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viewing 1 To 19 of 19 items
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LP
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AALP 046LP
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2025 restock; tracks by Scientist, Barrington Levy, Johnny Osbourne, Linval Thompson, Wayne Wade, Wade Brammer, Barry Brown, Sammy Dread, and Wailing Souls. Produced by Brad Osborne.
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LP
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CT 1027LP
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2025 restock. Reissue, originally released in 1984. Classic Rastafari/roots from Rasta militant Linval Thompson. On purple vinyl.
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2LP
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BEWITH 164LP
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First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork. Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic. By the mid-1970s, Eastwood's musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status. Original copies of the 1971 vinyl release of Seeds exchange hands for high sums. This expanded 2LP contains an extra record, collecting nine rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours). With the long overdue deluxe reissue of this prized artefact, Be With hope to finally shine a light on the unheralded genius of Alan James Eastwood. Alan James 'Bugsy' Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release. Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and -- by all accounts -- it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins. Also featuring backing vocals from Marilyn Powell and jazz singer Josephine Stahl. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery. RIYL Nick Drake, Rodriguez, Richie Havens.
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LP
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BEWITH 181LP
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Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favorite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon. From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-'80s boogie vibes. There's heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors' versatility and happy knack for blending genres whilst crafting unforgettable melodies. Lush string accents and horn stabs weave through funky basslines, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors' willingness to experiment with global sounds while keeping things soulful and danceable. Bringing a real quiet storm swagger, "Sing a Love Song" slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial "Love's In Your Corner" is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.
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LP
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CT 3995LP
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2025 restock of Macka Dub's The Sound of Macka Dub Vol. 1. Featuring Glenn Adams (piano/organ), Mr. Wire (piano/organ), Rick Trater (guitar), Bobby Chung (guitar), Carlton Barrett (drums), Tad Dawkins (drums), Sparrow Martin (drums), Maurice (bass), and Family Man Barrett (bass).
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LP
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LPCT 185LP
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2025 restock. Rhythms played by The Aggrovators, including Carlton Barret, Sly Dunbar, Carlton 'Santa' Davis, Robbie Shakespeare, Aston Barrett and Tony Chin.
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LP
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CNTR 011LP
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"London's The Lo Yo Yo was conceptualized by John 'Alig' Pearce in 1984 after his primary group, the deservedly legendary Family Fodder, went dormant. Soon enough a few others were enlisted to round out the quartet, including Mick Hobbs of The Work and Officer! fame, alongside friends Joey Stack and Carrie Brooks. The Lo Yo Yo took elements from their other groups and, in the tradition of somewhat like-minded acts like The Raincoats, Naffi and Amos & Sara, added a strong dub/reggae element. Shortly before their lone studio LP, which was recorded by Charles Bullen of This Heat fame, the band self-recorded a demo tape at home on an eight-track reel to reel, reissued here on vinyl for the first time by Concentric Circles. It is a wonder of DIY production with a rich and layered sound that belies their humble means. Although about half of the songs on the demo would wind up being re-recorded for the studio LP, the demo versions are radically different from what is heard on their proper album. There is a feeling of intensity to the demo that was missing from the LP, which had a noticeably cleaner fidelity and more subdued playing. Here the band plays with true force and determination, with Stack's socialist leaning lyrics taking on an extra sharp bite. Unafraid to show off their skills at writing irresistibly catchy pop songs, things are carried on by Alig's big bass sound and a barrage of polyrhythmic dueling drums and percussion. The Lo Yo Yo tapped into a truly special sound, perfectly exemplified on these recordings. Just when you think you've completed the puzzle of arty, dubby '80s post-punk, a stray piece is found on the proverbial floor, just waiting to be picked up. If you aren't dancing around the room by the end of this album, you need to visit the foot doctor. Concentric Circles is delighted to bring this barely heard, infectious album from The Lo Yo Yo to modern audiences for the first time."
