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viewing 1 To 8 of 8 items
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EMI 87891CD
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2007 reissue, originally released in 1969 on Liberty. Featuring five bonus tracks, including one previously unreleased track and three BBC Recordings (notably the hilarious "Craig Torso Christmas Show" from 1967). This album contains the band's hit song "I'm The Urban Spaceman," produced by Paul McCartney. Includes a 16-page booklet with detailed notes on each track.
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EMI 87890CD
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2007 reissue of the band's second album, released in 1968 on Liberty with the "Doo-Dah" of the band's original name mysteriously missing. Includes a 16-page booklet with detailed notes on each track. "The Doughnut in Granny's Greenhouse ('the noises of your bodies are a part of this record') smooths out the rough edges with a shortened band name, superior studio mastery, more rock, no covers and a smaller lineup (Stanshall, Innes, Spear, Slater, Smith). Writing together, Viv and Neil come up with the album's best tracks: the man-on-the-street interview insanity of 'We Are Normal' (which finally composes itself into a raucous antecedent of the Who's 'Amazing Journey'), the boulevarding Briton house pride of 'My Pink Half of the Drainpipe' (cultural absurdity at its finest), the sexy Sha Na Na fragment 'Kama Sutra' and the jazzy spoken-word short story 'Rhinocratic Oaths.' The 2007 Doughnut reissue adds five items, working up from a (nearly) straightforward reading of 'Blue Suede Shoes' to a churlish swipe at Cher's already awful 'Bang Bang,' an aptly droll swing through 'Alley Oop' and finally a Teutonic release of 'Mr Apollo' that ends with Viv freestyling in German." -- Trouser Press
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EMI 31067CD
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2001 reissue, originally released in 1986. "Though they're not as well remembered as some of their contemporaries, British cult faves the Edgar Broughton Band played a key role in the late-1960s/early-'70s U.K. rock underground. As this compilation makes clear, they combined the unhinged freakiness of Arthur Brown with early-Pink Floyd space-cadet tendencies and raw, Stooges-like proto-punk for an arresting, idiosyncratic sound. Much of the angular, blues-inflected material here would sound at home on an early Captain Beefheart album, but there are also numerous low-key folk-rock moments providing crucial contrast. The roots of everything from the Birthday Party to the Swell Maps can be found here."
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2x12"
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EMI 748EP
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A1. One Pure Thought; B1. Dominik Eulberg Remix; C1. Supermayer Remix; D1. Hot Chip V.I.P. Mix. "The various remixes have been going down really well and picking up plays from Simian Mobile Disco, Laurent Garnier, Prins Thomas, Hernan Catteneo, Unabombers and Sinden, among others. They helped the track hit the top 5 on the Zzub Chart and top 10 in Cool Cuts."
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EMI 38826CD
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A compendium of the best of Pete Brown's work for Harvest label, spanning his early career in over six albums. All material from 1969/70, including 7" only tracks. Extensive fold out booklet, including new liner notes; good vault work from the slaves over at EMI. "Pete Brown is one of Britain's most original and enduring musicians and lyricists, with a career that spans over forty years and one that still shows no signs of abating. Best known for his role as lyricist in his songwriting partnership with Jack Bruce, beginning with songs for supergroup Cream, and latterly with Jack on his solo work, Pete has also enjoyed success and a reputation as a performer in his own right. Beginning his career as a professional performance poet in 1960...by the mid-sixties he was a major figure on the British poetry scene. Through his association with The Graham Bond Organisation, Pete Brown was asked to contribute lyrics to music by Ginger Baker's newly formed trio, Cream. With Cream's career taking off in a phenomenal way, Brown's thoughts came to performing music in his own right. Eventually forming The Battered Ornaments, Pete Brown and his band signed to EMI and later the underground imprint Harvest Records, where they released records that were a heady mixture of jazz, blues, rock and avant garde experimentation. Brown also eventually formed another highly innovative, jazz-influenced band Piblokto!"
