Each package also includes a fold-out poster and a high-quality 60-page booklet featuring all lyrics along with extensive liner notes from band members Penny Rimbaud and Steve Ignorant, which shed light on the making of the records.

The Best Before 1984 Crassical Collection is brand-new and has also been remastered and features five fold-out posters and a 52-page booklet.

“Number seven – the one that almost got away,” CRASS’ Penny Rimbaud notes. “This final Crassical Collection double CD re-mastered by Alex Gordon and Penny Rimbaud at Abbey Road Studios in 2018 contains the original album plus a further album’s worth of related material; good, bad and indifferent. Half the band want it out, while the other half wanted out, but hey, here it is in all its glory.”

Leading up to the release of the Crassical Collection, CRASS has embarked on the ambitious The Feeding of the Five Thousand Remix Project. Beginning in late 2019, CRASS took the step of making the original separate track stems of their seminal debut album The Feeding of the Five Thousand available as a free download. With a call to take the original 16 track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

The resulting Normal Never Was series has just released its third installment, featuring remixes by legendary producer Steve Aoki and Japanese outsider musician Mikado Koko. All proceeds from the Normal Never Was series are being donated to the Refuge charity (www.refuge.org.uk).

Resonance Records To Issue Set of Sonny Rollins Discoveries From the Dutch Jazz Archive, "Rollins in Holland," As a Limited 3-LP Record Store Day Exclusive On November 27

Collection of Unheard "Take-No-Prisoners" Live & Studio Recordings From the Tenor Sax Master's 1967 Netherlands Tour Will Arrive as a 2-CD Set On December 4

On Nov. 27, “Black Friday,” independent jazz label Resonance Records will continue its ongoing tradition of releasing previously unissued archival recordings as limited-edition Record Store Day exclusives with a stellar new three-LP collection of historic Sonny Rollins performances, Rollins in Holland: The 1967 Studio & Live Recordings.

Featuring more than two hours of music, this stunning collection, drawn from tenor saxophone master Rollins’s Netherlands tour of May 1967, will also be presented as a two-CD set, due Dec. 4.

In a new interview with Feldman included in the set, the 89-year-old Rollins says, “I’m so happy that Resonance is putting it out because it really represents a take-no-prisoners type of music. That’s sort of what I was doing around that period of time; that was sort of Sonny Rollins then—a wham-bam-thank-you-ma’am approach. It was very much me. And I loved it and I loved playing with those guys.”

The music heard on the Resonance album is drawn from a little-documented period in Rollins’s career. The musician’s 1966 Impulse! album East Broadway Run Down was his final record date before a studio hiatus that lasted until 1972. In 1969, mirroring a celebrated public exit of a decade earlier, he began a two-year sabbatical from live performing.

Rollins in Holland captures the then 36-year-old jazz titan in full flight, in total command of his horn at the height of his great improvisational powers. He is heard fronting a trio, the same demanding instrumental format that produced some of the early triumphs of his long career: the live A Night at the Village Vanguard (Blue Note, 1957) and the studio dates Way Out West (Contemporary, 1957) and Freedom Suite (Riverside, 1958).

During his brief but busy 1967 stay in the Netherlands, the saxophonist was supported by two of the nation’s top young players, bassist Ruud Jacobs and drummer Han Bennink. The pair had together supported such visiting American jazzmen as Johnny Griffin, Ben Webster, Wes Montgomery, and Clark Terry, among others. Jacobs was a celebrated straight-ahead accompanist, while Bennink had developed a reputation as an avant-garde lion, having backed Eric Dolphy on 1964’s Last Date. The pair jelled magnificently behind their celebrated leader.

Rollins in Holland brings together material drawn from three separate appearances by the trio: a freewheeling May 3 concert at the Arnhem Academy of Visual Arts, at which Rollins stretched out in expansive performances that sometimes topped the 20-minute mark; a four-song May 5 morning studio session at the VARA Studio in Hilversum, where Dolphy and Albert Ayler had also cut unforgettable dates; and two live shots captured during the band’s stand that evening on “Jazz met Jacobs,” a half-hour national NCRV TV show presented from the Go-Go Club in Loosdrecht and hosted by bassist Jacobs’s pianist brother Pim and his wife, singer Rita Reys.

In his essay for the collection, Dutch jazz journalist, producer, and researcher Frank Jochemsen notes that while recordings of the Arnhem show (presented here with carefully restored sound) had been passed hand-to-hand by Dutch jazz buffs over the years, the rest of the music was only recently unearthed.

