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7LP BOX
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TR 458LP
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Lloyd Cole In New York, released on CD in 2017, will now be available as an exclusive limited edition seven-LP box set via Tapete Records. It features all four solo albums Lloyd Cole released between 1988 and 1996: Lloyd Cole (1990), Don't Get Weird On Me Babe (1991), Bad Vibes (1993), and Love Story (1995), plus Smile If You Want To, the "unreleased" fifth album (including one previously unreleased track), and Demos '89-'94, 20 recordings from home and studio made public for this release. The box will also feature a 24-page LP booklet about this most erudite of artists by John O'Connell with new interviews with Lloyd and featured musicians, producers, and collaborators and a wonderful selection of photos from the period plus a poster and postcards that feature Lloyd shot in New York by feted photographer Kevin Cummins.
Lloyd Cole first stepped into the spotlight when Lloyd Cole & The Commotions released their effortlessly hip debut album Rattlesnakes in 1984. He went on to make two further albums of cerebral pop with the Commotions. In '88, Lloyd decamped to New York a solo artist and made a home in the city that had always loomed large in his imagination and he fully embraced its bars, bohemia and beautiful losers. Lloyd Cole In New York charts this fascinating phase in Lloyd's development, which saw him experimenting with his sound and collaborating with some top-notch US musicians including guitarist Robert Quine (Richard Hell & the Voidoids, Lou Reed, Brian Eno), drummer Fred Maher (Material, Scritti Politti, Lou Reed), and Matthew "Girlfriend" Sweet. On his first solo album, Lloyd Cole, Lloyd embraced an edgier writing style with a nod to Dylan, Lou Reed and, not abandoning his UK roots completely, Marc Bolan. Don't Get Weird On Me Babe was Lloyd's concept album -- one side orchestral (a la Jimmy Webb), the other rock. Lloyd described it as his "farewell to rock". Bad Vibes, 1993's about turn into bold psych-baroque experimentalism, polarized fans and critics alike. Love Story, a favorite of fans, restored his critical and commercial reputation. Smile If You Want To was supposed to be Cole's fifth solo album. It was completed, but record company politics meant it was never released. The two LPs Demos '89-'94 offer an insight into the development of Lloyd's sound over this time, from early tentative recordings as a solo artist finding his way in his adopted home town, to demos he recorded for Love Story where he embraced a more pastoral folk sound. They also include Lloyd's previously unheard version of "The Ship Song" by Nick Cave.
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LP+CD
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BB 211LP
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LP version. Includes CD. "Late in 2011 Hans-Joachim Roedelius and I agreed to embark upon an album project together... I assembled my first Eurorack modular synth... a basic single voice system with rudimentary sequencing. I had no experience whatsoever working in this way... my subliminal knew it would recognise the music I was reaching for, but my knowledge of electronic engineering was insufficient to proceed with any confidence... I studied and experimented with a new technique or concept. I recorded everything. The system grew. I found ways to create what I would call music using these new methods -- to create points of departure for Roedelius. Three years later, it is clear that my submissions were still very much the work of a student... But is this a bad thing? Are the student's works necessarily inferior to the master's? Learning is often exciting, inspiring. Is knowing ever that much fun? Selected Studies Vol. 1 (BB 124CD/LP) was released early in 2013... A few months later, our record company Bureau B asked me what I planned to do with the unused submissions (both Joachim and I had submitted maybe 400% more than was ultimately used). Might I release some of them as a solo project? But they are not finished, I said... I have been recording songs for long enough, now, to be able to admit freely that some of my demo recordings are indeed superior to the final versions. But this was a different concept being proposed. I had deliberately left space for counterpart, harmony, whatever... could such space, such absence actually benefit the piece?... We agreed to work towards an album of what I have come to call 'slight pieces'. The result is called 1D. Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions... None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit... I made rudimentary edits, the difficult stuff was done by Jonas Foerster in Berlin. The artwork for the album is by Chris Hughes. Chris began sending me examples of his art of his around the same time I began sending him examples of the work which it seems to me it so naturally compliments."