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CD
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DLC 006CD
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In Last Blues, De la Catessen presents a mysterious folio of sonic snapshots, as much recaptured as composed, by Jon Dale's project, Moth, in Adelaide in the late '90s and early '00s. Listeners are invited to tune in to these liminal frequencies, to observe and inhabit them, and relish the glowing sensual overdrive of their manifestation. From the ready means and at-handedness of guitar, amp, and tape, a congruous but diverse selection of unnamed tracks emerge -- musical moments borrowed from oblivion with the as yet unfulfilled good intention of returning them. Their sounds evoke abstract polaroids of winter seascapes flecked with spare, brittle detail, or the scaly-winged flutterings of elusive nocturnal insects. Here, a homely hum like a vacuum cleaner on sunny childhood's weekend morning; there, suburban power lines buzzing gently in the mist. The last track of Last Blues is like a reverent vision of lava-flow for harmonium, the slow-motion eruption of a single chord, which echoes in the mind for hours. Last Blues comes from somewhere that doesn't exist anymore, and shows listeners something that may never have happened there.
"Jon Dale collapses old dichotomies (such as organic vs. inorganic and heavy vs. light) into a pure horizon of tone with only guitar and a little harmonium. Sonically, it makes me think of a middle point between if Organum snuck into the studio to remix Glenn Branca, and what I imagine the electric synapses firing off in Raymond Roussel's brain would've sounded like if committed to wax cylinder. Which is to say, it sounds rad." --Ben Chasny, Six Organs Of Admittance
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CD
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DLC 016CD
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"It's music where nothing happened. It's the kind of music somebody might write in Adelaide, Australia. Nothing happened." --Morton Feldman
Theatre is De la Catessen's second venture into the archive of Jon Dale. Originally released in a tiny CD-r edition of 50 copies on Tristes Tropiques in 2019, Theatre now reappears in an edition of 150 glass-mastered CDs. Theatre sees Jon Dale eschewing the hearthwarm drones of his previous album on de la Catessen, Last Blues, and dwelling upon an elusive aural concept: a limbo. Theatre hums with an occupied silence, heightened by scattered expectant sounds: a door opens or closes; muffled voices murmur nearby. As almost nothing continues to happen, the listener occupying the silence seems to hover at the edge of (non)existence. It's tempting to classify Theatre as a purely conceptual listening experience, or to compare it to listening to someone who is in the quiet act of listening to something else, just out of earshot. But at its heart, Theatre is a simple and elegant manifestation of the dichotomy that dynamizes minimalism: how little of something -- versus how much of nothing -- must be.
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CD
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DLC 018CD
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"Light is the vehicle of the community -- of the universe. All that is visible clings to the invisible. That which can be heard to that which cannot -- that which can be felt to that which cannot. Perhaps the thinkable to the unthinkable. Like ourselves, the stars float between illumination and darkening in turn -- but even in the state of darkness we are granted, as they are, a consoling, hopeful glimmer of companion stars that are luminous and illuminated." --Novalis, Traktat vom Licht
Amir Farid returns to De la Catessen Records with the premiere recordings of Traktat vom Licht/Variations on a Minuet by Mozart -- the second volume in an ongoing survey of endearingly quixotic piano music by Adelaidean composer Raymond Chapman Smith. In this new collection, following on from 2023's Nachschriften/Ländler (DLC 013CD), pianist Amir Farid sheds further light on a fruitful period of Chapman Smith's work, in which he utters in a uniquely mellifluous voice a beautiful old language recognized by so many but spoken by so few. Chapman Smith's musical journey, through Sydney's experimental scene of the early '70s, to his study with Australian modernist doyen Richard Meale, and his leadership of the notorious ACME New Music through the '90s, has led him to -- of all places -- the green pastures of nineteenth century German romanticism, where he invites listeners to join him in thoughtful spiritual contentedness through the current phase of his craft. The title of Chapman Smith's 26-part Traktat vom Licht is borrowed from a cycle of 26 poetic-scientific-metaphysical fragments by Novalis, a crucial voice in the formulation of the first phase of German Romanticism. Written in 2006 as an acknowledgement of the 250th anniversary of Mozart's birth, Variations on a Minuet by Mozart takes the theme from the first piece in Mozart's catalogue -- his K1, written when he was five years old -- and turns it through a set of twelve variations.