In 2017, the four stereo tracks from VARA Studio were discovered by Jochemsen, and they were authenticated by Ruud Jacobs and Han Bennink as they were being digitized for the Dutch Jazz Archive (NJA). In 2019, Jochemsen also discovered the audio from the “Jazz met Jacobs” appearance in the Dutch Jazz Archive, along with a unique set of photos shot at the sound check and live broadcast of this lost TV show.

Jochemsen says, “I find it an exciting idea that so much has been recovered and documented from this modest tour and that the music is indeed of such high quality. Even more sensational is the fact that the whole world can listen to it now. The great Sonny Rollins at his best, accompanied by a great rhythm tandem, which makes me, as a Dutchman, extra proud.”

Rollins in Holland also includes an in-depth interview by Levy with Han Bennink and Ruud Jacobs, conducted a year before Jacobs’s death from cancer in July 2019. In it, the late bass virtuoso recalled the experience of playing with the American legend as “something spiritual. [There was] a very special atmosphere on the stage where I felt I could do anything.”

Looks great, never heard him in a trio.

https://soundsoftheuniverse.com/img/WC8xSUZ1cHh3b2NCWDkxT2FhTDZBZz09/dudu-phukwana-and-the-spears-dudu-pukwana-spear.jpg

Dudu Phukwana and the Spears: s/t

Original Dudu Phukwana and the Spears album recorded in 1968 and only released in South Africa via Trutone’s Quality label in 1969. Features acetatere recording produced at the same time but never released. 19 tracks. 2xLP £26.00
More info: https://soundsoftheuniverse.com/product/dudu-pukwana-spear-dudu-phukwana-and-the-spears

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Zorro Five: Jump Uptight
MATSULI MUSIC
Reissue of this killer funk/beat album, 'Jump Uptight' by Zorro Five - a South African band who won the “Best Beat Group” at the 1971 South African Recording Industry Award for this album. The single 'Reggae Shhh!' b/w 'Reggae Meadowlands' was an underground hit in the UK! 12 tracks. LP MM116LP £18.00
https://soundsoftheuniverse.com/product/zorro-five-jump-uptight

Cosmic Discotheque Vol. 3: 12 Junkshop Disco Funk Gems from the 70s
Various Artists
NAUGHTY RHYTHM RECORDS
After the second volume's Afro oriented atmospheres, this new chapter will take us right back to the heart of 70's disco-funk/proto-disco/cosmic. A glorious decade made of lots of "cheap" records, obscure B sides, and forgotten or even unreleased instrumental versions. Tons of often ignored and yet stellar studio productions...
12 tracks. LP NRR003LP £19.00
https://soundsoftheuniverse.com/product/cosmic-discotheque-vol-3

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The Upsetters with Vin Gordon
Musical Bones
Recorded at The Black Ark Studio in 1975
STUDIO 16

Very rare Upsetters & Vin Gordon album 'Musical Bones' was first released in the U.K. in 1975 only on a white-label pressing without a sleeve on Dip records (£400+). Only 300 were made at the time.

Superb Studio One rhythm recuts, deep, deep funk cuts - sparse, raw and edgy - CLASSIC Lee Perry!

The title is a play on word 'Trombone' being the instrument of the lead artist Vin Gordon. Produced by Lee Perry at The Black Ark, Kingston, raw Jamaican roots music 1975. Don't miss... 10 tracks.
More info, audio: https://soundsoftheuniverse.com/product/musical-bones

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Horace Tapscott Quintet
The Giant Is Awakened
FLYING DUTCHMAN
This album has been out of print for near on 50 years and is a 100% essential cornerstone deep, deep spiritual jazz release - don't miss out!

Seminal spiritual jazz masterpiece from 1969! Horace Tapscott's debut (and only) release for a major label - Flying Dutchman - occurred at the height of the civil rights/black power movement in the USA. Soon after the Watts Riots (65), Tapscott was the central figure at the heart of the community music scene (a precursor to that of Thundercat, Kendrick Lamar, Flying Lotus almost 50 years later).

Flying Dutchman was the only major label that Tapscott trusted to release his music - a testament to founder Bob Thiele who had produced John Coltrane's seminal Impulse releases throughout the 1960s. At the same time as Tapscott, Flying Dutchman signed Gil Scott Heron and Leon Thomas.
More info, audio: https://soundsoftheuniverse.com/product/horace-tapscott-quintet-the-giant-is-awakened_2

Musical Bones was reissued on this 2CD set by Sanctuary in 2005, but credited to Lee Perry.

