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Forced Exposure New Releases for the Week of 1/10/21

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New music is due from Aufgang and Drop Collective, while old music is due from Terry Gibbs & Alice Coltrane, Roky Erickson & The Explosives, and The Residents.

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PRICE: $20.50
CAT #: AUK 001EP
BRIAN JONESTOWN MASSACRE, THE Bringing It All Back Home Again 12"
2021 repress, black vinyl; 12" EP version. 2013 release. Originally released in 1999 and now reissued on A Recordings, Anton Newcombe's (The Brian Jonestown Massacre) own record label. On this six-song EP, the band's affecting a more rural, lonesome-sounding tone and a moodier, more deliberate pace; the more traditional feel meshes well with Anton Newcombe's twisting of country-gospel lyrical clichés into rock & roll attitude.
PRICE: $20.00
CAT #: AUK 007LP
2021 black vinyl repress; available on 180-gram vinyl (no longer comes with download code). This the first time that this title has been available on vinyl. At the risk of belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music to be released in 1996, The Brian Jonestown Massacre parallels the prolific and effortless brilliance of The Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is The BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp!, the label that gave them their start, and later for TVT and Tee Pee. The BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the band's name combines the name of Stones founder Brian Jones with a reference to cult leader Jim Jones -- but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
PRICE: $15.50
CAT #: NMN 081CD
2022 restock. Alga Marghen presents Éphémère I & II (for tape, or to be played with various instruments) -- two previously-unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalog of Luc Ferrari. Even if Ferrari's perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two works presented here is quite surprising. Luc Ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performer's intervention (a perspective he decided not to develop in future researches). "Exercises d'Improvisation," a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the GOL collective with Brunhild Meyer-Ferrari for an LP to be issued on PLANAM), directly comes from the two works presented here. Éphémère I' (or "L'ordinateur ça sert à quoin?" i.e. "What's the use of computers") is a 27-minute piece for tape only, created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a sea-like continuum. "Éphémère II" (or "Lyon 75" after the only recorded realization) is a 51-minute tape piece with guitar improvisation. The electronic repetitive structure reminds of some of the most radical works of American composer Terry Riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority, superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. The end of this long suite leads us back into more abstract and live electronic sonorities. This very intense work can be placed in a context between scored music and totally improvised music. Housed in a tri-folded digipack sleeve. Please note: these two previously-unpublished pieces revealing a hidden part of Luc Ferrari poetics are not included in the INA 10CD boxset. Only available on this CD edition.
PRICE: $25.00
CAT #: NMN 152LP
BEHRMAN, DAVID Music With Memory LP
2022 restock. Alga Marghen introduce Music With Memory, a new record LP by David Behrman focused on his '70s work with new small, inexpensive devices then known as "microcomputers" equipped with "memory" to be used in live performances and installations. Side A presents "Interspecies Smalltalk" with Takehisa Kosugi (violin) and David Behrman (electronics). A wild intertwining of two worlds of resonance, structure, and tonality, decades ahead of its time. Commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Company dance titled "Pictures", it was made to be performed by Takehisa Kosugi playing violin in his uniquely personal style. Side B includes "Circling Six", an earlier version of a more extended piece titled "Leapday Night". "Circling Six" had six looping synthesizer phrases which could be played along with by the acoustic instrumentalist, on this recording by Werner Durand on saxophone. "Interspecies Smalltalk" and "Circling Six" were pieces for instrumental performers and a small computer-controlled music system that Behrman assembled during the 1980s. The electronic gear consisted of pitch sensors ("ears" with which it listened to the performing musicians), various music synthesizers (some homemade), a video display, and a personal computer. The pieces were made with computer programs governing interaction between performers and the electronics. The software created situations rather than set pieces. The performers had options rather than instructions, and the exploration of each situation as it unfolded was up to them. Also on side B is a short track titled "All Thumbs" for two electrified mbiras (African instruments of ancient origin also known as thumb pianos, kalimbas, or zanzas). This piece grew out of a collaborative sound and video installation that George Lewis and David Behrman made for the opening of the Paris science museum La Villette in the spring of 1986. The metal tines of the mbiras were linked to sensors and to a computer music system. In this concert version, played together with Fast Forward, the piece was in several sections. All the sounds in "All Thumbs" were electronically generated. Includes liner notes by David Behrman and photos of the performances, as well as original programs of the Music With Memory Festival. Edition of 400.
BA 1108LP
PRICE: $5.50
CAT #: BA 1108LP
CHAINO Eyes Of The Spectre LP
2008 release. "A cult figure to fans of space age pop and exotica, Chaino was a percussionist who released albums of wild drumming (he specialized in the bongos and congas), accompanied by grunts, chants, and howls. Chaino's claim to be the 'percussion genius of Africa' (he really hailed from Chicago) may rub world music purists the wrong way, but for fans of vintage exotica Chaino's campy, groove-centric aesthetic is sure to please. The 2008 release of Chaino sessions entitled Eyes Of The Spectre is a must for any space age bachelor pad."
PRICE: $27.00
Hung Far Low is the fifth and final studio album by New York noise rock band The Honeymoon Killers, originally released in 1991. Remastered to achieve the extreme sound desired for this band. The Honeymoon Killers recorded this album picking up 2/3 of the nascent Jon Spencer Blues Explosion and it meant a sonic evolution to the band in the way to get the original Honeymoon Killers sound adding slicks of Pussy Galore and The Blues Explosion. Artwork revised and completed by Pauline Teel (Big City Stompers). Personnel: Jerry Teel - guitar, harmonica, vocals (The Chrome Cranks, Knoxville Girls, Big City Stompers, etc.); Jon Spencer - guitar (Blues Explosion, Pussy Galore, Five Dollar Priest, etc.); Russell Simins - drums (Blues Explosion, etc.); Lisa Wells - bass.
PRICE: $29.50
HUTCH, WILLIE Soul Portrait LP
2022 repress. Be With Records present a reissue of Willie Hutch's Soul Portrait, originally released in 1969. Soul Portrait is a slice of Southern-fried soul, a blend of beat ballads and dancers. Increasingly rare, this reissue is most welcome and showcases the early work of a soul legend. Officially licensed and remastered by Simon Francis, it's pressed on 180 gram vinyl for the first time and features the original artwork and liner notes. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack (1973) and Foxy Brown (1984). Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder, and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the '70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. The album's centerpiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognizable track, it's a towering ballad drenched in stylish, sliding horns, and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton (2013) as well as 9th Wonder for the Murs classic "Dreamchaser". Horn-heavy opener "Ain't Gonna Stop" is a funk-fueled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. The blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come. The thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern soul favorite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smoldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic; rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance. Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best.
PRICE: $113.50
CAT #: BS 049BOX
PERSONA (BRAZIL) Som (Box Set Version) LP BOX
Limited repress. Box set version. Includes booklet, poster, mirror, candles, etc. Black Sweat Records present a reissue of Persona's Som, originally released in 1975. What is the object with the most sensational magical and alchemical properties, if not glass? A permeable membrane that filters the real through the unconscious, an access portal with divinatory and therapeutic qualities, the glass has always been seen as the guardian of daring allegories and symbols. Aware of this, the artist Roberto Campadello conceived "The Game of Persona", in the context of an installation for the XII Biennale of Sao Paolo in 1973. Discovering the visual properties of gilded glass, he investigated the effects of the overlay of images, a mysterious moment of transparency in which two single people melt into the reflection of the image, creating a single fantastic person. Thus, his "Casa Dourada", also became the space for "Intro-nautical Journeys": meditations and cosmic dances. The history of this LP (originally published in a 10" box set, in 1975) starts right to support those collective initiation sessions. Each track is inspired by an I Ching element (Mountain, Heaven, Earth, Water, Lake, Wind) which represented a primary source of inspiration for Campadello. The dreamlike and occult sound not only suggest the atmosphere of that experience but still reveal the echoes of the best season of the Brazilian rock and Tropicalismo. The music has been composed and played by Roberto Campadello and the Brazilian super-star guitarist Luis Carlini, the leader of the Rita Lee's band Tutti Frutti. Fuzz guitars, dirty percussion, Echoplex delays, are the perfect elements for the final trip into your own consciousness. Includes two unreleased tracks, an amazing booklet, and poster. Co-produced with nossos amigos Nada Nada Discos.