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CD
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BB 211CD
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"Late in 2011 Hans-Joachim Roedelius and I agreed to embark upon an album project together... I assembled my first Eurorack modular synth... a basic single voice system with rudimentary sequencing. I had no experience whatsoever working in this way... my subliminal knew it would recognise the music I was reaching for, but my knowledge of electronic engineering was insufficient to proceed with any confidence... I studied and experimented with a new technique or concept. I recorded everything. The system grew. I found ways to create what I would call music using these new methods -- to create points of departure for Roedelius. Three years later, it is clear that my submissions were still very much the work of a student... But is this a bad thing? Are the student's works necessarily inferior to the master's? Learning is often exciting, inspiring. Is knowing ever that much fun? Selected Studies Vol. 1 (BB 124CD/LP) was released early in 2013... A few months later, our record company Bureau B asked me what I planned to do with the unused submissions (both Joachim and I had submitted maybe 400% more than was ultimately used). Might I release some of them as a solo project? But they are not finished, I said... I have been recording songs for long enough, now, to be able to admit freely that some of my demo recordings are indeed superior to the final versions. But this was a different concept being proposed. I had deliberately left space for counterpart, harmony, whatever... could such space, such absence actually benefit the piece?... We agreed to work towards an album of what I have come to call 'slight pieces'. The result is called 1D. Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions... None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit... I made rudimentary edits, the difficult stuff was done by Jonas Foerster in Berlin. The artwork for the album is by Chris Hughes. Chris began sending me examples of his art of his around the same time I began sending him examples of the work which it seems to me it so naturally compliments."
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CD
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BB 187CD
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About this Kollektion: British songwriter Lloyd Cole has long since been a fan of Hans-Joachim Roedelius and Cluster. For convincing evidence, one need look no further than his 2001 album Plastic Wood, a purely electronic opus which was an unambiguous homage to his musical idols. In 2013, Cole and Roedelius actually joined forces to release their Selected Studies Vol. 1 album (BB 124CD/LP). Cole has now listened through the Hans-Joachim Roedelius solo archives to present his favorite synthesizer or organ pieces in Bureau B's Kollektion series. About Hans-Joachim Roedelius: Hans-Joachim Roedelius, born in Berlin 1934; released his first album 1969 with Kluster (with Dieter Moebius and Conrad Schnitzler). Active ever since as a solo artist and in various collaborations. One of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. Roedelius entered the world of music in 1967 when he and Conrad Schnitzler founded the Berlin performance club Zodiak Free Arts Lab, thereby launching the careers of numerous "Berlin School" musicians (Tangerine Dream, Ash Ra Tempel, Klaus Schulze, etc). Schnitzler and Roedelius later got together with Dieter Moebius to record two seminal albums under the name of Kluster. Schnitzler quit the trio not long afterwards, the other two continuing to release albums as Cluster at irregular intervals until 2009. Hans-Joachim Roedelius has also been active as a solo artist and has collaborated with countless musical partners including Brian Eno, Holger Czukay, Michael Rother, Stefan Schneider and Tim Story, to list just a brief selection. He played on around 170 record productions either as a soloist or with band projects. Some 1,600 musical works bear his name, plus a similar number of texts (poetry, prose etc.) Lloyd Cole on Roedelius: "It was 1977. First came Bowie's Low, then Eno's Before and After Science, which led me to Cluster and Eno, released earlier that year. What a year to be 16 years old! Cluster and Eno led me to Can and Neu!, et al, but none of this so-called Krautrock had the je ne sais quoi that was the essence of Cluster. Sowiesoso pulsed and spat and gurgled with warmth and humor which gave it a resonance beyond this otherwise dry and clever music, which at its worst might seem to smirk downwards towards the listener. Instead, Sowiesoso wore a wry, welcoming smile. It said: Maybe we can spend some time together, maybe we'll be friends, maybe we won't, listen to this, see what you think ... I'm still listening. Cluster led me to Harmonia and then Roedelius' solo works which led me to believe that the soul I was finding in Cluster which seemed so absent from their peers came primarily from him. Maybe I'm wrong, but that's the way I hear it. The melodic sensibility which drew me in is his, for sure. Roedelius' voice is unique, instantly recognizable, and still resonates. Almost 40 years later, here I am curating a Roedelius collection. Which makes me very happy. I hope you enjoy it." --Lloyd Cole, 2014