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EMI 73567CD
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2005 remaster of Donovans' 2nd album, originally released by Epic Records in 1967. Part 2 of the UK-only series celebrating Donovan's 40th year in music. "...with Donovan's voice richer and more resonant than ever in this new transfer, and the arrangements by John Cameron and John Paul Jones now fully exposed and heard in all the timbres that were present in the studio; this is a sonic delight as well a spellbinding mix of psychedelia, blues, folk, Eastern music, and pop like nothing else that Columbia or any other major label -- except EMI and Capitol with the Beatles' Sgt. Pepper album -- was releasing in 1967. It's been augmented with ten bonus tracks, three previously released ('Epistle to Dippy,' 'Preachin' Love,' 'There Is a Mountain'), but making their debut with truly killer sound so that you can even hear the action on the strings of the acoustic guitar deep in the mix of 'There Is a Mountain,' and six previously unissued demos, solo acoustic, and some works-in-progress, including early incarnations of evolving songs such as 'Good Time' and another attempt at 'Superlungs' where Donovan gets into some surprising pop and garage rock grooves, respectively.' --All Music Guide.
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EMI 29654CD
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1994 CD reissue, only issued in the UK, of the 2nd Captain Beefheart album, originally issued by Blue Thumb in 1968. 12 page booklet with extensive liner notes by Mark Paytress. The legendary bridge between Safe As Milk and the opus Trout Mask Replica, Strictly Personal features late 60s-style psychedelic production techniques that tend to confuse the purists, but sound better and better all the time. Legendary and a lot less commonly available than the Virgin/WEA/Buddha Beefheart titles... "Considered by many to be a substandard effort due to the circumstances of its release (producer Bob Krasnow, the owner of Blue Thumb, the label which debuted with this album, remixed the album while Don Van Vliet and crew were off on a European tour, adding extraneous sound effects like heartbeats and excessive use of psychedelic-era clichés like out-of-phase stereo panning and flanging), 1968's Strictly Personal is actually a terrific album, every bit the equal of Safe As Milk and Trout Mask Replica. Opening with 'Ah Feel Like Ahcid,' an a cappella blues workout with its roots in Son House's 'Death Letter,' the brief (barely 35 minutes) album is at the same time simpler and weirder than Safe As Milk had been. Working without another songwriter or arranger for the first time, Captain Beefheart strips his idiosyncratic blues down to the bone, with several of the songs (especially 'Son of Mirror Man/Mere Man') having little in the way of lyrics or chords beyond the most primeval stomp. Krasnow's unfortunate sound effects and phasing do detract from the album at points, but the strength of the performances, especially those of drummer John French, make his efforts little more than superfluous window dressing. Strictly Personal is a fascinating, underrated release." -- Stewart Mason.
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EMI 43532
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2003 remaster. Second album for Harvest records originally released in October of 1970. 5 bonus tracks include: 'Gemini Child', 'Puis Je?', 'Butterfly Dance', 'Jolie Madame', and 'Hat'. "The real Canterbury sound, for all its supposed sophistication, is often stodgy and constipated. These are descriptives that could never be applied to Kevin Ayer's second post-Soft Machine LP. The group Ayers assembled for this project was outstanding. Composer David Bedford played keys, avant garde street agitator Lol Coxhill played sax, a virginal Mike Oldfield played strings, there was a drummer named Mick, and Ayer's fucked-up romanticism overlaid the whole thing. Everyone sounds stoned and the results are a beautifully syncretic mess that reminds me of nothing other than recent Sonic Youth. Unlike other like-minded projects of the Progressive era, Shooting At The Moon actually achieves a balance between the extremist proclivities of each of its session's participants. It drew up the blueprint for a merger of free jazz/pop/rock/avant garde womp that should have been used as a roadmap for revolution. Alas, it was not." -- Byron Coley/"100 Records That Set The World On Fire"/The Wire.
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