BS 049LP
PRICE: $34.00
CAT #: BS 049LP
2021 repress. Black Sweat Records present a reissue of Persona's Som, originally released in 1975. What is the object with the most sensational magical and alchemical properties, if not glass? A permeable membrane that filters the real through the unconscious, an access portal with divinatory and therapeutic qualities, the glass has always been seen as the guardian of daring allegories and symbols. Aware of this, the artist Roberto Campadello conceived "The Game of Persona", in the context of an installation for the XII Biennale of Sao Paolo in 1973. Discovering the visual properties of gilded glass, he investigated the effects of the overlay of images, a mysterious moment of transparency in which two single people melt into the reflection of the image, creating a single fantastic person. Thus, his "Casa Dourada", also became the space for "Intro-nautical Journeys": meditations and cosmic dances. The history of this LP (originally published in a 10" box set, in 1975) starts right to support those collective initiation sessions. Each track is inspired by an I Ching element (Mountain, Heaven, Earth, Water, Lake, Wind) which represented a primary source of inspiration for Campadello. The dreamlike and occult sound not only suggest the atmosphere of that experience but still reveal the echoes of the best season of the Brazilian rock and Tropicalismo. The music has been composed and played by Roberto Campadello and the Brazilian super-star guitarist Luis Carlini, the leader of the Rita Lee's band Tutti Frutti. Fuzz guitars, dirty percussion, Echoplex delays, are the perfect elements for the final trip into your own consciousness. Includes two unreleased tracks, an amazing booklet, and poster. Co-produced with nossos amigos Nada Nada Discos.
PRICE: $21.00
CAT #: BRC 012LP
2015 reissue. Originally released in 1990. "Third Eye is the third studio album by Redd Kross. It was released by Atlantic Records on September 14, 1990. It includes 'Annie's Gone', which peaked at number 16 on Billboard's Alternative Songs chart. The naked masked woman on the cover of the album is Sofia Coppola. The band's guitarist Robert Hecker provided vocals on '1976', doing a Paul Stanley impersonation, which led people to believe Stanley did the singing."
BR 050LP
PRICE: $22.50
CAT #: BR 050LP
LP version. Drop Collective is an ensemble of ten musicians fusing Jamaican music and jazz in a repertoire of own-penned compositions and arrangements, never forgetting the importance of making the audience dance. Antillean rhythms and melodies under the jazz umbrella, but with a reverence for the essence of both traditions. It is clear, that many universes can be found in the sound palette of Drop Collective. Come Shine is the tight and solid second effort of this young band founded in Barcelona in 2016. The immediate first impression of the album is a tight, solid and synchronous sound yet, full of details. This instantly activates the mental shortcuts that select the necessary information to understand that Come Shine is an outstanding album. A feeling that accompanies all time during the ten tracks of the album, eight sung in English and two instrumentals. The jazz education of the musicians, in addition to technique and skill, gives them great ease to submerge themselves in modes and tonalities that, due to their subtleness can go unnoticed at a first listen in some cases, but which form the foundations of the sound of Drop Collective. It is clear that the fusion of jazz and Jamaican music is not a new thing, but Drop Collective embraces the style with astonishing naturalness and bold enthusiasm. The collective is capable of assembling songs full of emotion, grounded on a versatile and tight brass section and the sweet voice of its singer, providing equal dignity to songs built from an ephemeral melody or from an elaborated kickoff. In all cases, with the refined arrangements of a solid and brilliant block.
PRICE: $28.50
2021 restock. Cacophonic present a first time vinyl reissue of a pioneering album of French free jazz, François Tusques's Free Jazz, originally released in 1965. Comprising some of the earliest, uninhibited performances from musicians behind groundbreaking European records and films, Free Jazz captures the birth of an exciting movement that would soon earn its Parisian birthplace as the go-to European spiritual home of improvised and avant-garde music. Spearheaded by pianist and composer François Tusques, this 1965 French album laid the foundations -- alongside Jef Gilson's 1963 album Enfin! (OI 020LP) -- for a unique satellite brand of jazz that would later provide visiting Afro American avant-garde players with a vibrant Parisian platform. With Free Jazz, you not only hear the unique differences within the Gallic approach to the art form (combining masterful somber cinematic changes with aerated free-form percussion and erratic reed and brass), but you also witness the early, lesser savored secret ingredients that would carry France's mainstream pop culture into truly uncharted and unrivalled territories. Best known as the soundtrack composer to the horror-tica films of Jean Rollin, Tusques is joined here by sax and flute player Francois Jeanneau, who later led Triangle, France's leading French language prog-jazz-rock act. Featuring three players from Enfin!, Free Jazz combines the skills of Jeanneau, with clarinet player Michel Portal, and trumpeter Bernard Vitet. In addition to this, Free Jazz also boasts the inclusion of double bass master Bernard "Beb" Guérin, a contributor to Sonny Sharrock's Monkey-Pockie-Boo (1970). It is by no coincidence that this carefully selected ensemble would be enlisted as the backing group for politically driven singer-songwriter Colette Magny (arguably influencing Brigitte Fontaine to adopt The Art Ensemble Of Chicago as her backing band). This album also captures a rare glimpse of percussionist Charles Saudrais in free-form mode after his departure from the Barney Wilen Quartet, resulting in the follow-up record 1970's Le Nouveau Jazz (CACK 014LP) for actor Marcel Mouloudji's privately funded label. This glimpse into a seldom documented underground of a domestic, revolutionary, uncompromised spiritual art-form reveals the other-side of abstracted French music which, alongside musique concrète, protest pop, symphonic rock, and Zeuhl-skool electronic prog, created a homegrown, self-contained music industry that influenced a universe of Gallic magnetic inspiration. Taken from Tusques's master-tape archive. Features two rare original outtakes which did not appear on the original album; Includes a facsimile of the original Tusques-penned booklet.
PRICE: $14.00
DIGITALINE Tapadaka 12"
2021 repress. Returning to Cadenza, Digitaline focus their eclectic influences towards two seamlessly-executed minimal techno tracks. "Tapadaka" layers flinty percussion over penetrating kicks and deep tom rhythms. Stabbed synths, pulsed bass harmonies, and swooping tonal attacks loom high in the mix, dizzying both composition and listener alike. An understated EBM influence underlies the central percussive pattern in "Strippy Trippy." Drippy, metallic tones chime above the stuttering snare as vocal samples whisper between the beats. Aquatic synth melodies plunge you deeper into the abyss.