Sound Of The Universe: ltd. quantity August releases re Record Store Day, vinyl only? We shall see, when I've made all my extremely selective selections from a boatload:

Hawkwind At The BBC 1972

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Recorded live by the BBC on 28th September 1972 at the BBC’s famed Paris Theatre in London, this is the classic “Space Ritual” era Hawkwind featuring Dave Brock, Nik Turner, Lemmy Kilmister & Stacia Blake. This 11 track, hour long show of the stereo version features Hawkwind classics “Born To Go”, “Seven By Seven” & "Master of the Universe". The release also includes two bonus tracks recorded for Johnny Walker’s BBC Radio 1 show the same year; “Brainstorm” & “Silver Machine”. 13 tracks, 2 LPs.
More info: https://soundsoftheuniverse.com/product/at-the-bbc-1972

Kuumba-Toudie Heath:
Kawaida

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Limited 40th anniversary edition. An essential piece of spiritual jazz history featuring legends Herbie Hancock and Don Cherry. Pressed on heavyweight vinyl in original gatefold sleeve format. 5 tracks. More info: https://soundsoftheuniverse.com/product/kawaida

This is out of stock at the moment, but worth checking back:

Linton Kwesi Johnson: Bass Culture / LKJ In Dub

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40th anniversary 2-LP edition of 'dub poet' Linton Kwesi Johnson's classic 1980 album, released on Island Records, with additional LP - 'LKJ in Dub', featuring dub versions of tracks from Bass Culture and previous studio LP 'Forces Of Victory'.Produced by Linton Kwesi Johnson and the legendary Dennis Bovell ('Blackbeard'), the album is a fierce, politically-charged view of Britain at the time.The music however is both highly accessible and experimental, going beyond traditional reggae arrangements to include free jazz and avant-garde elements.Remastered at Abbey Road, released on heavyweight coloured vinyl:GREEN for Bass Culture / RED for LKJ In Dub.Features expanded artwork in a bespoke gatefold sleeve.Both albums out of print on vinyl for years.Includes download card.
More info: https://soundsoftheuniverse.com/product/bass-culture-lkj-in-dub

Kuumba-Toudie Heath
This was Tootie Heath’s name at the time? I have heard of this project through some of the other guys involved like Herbie Hancock, still need to listen to it.

Dunno! Reminds me: now that my library has partially re-opened, better snake in there and check out that Heath brothers memoir/

Ennio Morricone---Peur Sur La Ville OST

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Wewantsounds is delighted to announce the very special reissue of one of Ennio Morricone's most striking soundtracks composed for Henri Verneuils' 1975 film Peur Sur La Ville (Fear Over The City). This special edition includes the original score released in 1975 plus a second vinyl worth of bonuses which have never been out on vinyl. These includes two tracks making their official debut after 45 years.

Approved by Ennio Morricone and remastered from the original tapes with liner notes by fellow musicians AM and JB Dunckel (air). Gatefold sleeve designed by Eric Adrian.
2 LPs, 31 tracks.
More info: https://soundsoftheuniverse.com/product/peur-sur-la-ville-ost

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Milton Nascimento---Ultimo Trem