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LP
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BB 187LP
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LP version. About this Kollektion: British songwriter Lloyd Cole has long since been a fan of Hans-Joachim Roedelius and Cluster. For convincing evidence, one need look no further than his 2001 album Plastic Wood, a purely electronic opus which was an unambiguous homage to his musical idols. In 2013, Cole and Roedelius actually joined forces to release their Selected Studies Vol. 1 album (BB 124CD/LP). Cole has now listened through the Hans-Joachim Roedelius solo archives to present his favorite synthesizer or organ pieces in Bureau B's Kollektion series. About Hans-Joachim Roedelius: Hans-Joachim Roedelius, born in Berlin 1934; released his first album 1969 with Kluster (with Dieter Moebius and Conrad Schnitzler). Active ever since as a solo artist and in various collaborations. One of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. Roedelius entered the world of music in 1967 when he and Conrad Schnitzler founded the Berlin performance club Zodiak Free Arts Lab, thereby launching the careers of numerous "Berlin School" musicians (Tangerine Dream, Ash Ra Tempel, Klaus Schulze, etc). Schnitzler and Roedelius later got together with Dieter Moebius to record two seminal albums under the name of Kluster. Schnitzler quit the trio not long afterwards, the other two continuing to release albums as Cluster at irregular intervals until 2009. Hans-Joachim Roedelius has also been active as a solo artist and has collaborated with countless musical partners including Brian Eno, Holger Czukay, Michael Rother, Stefan Schneider and Tim Story, to list just a brief selection. He played on around 170 record productions either as a soloist or with band projects. Some 1,600 musical works bear his name, plus a similar number of texts (poetry, prose etc.) Lloyd Cole on Roedelius: "It was 1977. First came Bowie's Low, then Eno's Before and After Science, which led me to Cluster and Eno, released earlier that year. What a year to be 16 years old! Cluster and Eno led me to Can and Neu!, et al, but none of this so-called Krautrock had the je ne sais quoi that was the essence of Cluster. Sowiesoso pulsed and spat and gurgled with warmth and humor which gave it a resonance beyond this otherwise dry and clever music, which at its worst might seem to smirk downwards towards the listener. Instead, Sowiesoso wore a wry, welcoming smile. It said: Maybe we can spend some time together, maybe we'll be friends, maybe we won't, listen to this, see what you think ... I'm still listening. Cluster led me to Harmonia and then Roedelius' solo works which led me to believe that the soul I was finding in Cluster which seemed so absent from their peers came primarily from him. Maybe I'm wrong, but that's the way I hear it. The melodic sensibility which drew me in is his, for sure. Roedelius' voice is unique, instantly recognizable, and still resonates. Almost 40 years later, here I am curating a Roedelius collection. Which makes me very happy. I hope you enjoy it." --Lloyd Cole, 2014
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4CD BOX
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TR 138CD
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For singer/songwriter Lloyd Cole, now is the time for Cleaning Out The Ashtrays -- for sorting through dusty boxes of cassettes, DAT tapes and CDs in his Easthampton hideaway, to take stock and try to make sense of all that forgotten music. All those lost songs; half remembered sessions, much-missed friends and fellow-musicians and gifted co-producers. A goldmine of music from 21 years as a solo artist. Here, then, are 59 -- count 'em -- nuggets from the Cole vaults. Four CDs bursting with alternate versions, rare B-sides, cover sessions (Lou Reed, Marc Bolan and Leonard Cohen songs among them), and a few tracks that the record companies -- and on occasion, even Lloyd himself -- just didn't get at the time. The launch of the new Lloydcole.com, along with a healthy appetite for touring his folk singer set around the world, has helped establish a vibrant online community of Cole fans. Countless queries about lost B-sides and rumored remixes sowed the seeds of the Cleaning Out The Ashtrays project which Cole has researched and compiled himself. Now, all of us can share in the riches that lay hidden inside that dusty old box. Includes a 36-page booklet with notes on each CD by the artist himself.