P 757675HLP
PRICE: $21.00
CAT #: P 757675HLP
2022 restock; 180 gram reissue, originally released in 1964. Featuring Charlie Rouse (tenor sax), Butch Warren (bass), Ben Riley (drums) and Thelonious Monk (piano). "It's Monk's Time (1964) contains some of the best -- if not arguably the best -- studio sides that the pianist cut during his final years as a recording musician.... From four sessions in early 1964, It's Monk's Time gathers four quartet and two solo sides, presenting the pinnacle of what these musicians offered stylistically as well as from the standpoint of presentation. There is sense of mischievous playfulness in Monk's nimble keyboard work, especially notable on the beautifully off-kilter unaccompanied opening to 'Lulu's Back in Town,' and the same practically impish quality also drives the solo performance on 'Nice Work if You Can Get It.' Both pop standards are prime examples of the bop pioneer's inimitable approach to arranging, and also provide an uncanny insight to his influences." -- All Music Guide
PRICE: $30.50
Warehouse find, last copies of this 2010 classic double-vinyl debut. In 2008, a triple cassette oddity appeared out of nowhere adorned in washed-out nature collages and zero information. Turns out that John Elliot of Emeralds was behind the madness, and after further dissection of the sounds enclosed, it all began to make sense. Those three tapes (one yellow, one blue, one red) were the first taste of something that felt like a lost private-press object from the early European electronic experimentations of the '60s and '70s. Each vignette is its own story, its own exploration. Synthesizers and other electronics are stripped to their bare bones, never drifting beyond a mere five minutes. It's the brevity that is the guiding hand, though. Every tone and every note is carefully considered and utilized as you're sucked into a world of washed-out colors and sullen landscapes. One thing that immediately stands out with these pieces is just how restrained Elliot is with them. It adds considerable tension, even if it's understated, giving the album a surprising amount of emotional depth. Each piece is its own miniature mountain, traversed and left behind all in a matter of minutes. As you interact with the subtlety changing harmonics and tonal shifts, you begin to float away into synthetic dreams. If all bedroom albums were this great, I'd never leave the house. A true gem. It doesn't get much better than this. Completely remastered for vinyl by James Plotkin and cut in Berlin by D+M. The deluxe vinyl edition is presented in full-color gatefold jackets with all new art from John Elliot in conjunction with the inimitable Witchbeam.
PRICE: $25.50
FEST, MANFREDO Brazilian Dorian Dream LP
2021 repress. LP version. 180 gram vinyl. Far Out Recordings present a reissue of Manfredo Fest's Brazilian Dorian Dream, originally released in 1976. Legally blind from birth, Brazilian keyboard player, composer, and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion), and Roberta Davis (vocals). Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp, and Moog synthesizers (plus a whole load of effects units), makes for an album light-years ahead of its time. The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis's ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus. A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring "Jungle Kitten": a new dancefloor focused variation on "Jungle Cat". At around 140 BPM "Jungle Kitten" was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the '80s and as a result it has probably become Fest's most well-known track since. Brazilian Dorian Dream is almost impossible to find on vinyl. Remastered.
PRICE: $24.00
RESENDE & INDEX, MARCOS Marcos Resende & Index LP
2021 repress; LP version. Beyond their highly sought-after 1978 album Festa Para Um Novo Rei -- home to the mystical jazz-funk classic "Vidigal" and released on Philips' iconic Musica Popular Brasileira Contemporanea series (MPBC) -- little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music. Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious musical child. In spite of his immense musical potential, he travelled to Lisbon in the '60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings. Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal's Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he'd experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708, and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the "Brazilian Rudy Van Gelder". Marcos Resende & Index has both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather. Marcos kept the tapes from the Sonoviso sessions safe and presented them to Far Out's Joe Davis at his home in Lisbon in 2018, but only after 25 years of Joe pleading to hear them. Marcos has worked closely with Far Out towards restoring these recordings over the last two years, but tragically passed away after a battle with stomach cancer on November 12th, 2020 at the age of 73.
FD 017LP
PRICE: $28.50
CAT #: FD 017LP
Fatiado Discos and Psico BR Discos present a reissue of Solange Borges's Bom Dia Universo, originally released in 1984. Solange Borges is a singer, composer, and instrumentalist, born May 1st, 1954, in Belo Horizonte, Minas Gerais state, Brazil. Member of the family of musicians "Borges", Solange started playing guitar and piano and got to know the poetic universe with her brothers Marilton, Márcio and Lô Borges. The Borges family was an essential landmark for developing music and including other musician friends in the sixties that would initiate the so-called "Clube da Esquina" movement, that would represent several musicians and records. With figures such as Milton Nascimento, Toninho Horta, Wagner Tiso, Lô Borges, Beto Guedes, and Márcio Borges, Clube da Esquina's sound is intensely characterized as innovative. As a characteristic of this innovative sound, there is, for example, a kind of fusion of the innovations brought by bossa nova with elements of jazz, rock -- mainly the Beatles --, black folk music and Minas Gerais, classical music and Hispanic music. In the '70s, these artists became a quality reference in MPB for their high level of performance and spread their innovations and influence worldwide. Solange Borges is the only female musician member of the collective group "Clube da Esquina" and participated in the album Os Borges in 1980, also in the album Via Láctea, by brother Lô Borges, singing the songs "Vento de Maio" and "Clube da Esquina 2", having released her first LP Bom Dia Universo in 1984. "Bom Dia Universo" is the opening track that names the album, a great sweet sunny song that inspires looking at the beauty of the universe, like portraited on the album cover. "Santa Teresa" song remembers the times when her whole family including other musicians' friends from "Clube da Esquina", shared their home in the iconic neighborhood of Santa Teresa in Belo Horizonte, Minas Gerais state, known as cultural landmark. "Águas de Rios", "Puim-í" and "Beija-Flor" are gems of Brazilian regional and psychedelic music, with beautiful hippie and nature themes, and harmonies that sound just as great as if you were listening to a female version of Clube da Esquina albums. Bom Dia Universo album songs also range from rock to progressive rock, were as Solange Borges group shows it´s instrumental and composition abilities of Nico, Telo and Yê Borges, Tito Andrade, Ronaldo Venturini, Fernando Moura, Marcelo Sarkis, Silvio Nélio and Gerdson Mourão, also responsible for music direction. Contains the original 1984 insert with lyrics plus photos from her personal archives.
PRICE: $18.50
CAT #: FTR 274LP
MARS Mars Archives Volume Two: 11000 Volts to Tunnel LP
2021 restock. "The second amazing volume (of three), compiled by Mark Cunningham after culling every known live tape of Mars, documents the band in its first fully-matured form. Recorded at CBGB and Max's in the early months of 1978, this captures the sound of Mars around the time their first single, '3E/11000 Volts,' was released by the French Rebel label (a precursor of ZE). They're still playing their early songs, and working out the material that would be on No New York (LR 102CD/LP). Two of the tracks ('Cairo' and 'RTMT') were never released in any form back in the day, and the whole album surges along like one of the weirdest rock rides anybody has ever imagined. There are still small tendrils of the more formal approach Mars took in their earliest days, but the function of the material is on its way to becoming utterly alien. Even though I saw the band around this time, the incredible strangeness of their approach is astonishing. Words fail me. No one else has ever created anything quite like the wall of sound they managed. On the second side, as an added bonus, the audience source tape is full of hooting and hollering by people like Lydia Lunch, Bradley Field, Kristian Hoffman, and various other reprobates with whom they were sharing rehearsal space at the time. Package looks great, too. Grainy, just the way it should be. Has an insert with brief notes by Mark, a couple of pics and handwritten lyrics that read better than I'd ever imagined them to be. Essential stuff." -- Byron Coley, 2016. Edition of 500.