First time on vinyl! Following the release of Milton Nascimento's Maria Maria, Far Out Recordings proudly presents Nascimento's 1980 follow up.With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, 'Ultimo Trem (Last train)'.This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast."The military government shut down the route and the whole region began to fade away," explains Milton."I love train rides" adds the composer, "But today there are almost no trains to Brazil.So when I go to the US and Europe, any time I can, I go by train.The longer the journey the better." Featuring much of the same all-star line-up as Maria Maria - including legendary Brazilian musicians Nana Vasconcelos, Joao Donato, Paulinho Jobim and members of Som Imaginario, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saidas E Bandeiras' and 'Ponte de Areia'. The title track, 'Ultimo Trem' - performed exquisitely by ZezE Mota with a choir and piano - is a mournful lament about the human consequences of the axed line.The ballet brought great media attention to the campaign against closure."Most of Fernando's lyrics have some political tone," says Milton, "This one helped the area a lot because the politicians grew concerned about the subjects." Fernando's and Milton's shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premiered in 1980.'A Viagem (The trip)', launched with a train's steam whistle, sees Milton's guitar moving to a train's rhythm.In contrast to the usual lyricism, 'Bicho Homen (Beastly man)' and 'Decreto (Degree)' are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers' renderings of Bach.'E Dai? (And so what?)', and 'Olho d'Agua (Water's Eye)' were both drawn from 'Clube Da Esquina'.'Olho d'Agua' is mellow and delicate and Milton's homage to the great voices of Brazil whilst 'E Dai? (And so what?)' is a stunning mosaic of voices.The unusual 'O Velho (The Old Man)' conjures up an image of an old shaman singing alone into the wind against the cries of nature.Perhaps the most affecting songs are Nascimento's 'Itamarandiba' and 'OraCao (Prayer)'.The latter is a cry for a change in the situation whilst 'Itamarandiba' ends with an upbeat, whirling Hammond organ and guitar timepiece.The closing track 'Ponta de Areia (Sand Edge)', was based on one of Fernando's newspaper stories and became one of Milton's most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire.It reappeared as a ghostly 45-seconds memory on the 'Milton e Gil' album, his millennial collaboration with Gilberto Gil. After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria.Set for its first ever vinyl release for this year's Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret. 2 LPs, many tracks.
More info:https://soundsoftheuniverse.com/product/ultimo-trem

Sir Joe Quarterman & Free Soul: s/t
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Official Mr Bongo re-issue for Record Store Day 2020 with a gatefold cover.The self-tiled Sir Joe Quarterman & Free Soul album from 1973 was the only album recorded by the group.The success of the hit song and album enabled the band to share the stage with big-name acts such as James Brown and Earth Wind & Fire.The album track '(I've Got) So Much Trouble In My Mind' even became a regular feature on the legendary TV show, Soul Train.These triumphs also drew the attention of record company executives who wanted to sign Joe as a solo artist; an offer he refused as he was not willing to abandon the band.The group members for the recording were neighborhood musicians and school friends from the Washington D.C area - George "Jackie" Lee (Guitar), Gregory Hammonds (Bass), Charles Steptoe (Drums), Karrissa Freeman (Keyboards), Johnny Freeman (Trombone), Leon Rogers (Sax/Vocals) and Joe (Trumpet/Vocals).The simple cartoon-like almost pre-Basquiat style record cover artwork has become iconic in its own right, but this was not the original intention.Joe had prepared a quick illustration for a photographer to depict in a collage for the album art, however, the label ended up using his original sketches for the final cover.Whatever was in the water, things all came together and aligned at the right time, and a true soul-funk classic record was born. 9 tracks.
More info: https://soundsoftheuniverse.com/product/sir-joe-quarterman-free-soul

Still in stock at the moment, unlike some other Exclusives:
Soul Jazz Records Present Studio One Rockers
Record Store Day Exclusive
SOUL JAZZ RECORDS
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Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day edition EXCLUSIVE coloured vinyl + download code.

This new edition is a one-off pressing exclusively for Record Store Day

Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.

Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out
"Compilation of the year. A compilation of unbelievable quality. Awesome” DJ
"A who's who of Jamaican music” The Times
"An essential slice of musical history" Wire 15 tracks.
More info, audio: https://soundsoftheuniverse.com/product/studio-one-rockers-studio-one-rockers_2

Uriah Heep are releasing 50 Years in Rock, a giant box set with all 18 of their studio albums plus their 1973 live album, 4 compilation CDs curated by individual members, a book, a couple of Roger Dean art cards, and an LP of The Magician's Birthday (aka "the one with 'Easy Living' on it").

I really like Uriah Heep's early albums and their 21st century albums, but am largely ignorant of everything from roughly 1975-2000. I'm still not gonna buy this box set.

NightFlightPlus streaming service has a new documentary about TV Party, also individual episodes---here's synopsis of doc:
n 1978, two revolutionary trends emerged in New York City, public access cable TV and punk rock. These two phenomena came together spectacularly in Glenn O'Brien's TV Party. Hipsters tuned in to follow the antics of the TV Party gang and such guests as Iggy Pop, David Bowie, P-Funk's George Clinton, The Clash's Mick Jones, Kid Creole, Klaus Nomi were featured; also live performances.