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CD
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DLC 022CD
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Benaud Trio celebrate their 20th anniversary year with the release of Oblivion on De la Catessen Records. Oblivion is their sixth studio album since bursting into the world in 2005 with the irresistible fusion of playfulness and professionalism that has characterized their career. Oblivion boasts all the pizazz that made Benaud Trio's previous albums like Mixtape (ABC Classic) and Bohemian Rhapsody (Melba Recordings) so popular, framed by a thoughtful selection of pieces that showcases them at their electrifying best. Chick Corea's modern classic "Spain" leaps out of the timeless classical melody of Rodrigo's "En Aranjeuz con tu Amor," in a fiery arrangement for piano trio by Nicholas Buc. "Closer" by Mark Isaacs was originally created for jazz quintet, and appears here in a warm and lyrical adaptation that sees Benaud Trio carrying its smooth sensibilities into the classical realm. Their readings of Piazolla's "Cuatro Estaciones Porteñas" and "Oblivion" are a smoldering account of his stylistic crucible of tango, jazz, and classical music. Benaud Trio have long been known for their alchemy onstage, fusing disparate qualities together: endurance and youthfulness; sincerity and lightness; playfulness and insight. In Oblivion, Benaud Trio are in their element, exploring fusion of the musical kind, through pieces by composers who share some of the same rare qualities as them.
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2LP
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IOR 771583LP
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"Marshall Allen 100 years jubilee edition. Limited to 1500 copies. Orange and magenta transparent vinyl with bonus track. As if from the farthest reaches of space, a tremendous positive energy has come to us via Light on a Satellite: It is Sun Ra's music, played by his Arkestra, more than 30 years after the legendary band founder's earthly demise -- or, in other words, after his reported ascent to Saturn. Under the direction of Marshall Allen, the NEA Jazz Master (2025) and multi-instrumentalist, who celebrated his 100th birthday on May 25, 2024, Sun Ra's big band has arrived safely in the 21st century, after traveling Sun Ra's space ways for almost 70 years. This album pays tribute to the lifetime achievement of Marshall Allen, who has led the Sun Ra Arkestra since 1993. Recorded in Studio A at New York's Power Station on June 16, 2024, the album celebrates the mastery of the exceptional musician Marshall Allen as a multi-instrumentalist, arranger, bandleader, teacher, and guardian of Sun Ra's unique legacy. Perhaps this day will one day become part of the collective jazz memory, for what we are experiencing here is a simultaneity of the non-simultaneous, projected into the future, a time machine traveling through 100 years of jazz, out of the free approach of the Sun Ra Arkestra and in its signature groove right into the heart of swing -- with a century-old jazz master as captain. That in itself is a superlative. We are even more inspired by the power with which the virtuoso Marshall Allen continues his life's vocation. As a tribute to the life's work of Marshall Allen, IN+OUT Records invited the Sun Ra Arkestra into the studio with 24 musicians in the largest possible line-up, with the goal of documenting the music in its polyphony and expansion in space and time in the best possible way. It is not only the variety of instruments used, but also the fact that musicians from four generations come together with a repertoire that spans 100 years of jazz history."
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CD
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INT 31752CD
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"Heavy Cairo Traffic is the multilayered audio documentation of a collaboration of highly acclaimed European jazz improvisers with Egyptian folk-musicians. Hans Koch (clarinet, saxophone), Martin Schütz (cello) and Fredy Studer (drums), three of the internationally most important Swiss musicians of improvised music, have given some public concerts with the El Nil Troop, a kind of pool of outstanding representatives of traditional Egyptian music. 1995 the three Swiss musicians traveled again to Cairo for a recording with the El Nil Troop. The Egyptian-Swiss encounter was realized with mutual artistic respect. The result isn't another questionable and cheap fusion in the trendy 'World Music' category. Both sides could articulate their own peculiarity and leave themselves enough freedom. The recording in a Cairo studio was followed by a second phase, in which Koch-Schütz-Studer creatively tackled the material from the Cairo recording sessions. New elements were added and subtly mixed with the earlier ones, always bearing in mind that the Egyptian music should not be repressed or misused. The end result is a versatile, exciting music, an enigmatic music full of surprises. The Egyptian music, vocal or instrumental, rhythmically free or bound is in phases definitely at the forefront. The trio Koch-Schütz-Studer never stops to amaze with a wealth of musical ideas. Heavy Cairo Traffic: a fascinating reverence to the Egyptian folk music. And at the same time a reflection by the trio Koch-Schütz-Studer of musical and non-musical impressions of Cairo."