PRICE: $22.00
CAT #: FTR 539LP
2022 repress! ."Pleased as punch are we to be reissuing Michael Hurley's long-lost 1984 album, Blue Navigator. Admittedly, Secret Seven and Mississippi collaborated on a dandy 8-track version a decade ago, but the record has mostly been available as an obscure import CD -- if at all -- for many a year. The reason for this is that the Rooster Records HQ burned down in 1987, taking master tapes, extra covers and whatever else there was with it. This was a general bummer, but especially so for us Hurley fans, since his final LP with Rounder was Snockgrass in 1980, and he didn't hook up with Fundamental to do Watertower until 1987. The disappearance of Blue Navigator from this earth left a sizable hole. Which we'd now like to think has been plugged. Recorded with a cast of Northern Vermont hepcats including guitarist Jon Weber (of Dan Hicks' original Hot Licks), head Rooster William Wright on guitar and mandolin, Nancy Beavan on vocals, Gordon Stone on pedal steel and various other goners, all playing some sweet rural swing displaying exactly how Hurley became the toast of the snowmobile club circuit during his days in the North Country. A mix of old favorites -- 'Werewolf,' 'Open Up (Eternal Lips)' -- new favorites -- 'Code of the Mountains,' 'Ghost Woman Blues' -- and even a re-write -- 'Blue Navigator' -- it's a great, very casual sounding session, revealing more layers the more you listen. The instrumentation varies a lot between tunes, but the music always flows with Snocky grace and assurance. For this reissue, Michael has written a set of illustrated liner notes that scoot around just the way his conversation does on a long car ride. Which makes me miss the open road as much as anything else today. Just close your eyes, sink back into the music on Blue Navigator and pretend you're drifting through the hills and valleys of the Green Mountain State on your way to a cold growler of beer. You'll soon feel like a million bucks. Promise!" --Byron Coley, 2020
FRO 31040LP
PRICE: $21.00
CAT #: FRO 31040LP
WEIRDOS, THE Weird World Vol. 1 1977-1981 LP
Originally released in 1991. "It's rather ironic that while Los Angeles was the capitol of the American recording industry in the mid-to-late '70s, most of the seminal bands of the original New York punk rock scene (the Ramones, Television, Patti Smith, Talking Heads) were able to score major-label contracts, but nearly all of their West Coast contemporaries were ignored, having to rely on fledgling independent labels like Dangerhouse or What? if they wanted to be heard on plastic. Consequently, several important bands, such as Crime and the Screamers, managed to slip through the cracks without ever releasing a proper album, and the Weirdos, who were one of the first major bands to emerge from the L.A. punk underground, broke up in 1981 without making an LP. (They did reunite for a spell in the 1990s, recording an album called Condor with the help of friend and fan Flea.) Fortunately, the Weirdos did manage to release a handful of singles and EPs during their 1977-1981 heyday, as well as demoing plenty of material that never saw release, and Weird World Vol. 1 collects 14 superb cuts that set the record straight -- the Weirdos were, quite simply, one of the best and brightest American bands of punk's first wave. Dix Denney's hard, angular guitar lines suggested melody without sacrificing any of his propulsive punch, while the various rhythm sections were invariably tight, hard-driving, and energetic (the band went through four drummers and five bassists in five years; one of the group's bass players, Cliff Roman, was originally their rhythm guitarist, and wrote a handful of superb songs, including 'Teenage' and 'Life of Crime'). And vocalist John Denny was a genius frontman; manic, funny, and just a little disturbing, John could pour a world of passion and meaning into a nonsense lyric like 'Bop helium bar tonight!,' and his more coherent numbers, like 'We've Got the Neutron Bomb' and 'Pagan' were as hilarious as the Ramones but with a genuinely ominous undercurrent their funny-punk brethren couldn't touch (check the claustrophobic 'Solitary Confinement'). Weird World Vol. 1 is hardly the final word on this great band, but if you want concrete proof that the Weirdos were the great unsung heroes of L.A. punk, you could hardly do better." --AllMusic
FRO 31050LP
PRICE: $21.00
CAT #: FRO 31050LP
VA Dangerhouse Vol. 2 LP
1992 release. "More classics from the Dangerhouse label's vaults. Also contains previously unreleased songs."
FRO 31077LP
PRICE: $10.00
CAT #: FRO 31077LP
"The title comes from a 1980 concert: the infamous Eddie of Eddie and the Subtitles asked, 'Anyone want to hear 'Louie Louie'?' and the singular response came back loud and clear: 'FUCK YOU EDDIE!' And so, 28 years later that witty comeback graduated from the title of Eddie and the Subtitles' debut 7" to our new compilation LP featuring both sides of the aforementioned single, the crème of their LPs Skeletons in the Closet and Dead Drunks Don't Dance as well as several unreleased demos. Eddie and the Subtitles had a critical role in creating the Orange County punk scene; in their heyday, all the lands south of Los Angeles were known as 'The Eddie Empire'. The tracks on Fuck You Eddie! are at once sloppy, fast, fun and profound in their own way. No punk rock collection is worth a damn without it!"
GR 2153LP
PRICE: $25.00
CAT #: GR 2153LP
ESPLENDOR GEOMETRICO EG-1 (40th Anniversary Edition) LP
Reissue, originally released in 1981. Celebrating the 40th anniversary of EG-1, a seminal work by the influential industrial music pioneers. A classic and essential release of Esplendor Geométrico. After their first single, "Necrosis En La Poya" (1981), Esplendor Geométrico released their first cassette that same year: EG-1. These works were self-produced and distributed by the band themselves, before the appearance of the Spanish independent record labels in the early '80s. The first edition of EG-1 (edition of 300 copies) quickly sold out in the international underground circuit of cassette labels that was emerging during those years. It was reissued on the same format by different labels such as Datenverarbeitung (Germany, 1982), Ortega y Cassette (Barcelona, 1985), EGK (Madrid, 1987) and Línea Alternativa (Madrid, 1989), and later on there would be two CD editions. Without a doubt, EG-1 is one of the fundamental works by Esplendor Geométrico, and is also considered a classic of industrial music, where they started to develop their unique style of rhythmic-noisy-industrial which would be such a great influence on other artists afterwards. Tracks like "Muerte A Escala Industrial", "Destrozaron Sus Ovaries" and "Neuridrina" are regarded by their fans as some of the best recorded by the band. Remastered from the original tapes; includes an exclusive insert and each copy has been individually customized with stickers and hand-stamped; original designs from the first edition of EG-1 have been used; limited-numbered edition of 500 copies.
GC 003LP
PRICE: $85.00
CAT #: GC 003LP
RESIDENTS, THE Duck Stab! Alive! 2x10"+DVD
"The Residents released Duck Stab! as a seven inch EP in 1978. For the group, the EP represented a break from the much more experimental Eskimo recordings which consumed the majority of a four-year period from 1975-79. To everyone's surprise, the EP was a hit, selling 50,000 copies in a few months. The demand was so high, that Ralph, the groups label, insisted the band to record a second EP, Buster & Glen, which they paired with Duck Stab! to make an LP, which was also quite successful. In order to celebrate the 40th anniversary of the legendary alternative TV show Night Flight, The Residents created a program based on a live version of Duck Stab!, which the band was already rehearsing as part of their upcoming 50th Anniversary Tour Dog Stab! Duck Stab! Alive! was recorded live in the studio over three days from May 19-21, 2021 at the 25th Street Studio in Oakland, CA. The stunning results in sound and vision are contained in this limited edition boxed set. This boxed set is a custom made 10" high quality box with a DVD Nest. The package includes two 10" LPs and a DVD Digipack with a 16-page booklet featuring a short story on Duck Stab along with full color images from the show."
PRICE: $20.50
Originally out on CD only on the legendary 1+2 label from Tokyo, this is the first ever vinyl issue for the self-titled album from Australian-adopted Japanese punk band Mach Pelican. Ripped jeans, leather jackets, 14 short and sharp three chords tunes. Punk rock to the bone. Featuring the single "Dance In Chicago" and a cover of The Queers' classic "Ursula Finally Has Tits". Cover art by Ray Ahn from the Hard Ons. Yellow vinyl; double-sided lyrics insert; edition of 300.