Synopsis of an ep:There were two TV Party Heavy Metal Shows: one taped at the Mudd Club, now lost, and this live studio sequel featuring a "Mock Penis Envy" backdrop by Jean-Michel Basquiat, and a guitar line up of Chris Stein, Lenny Ferrari, Patrick Geoffrois of the Contortions, plus Glenn, Basquiat, Snuky Tate and Walter Steding on guitar and vocals, and Bradley Field on electronic drums. As Glenn and Walter send up rock clichés and discuss the nature of electricity, the band churns out a harrowing electronic miasma. Highlights include an actual fight between Fab Five Freddy and Jean-Michel Basquiat over a guitar and Walter Steding destroying his "extra wide deluxe" guitar.

one more:he first 10% of this show sums up what we don't get on TV anymore. Technical difficulties. TV Party was live and improvised, and this meant casual disaster. This early episode gets off to an artistically agonizing start--the sound person is late, overdosing on drugs or both. Or it was the broken down equipment. Once the sound kicks in the show gets lively. Compton Maddux, a droll singer songwriter, is backed up by Debbie Harry and Glenn; the unique futurist countertenor Klaus Nomi does one of his post-modern arias; Adny Shernoff, of the Dictators, plays the Beach Boys' "Be True to Your School" backed up by pom pom girls Tish and Snooky, the Manic Panic designers. Downtown legend director Eric Mitchell announces the opening of the now famous New Cinema theater and shows a clip from his film "Kidnapped" with Arto Lindsay, Duncan Smith and Anya Phillips. Brit director David Silver and photographer Kate Simon do the "white people talk about reggae" segment. Blondie's Chris Stein and Debbie Harry and the Patti Smith Group's Richard Sohl drop in to smoke a reefer and take calls from all the crazies in cable land. Chris explains all this isn't chaos, it's art.
Before signing up, if you can stand to wait, can watch some TV Party, and the Debbie Harry/Amos Poe film Unmade Beds, via this:https://mailchi.mp/nightflight/tescovee-971158?e=42851f1305

Getting toward autumn, maybe tyme for these Drag City reissues:

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The first Espers album (2004) is back in print and circulation and the world. As a trio with some featured guests Meg Baird, Greg Weeks and Brooke Sietinsons created delicate-yet-full-toned arrangements strewn with classical and traditional touches, acid leads and a melancholy, folkish air. Espers idealism was rooted in an ongoing flow of ideas that continue to this day, and their debut album retains their mystic air, early two decades later.

Und also,

In the wake of their celebrated first album, Espers recruited a few more members in 2005 and set to making an album interpreting some of their favorite inspirational songs — not just traditional folk numbers, but songs by Nico, Michael Hurley, Durutti Column, Blue Öyster Cult and even Espers! After years out of print, The Weed Tree has grown back again.

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https://www.omnianmusicgroup.com/products/strum-thrum-the-american-jangle-underground-1983-1987

this looks fucking rad.

Anyone know when Matador’s reissue of Mary Timony’s first solo album is coming out?

xp Thanks for posting that, Austin – it does look cool.

This is cool too, think I listened on YouTube---reposted from upthread cos deserves it:

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Soul Jazz Records’ new Black Riot: Early Jungle, Rave and Hardcore is a brand new collection of heavyweight ragga-influenced hardcore jungle tracks from the early 1990s. Dark and heavy!

Featuring classic and seminal tracks from the likes of Levictus and Krome &Time, alongside a host of rare and little-known ragga & junglist hardcore tunes from the likes of Babylon Timewarp’s hypnotic Durban Poison, Rhythm for Reasons’ mad ‘The Smokers Rhythm’, The Freaky rave-y breakbeat sound of ‘Time and Age,’ Trip One’s super dark ‘Snowball’ and loads more!

Expect super heavy basslines, equally heavy twisted Amen drum loops, even heavier ragga vocals! Original jungle style - roots and culture - from the earliest days of drum and bass.

Included with the album is a free limited-edition graphic mini-novel “Black Riot: The Mysterons save Planet Earth from the Xatheroid Angels.” This is the third collaboration between Soul Jazz Records and writer/illustrator Paulo Parisi, the highly respected author of graphic books on Jean Michel Basquiat and John Coltrane.

This new graphic story continues the story of black electronic dance music – this time set around the birth of Jungle and continues onwards from Soul Jazz’s earlier ‘Invasion of the Killer Mysterons’ (Jamaican electronic Dub, co-compiled by Kevin Martin (The Bug)) and Mysterons Invade the Jackin’ Zone (about Chicago Acid & Experimental House).

More infor, audio:
https://soundsoftheuniverse.com/sjr/product/black-riot

I don't know if I need this, but I kinda want it...