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LP
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JPR 123LP
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"Jackpot Records presents a re-issue of this revered reggae album, 1976s War Ina Babylon by Max Romeo & The Upsetters. Originally released on Island Records, the album is considered one of the greatest Reggae albums of all time and was a massive influence on the UK punk movement that was just starting to bubble to the surface. The record's incredible power belies an unlikely partnership between one of the world's greatest producers (and experimenters in sound), Lee "Scratch" Perry, and vocalist Max Romeo (who by 1976 had performed on over 120 7" singles) Romeo had been transforming from his 'rude' records to writing lyrics with social themes as the era in Jamaica was rife with poverty, gangs, and politically motivated killings. As he was looking to produce protest music at its most powerful alongside music that would never leave the listener's souls, Lee Perry and Max Romeo started collaborating together. Recorded in two weeks in 1976, utilizing Lee Perry's kitchen sink production, War Ina Babylon is considered part of Lee Perry's 'holy trinity' Black Ark produced LPs released by Island Records (Junior Murvin's Police and Thieves and The Heptones' Party Time being the other classics LPs in the trinity), this LP continues to find new fans with every passing generation. Sourced from the original master tapes. Mastered by Kevin Gray."
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2LP
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KRANK 009LP
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2025 repress. "This is the first vinyl issue of Temple IV, arguably Roy Montgomery's finest solo album, originally released in 1996 on CD. The original album has been enhanced with two newer tracks that constitute side four of the album. Montgomery states: 'The two new tracks recorded in 2018 were about asking the question 'Can you step into the same river twice?' Heraclitus said you cannot. I say you can.' From the original press release: Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with Kranky's release of the soundtrack for an imaginary film That That Is... Is(Not) by Montgomery's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and gyttja labels, and further singles are scheduled with Ajax, Siltbreeze, and others. Temple IV is the first solo recording by Roy Montgomery on Kranky. The album was recorded by Montgomery on a four-track tape deck and then thickened up with monophonic moog. The tracks on the album are thick with interwoven guitar lines and moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Montgomery visited there."
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CD
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MET 1385CD
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"So Lonely in Heaven is The Legendary Pink Dots' second album since the World stopped for a Global Pandemic. With members scattered across three countries and two continents, quite a few air miles were consumed in its creation. Ideas were spun across cyberspace for months, but the magic happened collectively in small spaces with the tape running. The Pink Dots are: Erik Drost -- acoustic and electric guitars, bass guitar; Randall Frazier -- synthesizers, devices; Edward Ka-Spel -- voice, devices; Joep Hendrikx -- live electronics, devices."
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LP
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RROO 364LP
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2025 restock. Radiation Roots present a reissue of King Tubby Meets Scientist's compilation In A Revival Dub, originally released in 2009. Incredible collection of rare King Tubby vs. Scientist tracks. These were some of the last "classical" dub works created before dancehall ultimately mutated into a technologically-driven sound that largely did away with organic instruments and although these works already point in that direction, they still sound entirely fresh today because of the superb musicianship of the Roots Radics and the guiding hand of Jah Thomas in the producer's chair, as well as Scientist and his cohorts, working their dub magic at King Tubby's studio. Extensive liner notes by David Katz.
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2LP
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SC 057X-LP
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2025 restock; double LP version. Color vinyl. "The complete uncollected Noise New York studio recordings of Galaxie 500. A twenty-four-track chronological journey through rarities and outtakes including never-before-heard songs, from the start of their incendiary career to their final studio session. Uncollected Noise New York '88-'90 marks Galaxie 500's first release of new archival material in nearly thirty years and their most comprehensive collection of unreleased and rare material ever. Produced and engineered by Kramer at Noise New York."
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LP
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SV 137LP
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"Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to Superior Viaduct's knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver 'Rectomo' Powers, and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound. When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed -- nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world. Opener 'One Way Spit' could easily be mistaken for a lost KBD single -- from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On 'Tricia,' a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so. Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list."
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