BEC 5543358
PRICE: $25.00
CAT #: BEC 5543358
VA Shaolin Soul Episode 3 2LP+CD
2022 repress. Reissue of Shaolin Soul Episode 2, originally released in 2014. One of three LP reissues celebrating the 20th anniversary of 1998's Shaolin Soul Episode 1 (BEC 5543356). Legendary deep soul French compilations featuring many soul classics, sometimes forgotten, which have been sampled countless times by some of the biggest hip-hop acts. Available for the first time on vinyl + CD. Original packaging strictly reproduced. Cut from original masters. Double-LP comes in a gatefold sleeve; Includes CD.Episode 3 features The Jimmy Castor Bunch, Ann Peebles, The Dells, The Dramatics, Sydney Joe Qualls, Jackie Moore, The Supremes, Judy Clay, Barbara & The Browns, Willie Mitchell, Joe Tex, The Sweet Inspirations, Bobby Bland, B.B. King, Rufus Thomas, Freddie Waters, David Porter, Dionne Warwick, Ann Sexton, The Rimshots, and The Persuasions.
BEC 5543439
PRICE: $30.50
CAT #: BEC 5543439
CALE, J.J. To Tulsa And Back 2LP+CD
2021 repress; double LP version. First vinyl edition; 180 gram vinyl; gatefold sleeve with printed inner sleeves; includes CD. A reissue of JJ Cale's To Tulsa And Back, originally released in 2004. The song "These Blues" was used on an episode of Dog the Bounty Hunter. Personnel: JJ Cale - vocals, guitar, synthesizer, banjo, all other instruments; Shelby Eicher - fiddle, mandolin; Christine Lakeland - guitar; Don White - guitar; Bill Raffensperger - bass; Gary Gilmore - bass; Walt Richmond - keyboards; Rocky Frisco - keyboards; Jim Karstein - drums; Jimmy Markham - harmonica."On his first studio outing in eight years, the mythical Okie troubadour turns in a solid set of his trademark dusty blues tunes. What is not so typical, as with Travel-Log from 1990, is that Cale steeps himself in technology and evokes the moods and frameworks of music that intersect with the blues or stand in opposition to them. The keyboards, drum loops, and horns on this record are as pervasive as the guitars." --All Music
PRICE: $20.50
BROWN, DENNIS Tribulation Times LP
2021 repress. Dennis Brown has always been cited as Jamaica's favorite singer. While Bob Marley set out to conquer the world, Dennis' popularity on the island grew with each passing year. Overseas success also came Brown's way, with crossover hits like the massive "Money in My Pocket." He will always be fondly remembered on the sound systems across the Caribbean as the Crown Prince of Reggae. Dennis Brown (b. Dennis Emanuel Brown, 1957, Kingston, Jamaica) began his illustrious career at the grand age of 11, like many of the other child singers in Coxsonne Dodd's Studio One stable. His first hit in 1969, a cover of Van Dyke's "No Man Is an Island," still stands the test of time, in addition to its follow-up cut "If I Follow My Heart," as reggae classics. The 1970s saw Dennis build on his reputation by working with all the top Jamaican producers and studios perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott, to name but a few. But it was his work with producer Winston "Niney" Holness that he enjoyed the most success and many say is where he recorded his best work. Where many of the other producers stayed with the tried-and-tested Lovers Rock formula that did prove so popular with Dennis' voice, producer Niney The Observer as he is fondly called, pushed him into a more roots-led direction, over stark rhythms created by Niney's studio band Soul Syndicate. Two outstanding albums were put together -- Just Dennis (1975) built on a collection of singles they had recorded together, "Cassandra," "Westbound Train," "No More Will I Roam" and "Conqueror." The second 1977 set Wolf and Leopards, made up again of singles, featured the cut "Here I Come" (a live favorite that Dennis always liked to start his set with) and "Children of Israel," which made these both strong roots-era albums. Kingston Sounds have stayed with this period for this Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit "Money in My Pocket" (1979), produced by Niney, but often credited as a Joe Gibbs production, as it was released (and sweetened by adding orchestration for the foreign market place) on his label. This is the original Jamaican version (unsweetened) that you will find on this album -- perhaps, a more truthful version, in the label's opinion. His voice reigns supreme across these Niney-produced cuts "Smile Like an Angel," "Silver Words," "Play Girl," and the fantastic "Poor Side of Town," (helped along by the great harmonies of the Heptones group), "Tribulation" and "We Will Be Free." Dennis Brown's prolific catalog of tunes, which also found an outlet on his own DEB imprint, stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself.
PRICE: $16.50
VA Skinhead Reggae 1969 LP
2021 repress; LP version. Kingston Sounds present Skinhead Reggae 1969, a compilation focusing on the Jamaican reggae sounds tied to the skinhead movement. "The sound of now..." mentioned in "The Return of Jack Slade" by Derrick Morgan was the sound of 1969/1970, the sound of Jamaican reggae. The look at the time was the skinhead fashion borrowed heavily from the Jamaican rude boy style. The skinhead movement started around 1968 and by the following year of 1969 became the style and fashion of many British teenagers. The uniform of the skinheads consisted of boots, braces and jeans and the upbeat Reggae sound seemed to match the style perfectly. Never before has a music matched a look more perfectly than the pairing of skinhead/rude boy look with the Jamaican reggae sound. So stand up and move your feet one more time to the skinhead reggae sound. Features: Bunny Lee All Stars, Derrick Morgan, SS Binns, King Horror, The Prophets, Max Romeo, The Hippy Boys, The Des All Stars and Lloyd Chambers.
PRICE: $20.00
ELLIS, ALTON Treasure Isle 1966-1968 LP
2021 repress; LP version. Alton Ellis is one the finest soulful voices to come out of Jamaica. As well as writing hit singles himself, he could make a cover version known as a foreign tune sound like a Jamaican reggae tune with the greatest of ease. As the more upbeat rhythms of the earlier "ska" period began to slow down around the turn of 1966 some say due to the extreme heatwave that hit the island of Jamaica that year, slower rhythms suited the people to groove to at the various sound systems and dances. This also allowed the singers to express themselves more and allow the song to shrine through. No one did this better than Alton Ellis. Alton Ellis (b.1944, Kingston, Jamaica) started off singing at an early stage as part of a duo with singer Eddie Perkins and recorded for both Studio One and Randy's as Alton and Eddy and had a massive hit with the song "Muriel". The singing pair went their separate ways with Alton going solo with Studio One and being a much in demand voice also recorded with Duke Reid's Treasure Isle Studio as Alton Ellis and The Flames. As stated earlier, as the beat slowed down the top singers shined through, and Alton Ellis reigned supreme. One of his tunes featured on this set, "Get Ready (Do The Rocksteady)", even gave this period in reggae's history its name "rocksteady". It's this fantastic period in rocksteady, 1966 to 1968, that Kingston Sounds feature on this release. This set carries all the big hits "Ain't That Loving You", "Girl I've Got A Date", "Cry Tuff", alongside many more classics. All the cut at Treasure Isle songs that really defined the era. So sit back and enjoy the Rocksteady sound at its finest. Enjoy the set. Features Phillis Dillion.
PRICE: $23.50
CHERRY, DON Where Is Brooklyn? LP
2021 repress. Klimt present a reissue of Don Cherry's Where Is Brooklyn?, originally released in 1969. From 1966, a set from Don Cherry featuring Ed Blackwell on drums, Henry Grimes on bass, as well as Pharoah Sanders on saxophone as part of a quartet. Cherry's abstraction on the trumpet cuts through his other work with Ornette Coleman, a more melodic player and a strong influence on Cherry. Clear vinyl.