Esoteric Recordings are pleased to announce the release of UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971, a newly remastered 7 CD boxed set featuring all of the albums and singles recorded by the legendary American acid / progressive rock band IRON BUTTERFLY recorded for Atlantic’s Atco label between 1967 and 1971 and additional recordings made at the Fillmore East in New York City in April 1968.

Iron Butterfly first came together in San Diego, California in 1966 with a line-up of Doug Ingle (vocals, organ), Danny Weis (guitar), Greg Willis (bass), Jack Pinney (drums) and Darryl DeLoach (vocals). After performing in the San Diego area the band relocated to Los Angeles in search of a recording contract, with Willis soon departing to be replaced by Jerry Penrod on bass. Jack Pinney also departed and was eventually replaced by Ron Bushy.

The band’s psychedelic and acid rock style was honed during regular appearances at LA venues such as the Whisky a Go Go and the Galaxy Club, which saw Iron Butterfly develop a loyal following and led to the band signing with Atlantic’s Atco label in 1967. In October that year the band recorded their debut album, HEAVY, but the group would endure further line-up changes prior to its release as Jerry Penrod, Danny Weis and Darryl DeLoach departed soon after recording sessions were completed. Faced with the possibility of the album remaining unreleased, Ingle and Bushy recruited 17 year old guitarist Erik Brann and bassist Lee Dorman to the band.

HEAVY was released in January 1968, entering the US Billboard charts and eventually earning gold disc status. The album IN-A-GADDA-DA-VIDA, issued in June 1968, would break the band into star status. Dominated by the side long title track featuring the instrumental dexterity of the new line-up, it was a masterpiece of acid rock and reached a height of number 4 in the US charts and went on to sell a million copies. An edited version of the title track was issued as a single and reached the US top thirty.

The band’s third album, BALL, was released in January 1969 and was even more successful, reaching number 3 in the US and spawning the hit singles Soul Experience and In the Time of Our Lives. The band undertook a punishing touring schedule and a series on concerts were recorded in May 1969, finally to be issued as LIVE in April 1970. Erik Brann departed the band in December 1969 and was replaced by guitarist and vocalist Mike Pinera and additional guitarist Larry Reinhardt.

This line-up would record the album METAMORPHOSIS in May 1970 which saw the band take a heavier direction. The dominant track on the record was the excellent thirteen minute Butterfly Bleu which saw one of the earliest uses of a “talk box” on a guitar solo. Following a tour with YES in early 1971, Doug Ingle announced his departure from the band. After releasing a final single, Silly Sally in April 1971. Iron Butterfly disbanded. Although they would reform in the mid-1970s and continue to perform and record sporadically afterwards, their recorded work for Atco Records remains their main legacy.

UNCONSCIOUS POWER – AN ANTHOLOGY 1967 – 1971 features all of the albums issued on Atco, all newly re-mastered from the original master tapes, and additionally includes the rare mono mixes of the albums HEAVY and LIVE, (the only true separate mono mixes of their albums), both previously unreleased on CD, along with two CDs of recordings made at the Fillmore East in New York City on the 26th and 27th April 1968. It also includes all of the band’s US non-album singles and single edits and a lavishly illustrated booklet with a new essay featuring interviews with Ron Bushy and Mike Pinera and a poster.

Erik Brann's approach to vocalizing later seemed like a foretaste of Hetfield's, but maybe better, prob. not worse. Never thought of them as prog, but haven't heard all thee albums---must check xpostMetamorphosis, with Larry "El Rhino" Reinhardt, who I hope also played with Wino, did play w Captain Beyond. Mike Pinera!
Mike Pinera and his group Blues Image were co-founders and house band at Thee Image, a Miami Beach concert venue they opened and co-headlined on weekends, playing with such groups as Cream, Grateful Dead, The Yardbirds, The Animals, Frank Zappa and many more. [1] Blues Image soon signed with Atlantic Records where they scored the major hit "Ride Captain Ride" which Pinera co-wrote and sang
[while he was with Butterly]... he and Lee Dorman produced the band Black Oak Arkansas, which went platinum. In 1972 Pinera and Jimi Hendrix's drummer Mitch Mitchell formed the band Ramatam on Atlantic Records and was produced by the legendary Tom Dowd, who was quoted as saying this album was one of his all time favorites.
In 1973 Pinera helped formed The New Cactus Band. They recorded the album Son of Cactus on Atlantic Records...He was the lead guitarist for Alice Cooper from 1980 to 1982. He is currently performing with his solo band and The Classic Rock All Stars.
Much more here, with links---did not know he did an album for Capricorn, wonder what that's like?https://en.wikipedia.org/wiki/Mike_Pinera