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CD
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TR 186CD
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"About a year ago, after almost a decade in self-imposed exile as a would-be folksinger, I developed an itch I wasn't expecting. It seemed that there were aspects to my old life in rock and roll that I missed. Tour buses and product managers, certainly not. But the interacting with musicians, the camaraderie and the joy of hearing one's music enhanced, and elevated by the aesthetic of others, absolutely. Damn. I never wanted to make records alone, but somehow I ended up spending much of the 2000s in a studio with just a bunch of equipment and a computer, or touring with a suitcase and two guitars. Two things made me realize that I needed to rejoin the fray, at least for a little while -- I had written some songs which demanded a beat, and I was having great fun with my new acoustic trio -- The Small Ensemble. Why not make a rock(ing) record, or whatever it is that 49 year-olds make when they try to do that? I emailed my ideal band -- I was making a record, in a studio, old school with tape. Interested? All said yes. I had a studio band: drums, percussion - Fred Maher (Scritti Politti, Lou Reed, Matthew Sweet, my first two solo records), bass, vocals - Rainy Orteca (Joan As Police Woman, Antony And The Johnsons, Brilliantine), guitars, mandolin, vocals - Mark Schwaber (The Small Ensemble, Spouse, Hospital), guitars, banjo - Matt Cullen (The Small Ensemble, The Sighs, Ware River Club), keyboards - Blair Cowan (The Commotions, Paul Quinn, Alisdair Robertson), pedal steel - Bob Hoffnar (Hem, Crash Test Dummies, my Bad Vibes album), piano, violin, guitar, vocals - Joan Wasser (Joan As Police Woman, Antony And The Johnsons, Dambuilders), vocals - Kendall Meade (Mascott, Grammercy Arms), production and vocals - Dave Derby (Dambuilders, The Negatives, Grammercy Arms, Brilliantine), mixing - Mick Glossop, Dave Bates, my man at Fontana way back when, kindly agreed to A&R the record. I played acoustic guitar, banjo and sang. The final lyric was written and then recorded at Mick Glossop's Magazine Studio in West London on April 22nd, leaving us two days to mix the song and fine-tune the rest. The whole experience was, for me, rewarding, perplexing, fabulously enjoyable and heinously stressful. Singing with a rock and roll band in the studio, I felt exactly as I did in 1987, or 1995 and then I would see my reflection in the glass of the gobo and wonder who this old guy was? I'm happy we got these songs finished, because I'm not sure I'll make another record like this again. Having said that, I'm never going back to that room with the computer..." --Lloyd Cole, June 2010, Massachusetts, USA
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LP
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TR 186LP
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Gatefold 180 gram LP version. Includes free download code. "About a year ago, after almost a decade in self-imposed exile as a would-be folksinger, I developed an itch I wasn't expecting. It seemed that there were aspects to my old life in rock and roll that I missed. Tour buses and product managers, certainly not. But the interacting with musicians, the camaraderie and the joy of hearing one's music enhanced, and elevated by the aesthetic of others, absolutely. Damn. I never wanted to make records alone, but somehow I ended up spending much of the 2000s in a studio with just a bunch of equipment and a computer, or touring with a suitcase and two guitars. Two things made me realize that I needed to rejoin the fray, at least for a little while -- I had written some songs which demanded a beat, and I was having great fun with my new acoustic trio -- The Small Ensemble. Why not make a rock(ing) record, or whatever it is that 49 year-olds make when they try to do that? I emailed my ideal band -- I was making a record, in a studio, old school with tape. Interested? All said yes. I had a studio band: drums, percussion - Fred Maher (Scritti Politti, Lou Reed, Matthew Sweet, my first two solo records), bass, vocals - Rainy Orteca (Joan As Police Woman, Antony And The Johnsons, Brilliantine), guitars, mandolin, vocals - Mark Schwaber (The Small Ensemble, Spouse, Hospital), guitars, banjo - Matt Cullen (The Small Ensemble, The Sighs, Ware River Club), keyboards - Blair Cowan (The Commotions, Paul Quinn, Alisdair Robertson), pedal steel - Bob Hoffnar (Hem, Crash Test Dummies, my Bad Vibes album), piano, violin, guitar, vocals - Joan Wasser (Joan As Police Woman, Antony And The Johnsons, Dambuilders), vocals - Kendall Meade (Mascott, Grammercy Arms), production and vocals - Dave Derby (Dambuilders, The Negatives, Grammercy Arms, Brilliantine), mixing - Mick Glossop, Dave Bates, my man at Fontana way back when, kindly agreed to A&R the record. I played acoustic guitar, banjo and sang. The final lyric was written and then recorded at Mick Glossop's Magazine Studio in West London on April 22nd, leaving us two days to mix the song and fine-tune the rest. The whole experience was, for me, rewarding, perplexing, fabulously enjoyable and heinously stressful. Singing with a rock and roll band in the studio, I felt exactly as I did in 1987, or 1995 and then I would see my reflection in the glass of the gobo and wonder who this old guy was? I'm happy we got these songs finished, because I'm not sure I'll make another record like this again. Having said that, I'm never going back to that room with the computer..." --Lloyd Cole, June 2010, Massachusetts, USA
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7"
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TR 187EP
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Tapete presents a 7" with two new tracks from U.S.-based British singer/songwriter Lloyd Cole in conjunction with his Broken Record album release. The album features contributions from all-star backing musicians such as Joan Wasser, Dave Derby, Matt Cullen and more. This 7" includes a non-album track.
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