PRICE: $28.00
ASH RA TEMPEL Schwingungen LP
Repressed! MG.ART announce the authorized 50th anniversary edition of Ash Ra Tempel's Schwingungen, originally released in 1972. One of the most important German krautrock albums. Re-cut carefully overseen by Manuel Göttsching himself. Gatefold sleeve with sticker; Includes original release sheet and inlay.Julian Cope's review on Schwingungen in Krautrocksampler (Head Heritage, 1995): "'Beware of Schwingungen!' That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm -- 'Look at Your Sun' begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful -- John L. repeats over and over, 'We are all one, we are all one', until a howling fuzztone solo guitar blows the whole one chord 'Signed D.C.' ringing-cymbals torture to an end. And then the most far out track of all begins. This is called 'Flower Must Die' and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it's like the Stooges' Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket crosses into hyper-space and everything gets all hyphenated just-for-the-sake-of-it. 'Flowers Must Die', man, it's fucked up. Over on side two, the title-track ('Vibrations') begins poetically enough with Wolfgang Muller's epic and hugely reverbed vibraphone. Organ fades in and FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally materializes -- this is the one that Göttsching and Enke believed was the sound of heaven. They may have been right. And Schwingungen was a gift from the Gods."
PRICE: $22.50
KRAFTWERK King Biscuit Radio 1975 FM Broadcast LP
1975 was the year in which Kraftwerk's live shows took off and you can hear that on this record. Kraftwerk developed a progressive robot pop style by mixing electronic sounds and hypnotic rhythms with pop melodies. Kraftwerk was the birthplace of electronic music and is still an example for great artists. This registration includes the world hit Autobahn.
BT 5023LP
PRICE: $24.00
CAT #: BT 5023LP
"180 gram vinyl reissue of 1969 psychedelic blues classic originally on Stable Records. Variety within the somewhat strict framework of the blues format is something rare and elusive, and although musicians aspire to it and audiences long for it, failure and disappointment are usually their respective rewards. Yet unlike so many other musical forms, variety within blues does not necessarily mean an excess of complexity, sophistication, poetry or melody: it is the contiguity of blues and genuine personal feelings that constitutes the prime essential, for without it everything down to the most basic twelve-bar becomes inherently meaningless. This first album by Jaklin demonstrates how a young composer and singer with an ingrained feeling for contemporary blues manages to produce songs which are both emotionally evocative yet simple enough to be tremendously vehicular -- just take a listen to the weaving and pounding, the blending and harmony of the instrumentation on most of the tracks on this LP Particularly interesting is the rolling arrangement on 'Song To Katherine', a piece with a strong New Orleans atmosphere, or as a contrast the tinkling piano on the mellow 'I Can't Go On'. As a performer Jaklin sets a high standard of variety -- this set kicks off with 'Rosie', a raunchy adaptation of an African tribal number that Nina Simone once recorded as 'Be My Husband', while in absolute contrast an acoustic guitar opens 'Look For Me Baby', a folk-based blues. 'Early In The Morning' has Jaklin. In a lighter mood, 'Going Home' could easily be a John Lee Hooker song and arrangement from the late fifties or early sixties with the inspirational influences of rock'n'roll rhythms stamped out all over it. Jaklin's vocals are consistent throughout - the voice itself is a typical piece of British blues workmanship, with the influence of Alexis Korner coming through strongly -- certainly Korner's 'The Same For You' could well be a track from an Alexis LP."
MR 426LP
PRICE: $27.00
CAT #: MR 426LP
FARREN, MICK Vampires Stole My Lunch Money LP
Munster present a reissue of Mick Farren's Vampires Stole My Lunch Money, originally released in 1978. After three albums of raw, rabble-rousing psychedelic street punk with the Deviants, and an esoteric solo album (1970's Mona - The Carnivorous Circus), Mick Farren put his musical activities on hold at the dawn of the 1970s, and focused instead on his writing. By 1976 Farren was making his mark as a staff writer at the New Musical Express, where he was instrumental in chronicling, and to some extent nurturing, the nascent punk rock movement as it jerked awkwardly to life in the streets and pubs of London. Farren felt a natural affinity with the new youth fashion line of pimple-faced punk aspirants, full of piss, vinegar and amphetamines, ranting about anarchy and boredom over a simplistic rock n' roll backbeat. Inevitably, it wasn't long before Mick was off the sidelines and back in the musical fray. Farren got a call from Logo Records who had just acquired the Transatlantic catalog and were re-releasing the Deviants' third album. Mick suggested they also release a new solo album, and to his surprise, after some initial hesitation, they agreed. Andy Colquhoun, the Warsaw Pakt's lead guitarist, soon became his primary musical foil -- in fact, some of the songs on this album were originally intended for the Warsaw Pakt. Also, Farren put a band together, including guest musicians: Wilko Johnson of Dr Feelgood, Chrissie Hynde who was still in the process of forming the Pretenders, Sonja Kristina, the lead singer of Curved Air, and Will Stallibrass who'd played with Graham Parker, Lightnin' Slim and Chilli Willi & the Red Hot Peppers, to name a few. Due to the limited budget, they ended up spending most of their time working on a half-dozen of their favorite tracks, while the rest were "banged down as little more than jamming, art-school R&B, with only a thin coat of metalflake." Unavailable on vinyl for quite some time, Munster Records present the reissue of Vampires Stole My Lunch Money, regarded as one of Mick Farren's finest albums. In Trouser Press, Ira A. Robbins called it "Farren's solo masterwork... a harrowingly honest collection of songs about drinking, dissolution, depression and desperation." Includes liner notes by Mike Stax (Ugly Things Magazine).
M3H 007LP
PRICE: $25.50
CAT #: M3H 007LP
SPAZA Uprize! LP
2021 limited restock. In South Africa, June 16, 1976 is unanimously recognized as the definitive turning point in the tenor and intensity of the fight against apartheid. It comes as the internal capacity of the major liberation movements such as the African National Congress and the Pan Africanist Congress is nearly depleted; with many of its leaders in jail or in exile. Black Consciousness (BC) arises from these ashes and the apartheid regime scrambles to contain it in the form of assassinations, banning orders and trials. High school youths in Soweto, having already imbibed BC from their teachers (a group of newly-recruited university radicals), begin planning protests that would attain an incredible kinetic thrust. These demonstrations were supposedly to rally against the use of Afrikaans as a medium of instruction, but as student leader Tsietsi Mashinini says in the documentary film UPRIZE!, the situation in South Africa had been explosive for a long time and any issue could have delivered the shift in momentum that June 16th would symbolize. This new SPAZA release is the original motion picture soundtrack of the film UPRIZE!, but it serves a parallel function. Recorded in Yeoville, Johannesburg, during a three-day improvised scoring workshop in 2016, the recording is almost the underside of the film, which strikes a defiant pose both in the selection of speakers and in the tone of much of the archival footage. The June 16th protests stretched over several weeks in a countrywide blaze that turned out to be a sustained show of solidarity among students and an unbridled display of brutality by the state. The recording process mirrors that protraction, working out a new language with which to commemorate the death, darkness and defiance of those days.
MVD 5368LP
PRICE: $19.00
CAT #: MVD 5368LP
RESIDENTS, THE The Third Reich 'n' Roll LP
2021 repress. LP version. "The Residents' third album, originally released in 1976. People have speculated whether the Residents were hinting that rock 'n' roll has brain-washed the youth of the world. When confronted with this possibility, they replied, 'Well, it may be true or it may not, but we just wanted to kick out the jams and get it on.' The Third Reich 'n' Roll consists of two suites, Swastikas on Parade and Hitler was a Vegetarian. Both are semi-phonetic interpretations of top forty hits from the sixties. 'Our roots,' say the Residents, a bright orange carrot clutched lovingly in their hands."