Bassist Lee Dorman also went to Captain Beyond after Metamorphosis

Xgau (from 1972 Zep concert review "A Power Plant," archived on his site):The idea for Led Zeppelin's name, as well as perhaps half of its musical concept, relates to Iron Butterfly, which, on the strength of its classic "In-a-Gadda-da-Vida," remained the premier American heavy rock band until the advent of Grand Funk Railroad. Always heard that the name came from Keith Moon, and some of the musical concept, when he and Beck and Page and JP Jones and Nicky Hopkins cut "Beck's Bolero," but maybe mega-successful early sound of IB was an influence too.

Never trust Christgau on anything relating to heaviness.

Yeah, that's almost complete bullshit on Xgau's part.

I have that Ramatam album. It's pretty good post-Hendrix rock. They had a female guitar player who was rumored to be trans; however the reasoning I've seen on that was sketchy to say the least.

There's a remastered Gun Club Miami coming. Apparently from tapes given to the JLP family estate by Chris Stein.
Not sure how imminent but been told this from somebody involved over last few days.

Does anyone have any experience with Vinyl Me Please reissues? They are coming out with Jorge Ben's Africa Brasil that I am interested in.

Feedback on discogs is mainly positive. No reissue, but I bought a translucent green copy Yaeji's What We Drew recently (didn't particularly look for this version, I just wanted a copy and this was the one they had at my record store) that sounds absolutely fine.

UFO's Strangers In The Night is being blown up into an 8CD box set containing the original double live album (which I could swear fit on a single CD) plus six complete concerts, as follows:

CD1: Original album
1. Natural Thing
2. Out In The Street
3. Only You Can Rock Me
4. Doctor Doctor
5. Mother Mary
6. This Kid's
7. Love To Love

CD2: Original album
8. Lights Out
9. Rock Bottom
10. Too Hot To Handle
11. I'm A Loser
12. Let It Roll
13. Shoot Shoot

CD3: Chicago, Illinois 13/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle
13. Shoot Shoot

CD4: Kenosha, Wisconsin 14/10/78
1. Hot 'N' Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Only You Can Rock Me
7. Ain't No Baby
8. Out In The Street
9. Doctor Doctor
10. Lights Out
11. Rock Bottom
12. Too Hot To Handle

CD5: Youngstown, Ohio 15/10/1978
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out On The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. Lights Out
12. Rock Bottom
13. Too Hot To Handle
14. Shoot Shoot

Advertisement

CD6: Cleveland, Ohio 16/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

CD7: Columbus, Ohio 17/10/78
1. Hot And Ready
2. Pack It Up And Go
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Too Hot To Handle
9. I'm A Loser
10. On With The Action
11. Doctor Doctor
12. Lights Out
13. Rock Bottom
14. Shoot Shoot

CD8: Louisville, Kentucky 18/10/78
1. Hot N Ready
2. Pack It Up (And Go)
3. Cherry
4. Let It Roll
5. Love To Love
6. Natural Thing
7. Out In The Street
8. Only You Can Rock Me
9. On With The Action
10. Doctor Doctor
11. I'm A Loser
12. Lights Out
13. Rock Bottom
14. Too Hot To Handle
15. Shoot Shoot

I love UFO's early to mid 70s Chrysalis albums, but I don't know if I need six full concerts with barely varying set lists.

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From Riot Act Media, Sept. 25:

The first international archival release from Azerbaijan’s gitara psych pioneer Rüstəm Quliyev arrives today on Bongo Joe

"Rüstəm Quliyev’s blazing, psychedelic guitar music sprang from one of the most tumultuous and transformative periods in Azerbaijan’s history, capturing both the spirit and the contradictions of its time. In the years since, Quliyev has become the emblem of Azerbaijan’s gitara music—a unique subculture that developed around the electric guitar. And while his life was cut short by lung cancer in 2005, his legacy endures. 'He was really special,' says Vasif Javadli, Quliyev’s nephew. 'Many people try and follow Rüstəm’s way, but no one can replace him. And no one can play like him."
- Bandcamp Daily - "The Psychedelic Sound of Rüstəm Quliyev, King of Azerbaijani Guitar" by Megan Iacobini de Fazio

Rüstəm Quliyev was born in 1969 in the village of Kosalar, Nagorno Karabakh. At the age of seven he had already mastered the tar before moving on to play the saz. He first encountered guitar during his military service for the USSR in Russia and quickly made a name for himself as a guitarist after returning to Azerbaijan. During the early 1990s, after years of intense fighting, he had to flee his home due to the conflict in Karabakh and settled in the capital city Baku. There his guitar playing took on a new character. He played at weddings, made TV appearances, and recorded numerous cassettes with small local labels.