PRICE: $15.00
CAT #: MVD 5910DVD
ARCHER, MARK Don't Go Gentle: A Film About IDLES DVD
"Don't Go Gentle is a film about finding strength in vulnerability. It journeys through determination, friendship and adversity of IDLES' as they fight for a place in a divided socio-political environment, unexpectedly inspiring and unifying an international community along the way. In a time when the ground is shifting beneath our feet, where open communication and truthful reflection are more vital than ever, we journey with lead singer Joe Talbot and the band as they tear across stages, knock down stereotypes and empower fans to face down uncomfortable realities and talk about mental health."
PRICE: $15.50
Aufgang is back with its third album, Broad Ways. With this third album, the Franco-Lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent history at the crossroads between European and Middle Eastern cultures. What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano and drums, and releases on Infiné and BlueNote/Decca. Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators. Broad Ways could be translated as "in many ways" in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other's own paradigms... In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world's current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go? According to Pitchfork, Aufgang "blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory." Rami Khalifé, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel Khalifé is a major composer and musician in the Arab world. The drummer and producer Aymeric Westrich has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix, and more recently Lomepal. Taking their inspiration from multiple artistic movements and currents, from the disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It's a unique experience born from the sublime diversity of these two masterful approaches.
PRICE: $37.50
AUFGANG Broad Ways 2LP
Double LP version. Aufgang is back with its third album, Broad Ways. With this third album, the Franco-Lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent history at the crossroads between European and Middle Eastern cultures. What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano and drums, and releases on Infiné and BlueNote/Decca. Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators. Broad Ways could be translated as "in many ways" in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other's own paradigms... In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world's current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go? According to Pitchfork, Aufgang "blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory." Rami Khalifé, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel Khalifé is a major composer and musician in the Arab world. The drummer and producer Aymeric Westrich has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix, and more recently Lomepal. Taking their inspiration from multiple artistic movements and currents, from the disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It's a unique experience born from the sublime diversity of these two masterful approaches.
PRICE: $25.50
CAT #: OSR 062LP
2021 restock. Out-Sider present a reissue of Shadrack Chameleon's self-titled album, originally released in 1973. Reissue with newly remastered sound of this teen basement psych-rock private pressing from the Midwest. Great distorted guitars, organ, melancholic vocals, raw homemade vibe, inventive songs, and some cool Neil Young/Crazy Horse influences. File next to Rayne. Includes an insert with liner notes.
BEC 5676819
PRICE: $29.00
CAT #: BEC 5676819
CONNAN MOCKASIN Forever Dolphin Love (2021 Reissue Splatter Vinyl) LP
2022 repress. Celebrating 10th anniversary of Connan Mockasin's both debut album Forever Dolphin Love and career, Phantasy Sound release new editions of longtime out-of-stock Forever Dolphin Love and second album Caramel. Exclusive splatter 2021 edition. Connan Mockasin has the kind of deliciously off-kilter and gloriously idiosyncratic worldview that rapidly proves addictive. Welcome, folks, to the delightful, slanted and enchanted world of Connan Mockasin. Like David Lynch's willfully surrealist take on American suburbia, or Richard Prince's paintings investigating modern cultural tropes, the New Zealand-born, current London resident Mockasin makes beautiful music which subverts as it compels, challenges as it mesmerizes, startles as it seduces, even drawing fans as diverse as Johnny Marr and Radiohead to Ed Banger chief and ex-Daft Punk manager Pedro Winter into its wide-eyed, childlike exploration into the final frontiers of pop music. It is all too rare, in this current climate of manufactured pop acts, grey, over-produced "alternative" guitar music and press-fueled mania for the next-big-thing, to hear something truly striking and original, but a strong case can most certainly be made for Connan to be a true pop auteur, taking his rightful place in a proud lineage which includes past mavericks such as Joe Meek and Brian Wilson, right through to cult figures like Ariel Pink, Sufjan Stevens and John Maus. Written from start to finish one hot summer, while camped outside his parent's church-like house in a tent, Forever Dolphin Love is an LP which brims with the beauty and solitude of summer evenings, a miasma of psychedelic tangents, jazz interludes and echoing guitars which hum with a distant, haunting resonance. For apart from being one of the most singular musicians we currently have, he is also a brilliant and unusual painter, a gift which will be glimpsed for the first time with this album, which features a collection of wonderfully surreal paintings of dolphins, all bold and beautiful interpretations of the mammal, but evolved into human forms, smiling in gaggles, sometimes wearing clothes, sometimes swathed in pools of lush colors. Connan's talents also include recording, producing and mixing the entire record. It was this brilliantly ingenious approach to invention, and his masterfully unique charm that caught the attention of Erol Alkan, who signed Connan to his label Phantasy and released his first output Please Turn Me Into The Snat.
PRICE: $11.00
CAT #: PHS 017CD
SELDA Vurulduk Ey Halkim Unutma Bizi CD
2021 restock. There were female Turkish folk singers before Selda Ba?can, but none whose hot-blooded voice carried such righteously angry words and none who also accompanied themselves on guitar. She began her career singing at her brothers' Beethoven nightclub in Ankara while she went to school for physics during the day. Her first album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this second one in 1976. While the direction is folky overall, there's fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title-track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow. Find out why this brawny mama couldn't be stopped by a military government that put her on trial nine times, and could call herself the bitter voice of the Turkish people. Remastered sound, insert/booklet with liner notes.
PF 012LP
PRICE: $29.00
CAT #: PF 012LP
WIRE Chairs Missing LP
2021 repress; LP version. "1978's Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire's favorite '70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from its antecedents. Chairs Missing was at once more stark and more lush than its predecessor and has exerted its own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic."
PRICE: $25.00
2022 restock. The sixth Gollaberration features a rather odd encounter, indeed. It all happened when matchless vocalist Ghédalia Tazartès challenged GOL's Dada-style quartet. Ghédalia threw in the game his pan-African-Asian singing techniques, blending gypsy, Jewish, and trans-continental flavor. GOL exceeded on electric mandolin, Jew's harps, percussions, janotron, flutes, electric guitar, bass guitar, electronic garage, and voice. Together with Ghédalia, they developed into what became a "bal musette" for the mentally-disabled. Reaching at some points the side of rock that doesn't roll, this sonic attack jumps from topic to topic as a ritualistic anthology of unknown "ritournelles." Such a decadence was hardly contained in the neutral environment of the Swiss Cultural Center in Paris where the recording took place on Feb 22nd and 23rd, 2011. Tired liver resonances accurately rendered by the acid-yellow cover created by Dennis Tyfus of Ultra Eczema. A mountain-peak journey below the very heart of nowhere-Europe to be consumed gently, without skis on. One-time pressing, edition limited to 400 copies.
PRICE: $22.00
CAT #: RRS 121LP
AGENT ORANGE Living In Darkness LP
Repress is delayed... Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
PRICE: $35.50
FAUST 71 Minutes 2LP
2021 repress. With Magma, Faust was one of the most important of all the European groups of the '70s. Compiled from "lost" and unreleased material, originally released as Munich & Elsewhere on the tenth anniversary of their disbandment (including prophetic pre-dub mixing) as well as most of the unreleased Faust Party 3 LP. Intense, eccentric, hypnotic, a true timeless classic. 71 Minutes marked the second in ReR Vinyl's series of Faust reissues. 180 gram vinyl.
PRICE: $25.00
2021 repress. ReR Vinyl present a reissue of Henry Cow's Unrest, originally released in 1974. Dating from 1974, and following on from the re-release of Leg End, this is the second in the label's series of vinyl reissues of the original Virgin albums. Geoff Leigh had left the group and Lindsay Cooper joined on bassoon, oboe, flute, and soprano sax. The mix was more "live" than Leg End, with the drums much more up front. The first half is highly composed material, with some of the Cow's best loved tunes, like "Half Asleep Half Awake" and "Bittern Storm Over Ulm". For the second half the material was all written in the studio, using loops, varispeed tapes and electronics, and superimposing live improvisation and composed passages.
PRICE: $25.00
HENRY COW Western Culture LP
2021 repress. ReR Vinyl present a reissue of Henry Cow's Western Culture, originally released in 1978. The last Henry Cow record made after the group had officially disbanded. "I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc." --Chris Cutler Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.
ROC 3446LP
PRICE: $24.00
CAT #: ROC 3446LP
TOSH, PETER Live At My Father's Place 1978 LP
"Amazing live 1978 set recorded at My Fathers Place (owned by Michael 'Eppy' Epstein in Roslyn, Long Island) and simulcast by radio station WLIR. Tosh, one of the core original members of the Wailers, was the first and only artist to be signed to the Rolling Stones label, other than the Stones themselves. Mikey Chung's work on guitar was truly exceptional that night as was Tosh's performance and you can sense the intimacy of playing in a small club in every note."
PRICE: $38.00
CAT #: SEC 244LP
THUNDERS, JOHNNY Live In Los Angeles 1987 2LP
"Double LP of two live shows including insert with sleeve notes This release commemorates the 30th anniversary of Johnny's death on the 23rd April 1991. Never released on vinyl before. Band line-up at The Roxy Theatre, Los Angeles, USA, 4th January 1987: Johnny Thunders - vocals & guitar; Arthur Kane - bass; Jerry Nolan - drums; Barry Jones - guitar. Band Line-up at Club Citta, Osaka, Japan, 3rd April 1991: Johnny Thunders - vocals & guitar; Stevie Klasson - guitar; Jamie Heath - sax; Alison Gordy - backing vocals; Chris Musto - drums; Stuart Kennedy - bass."
PRICE: $24.00
VA Italia New Wave: Minimal Synth, No Wave, & Post Punk Sounds From The '80s Italian Underground LP
2021 repress. What exactly happened in the Italian underground/post punk scene of the '80s, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more "national" approach to new music developments. The damage began in 1977 when a series of urban/suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation. Features Neon, ?????? (Pankow), Le Masque, N.O.I.A., State Of Art, Jeunesse D'ivoire, Monuments, Rats, Fockewulf 190, Luc Orient, Illogico, 2+2=5, and La Maison.
MVD 6652LP
PRICE: $36.00
CAT #: MVD 6652LP
"Special colors for this two-disc set! The evil one orange & bloody hammer red colored vinyl. Upon completion of the Stu Cook produced Roky Erickson & The Aliens LP in summer of 1979, Roky decided to return home to Austin from San Francisco. He needed a band and The Explosives came highly recommended to Roky's manager, Craig Luckin. Introductions were made and rehearsals began. Roky & The Explosives immediately hit it off, musically and personally. They played together in Texas and California from 1979-1981 logging in around 50 shows. 13th Floor Elevators drummer John Ike Walton remarked to Explosives drummer Freddie Steady Krc 'You guys played more shows with Roky than the Elevators did!' The guys got in the van and barnstormed all over the Lone Star State. Bootleg recordings began to emerge that were sub-quality live performance recordings that everyone was making money off except Roky and The Explosives. Craig and Freddie agreed Freddie would review all the recordings they could find from 1979-81. Almost all were in Craig's possession. Upon final review, Freddie would select the best performance of each song they were playing live from that time period. Some, like 'Heroin' and 'I've Just Seen a Face' were called on the spot by Roky at a show, performed once and never played again. After the music was selected, Craig and Freddie went through their personal collection of photos, poster images and added a complete show itinerary from 1979-81. Halloween is a loving collection of performances documenting a time of Roky's reemergence into the rock music world. It was something most thought they would never see after his final days with 13th Floor Elevators, following drug busts and his plunge into mental illness eventually ending in his stay at Rusk State Mental Hospital. This record is a testimony of Roky's personal strength and will to return to performing and songwriting. Long live his music!"
PRICE: $14.00
KOVACS, KORNEL The Bells (Album Sampler) 12"
2021 repress. This is a limited edition vinyl only sampler of Kornél Kovács's 2016 album The Bells (BARN 045CD/LP). Extended takes on album cuts "Gex" and "Josey's Tune" as well as a remix from the one and only Samo DJ, all exclusive to this record.
PRICE: $22.50
Survival Research present a reissue of Terry Gibbs & Alice Coltrane's El Nutto, originally released in 1963. Before joining vibraphonist Terry Gibbs' quartet in 1962, Detroit-born pianist Alice McLeod played intermissions at the Paris Blue Note and appeared on French TV with saxophonist Lucky Thompson, reaching Gibbs' attention in a duo with vibraphonist Terry Pollard; in the quartet, she became the perfect foil for Gibbs, her understated piano making room for his intense improvisation, stepping up with her own expression when needed. El Nutto, their third LP, captures Alice at her best in this setting, as heard on the reveries of "El Flippo" and the title track, this solid set of Gibbs originals showing her virtuosity, composure, and curiousness, which would soon reach more cosmic highs, once she became Alice Coltrane.
PRICE: $25.00
LA SONORA MAG El Negro Bembon LP
First time reissue. This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name. Fascinated by the music of the Cuban orchestras broadcast on the radio and the colorful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born, El Negro Bembón con la Sonora MAG includes, with the only exception of the instrumental track "Té Para Dos", mostly vocal songs -- guarachas and boleros -- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on "Pepito" the biggest hit of the album. This album is currently almost impossible to find in its original edition, so Vampisoul present the first ever reissue of El Negro Bembón con la Sonora MAG in its original artwork. 180 gram vinyl.
PRICE: $12.50
CAT #: VAMPI 45079EP
PARRISH/PORGY AND THE MONARCHS, DEAN Bricks, Broken Bottles And Sticks/My Heart Cries For You 7"
Some will still remember Italian American singer Dean Parrish after his brief appearance in an episode of The Sopranos but for most soul music true aficionados, Parrish gained a legend status when his "I'm On My Way" was the last record played at the last Northern Soul all-nighter at the Wigan Casino. His "Bricks, Broken Bottles and Sticks" was his first soul side though and it was released on Musicor in 1965 achieving some success and also becoming a classic spin on the UK soul scene years later. Eternally in demand, this party record now exchanges hands for a few hundred USD, so we thought it would be a good idea to make it widely available again. "My Heart Cries For You" by Porgy and The Monarchs became a much cherished dancefloor anthem in the UK and has all the defining ingredients of most northern soul favorites: Motown sound-alike arrangements, epic vocals that are almost inviting to sing along and lyrics spiced with a bit of drama. In short, this record is a must-have northern soul double sider and there's nothing like it to get the party started.
PRICE: $12.50
CAT #: VAMPI 45085EP
"Dedos" became a true classic from the right moment of its publication, in 1971, as part of Totem's first album, the Uruguayan band where Rubén Rada and Eduardo Useta, authors of the song, would be part of. It was later popularized all over the world thanks to its inclusion in Airto Moreira's renown album Fingers. Vampisoul present here two monumental and mega rare versions with loads of head-nodding funky beats, drum breaks, jazzy arrangements... Dancefloor action guaranteed! Side A is taken from Chilean band Fusión's mega rare only LP (1975), an irresistible funk-jazz that screams to be used by a hip-hop producer, while side B features Argentine Carlos Franzetti, of the "Cocoa Funk" fame, creating a jazz-funk delight packed with delicate Rhodes solos, fuzzy guitars and drum breaks that were released only in Argentina at the time. A preview of what he would shortly after record on his classic album Graffiti (1977).
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