Rüstəm’s guitar playing not only drew on the rich traditional music of Azerbaijan but his thirst and passion for music also meant that he incorporated styles from across the globe into his repertoire: from Bollywood disco tunes and Afghan pop songs to Iranian street melodies and Spanish flamenco. He crafted a unique sound within an already idiosyncratic subculture of Azerbaijani electric guitar music. Sadly, his career was brought to a sudden end in 2005 after a short battle with lung cancer. His music, however, lives on remaining popular throughout the country.

This release of archival recordings, produced in collaboration with Rüstəm Quliyev’s family and Moutains of Tongues, marks the first international release of this guitar legend's music.
Selections from the archives of Rüstəm Quliyev
Recorded between 1999-2004 in Azerbaijan
Research & Liner notes by Ben Wheeler and Stefan Williamson Fa
Analog Mastering by Tim Stollenwerk
Artwork by Félicité Landrivon
Artistic Supervision by Cyril Yeterian
Vinyl Cut by Adi Flück
Special Thanks to Vasif Javadli and the Quliyev Family, Ben
Wheeler and Stefan Williamson Fa at Mountain of Tongues
Stream: https://rustemquliyev.bandcamp.com/album/azerbaijani-gitara

Soon to drop on Soul Jazz:

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Deutsche Elektronische Musik 4
Experimental German Rock and Electronic Music 1971-83

3×LP + Download Code SJRLP459 £26.00
Expected 16 OctPREORDER
2×CD SJRCD459 £13.00
Expected 16 Oct
Pre-Order
This is the new instalment of Soul Jazz Records’ ground-breaking Deutsche Elektronische Musik series, ‘A near-definitive guide to some of the world's most extraordinary music’ (The Guardian).

This latest edition features many of the classic German electronic and Krautrock groups from the 1970s & 80s – including Can, Amon Duul II, Harmonia, Conrad Schnitzler, Agitiation Free, Roedelius – as well as a host of lesser known artists such as Dzyan, Klauss Weiss, Gruppe Between and many more.

Deutsche Elektronische rarities unearthed on the album include Kalacakra (whose fan-base included the great Moondog!) and their superb ‘Nearby Shiras,’ taken from their super-rare spiritual/psychedelic private press concept album Crawling to Lhasa, from 1972.

Deutsche Elektronische 4 includes a wealth of German electronic experimental artists – the seminal pioneering group Harmonia (Roedelius, Moebius and Michael Rother), avant-garde guru Conrad Schnitzler as well as lesser known synthetic artists such as Klauss Weiss, Deutsche Wertarbeit, E.M.A.K. (Electronische Musik Aus Koln), Gunter Schickert and others.

Finally, the album also features an array of heavy and progressive German cosmic rock groups – Dzyan, Virus and the amazing Turkish/German tripped out sound of Alex’s ‘Patella Black’, recorded at Can’s Inner Space in 1973, produced by Holger Czukay and Jackie Liebezeit.

Deutsche Elektronische 4 comes with extensive newly commissioned sleevenotes by David Stubbs, author of the seminal books ‘Future Days: Krautrock and the building of Modern Germany’, ‘Mars By 1980: The story of Electronic Music’, and ‘Krautrock: Cosmic Rock and its Legacy’.

This album comes as a heavyweight triple vinyl edition with full colour inner sleeves, as well as a deluxe double CD edition with outsize booklet and slipcase. Both formats include full liner notes and extensive rare photography.

More info, audio: https://soundsoftheuniverse.com/sjr/product/deutsche-elektronische-musik-4

yeah, just saw that on the boomkat mailout. didn't they say 3 would be the last? no complaints here though.

(boomkat are saying 30th october now)

I missed volume 2 of the Deutsche Elektronische Musik series somehow and now it seems like it's the only really difficult one to find at a reasonable price, on CD or LP

3 is my favorite, though