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viewing 1 To 7 of 7 items
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LP
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Y 019LP
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Lusty, urbane, should've been-top 40 pop from NPR classical critic/secret genius Tom Manoff and master vocalist Jill Talvé. Thought to be lost in the wake of epic legal acrimony, this 1983 collection, rescued from safety copy cassettes, easily qualifies as one of the most incredible musical discoveries of the 21st century. It can be left to some intrepid music reporter to uncover the whole sordid mess behind the making of this incredible album. Yoga Records just wants to share the music. It's incredible and it's a hit. Listen to ten seconds of "I'm A Nobody" and understand that it's a mainstream pop music hit almost too good to actually exist. It's that good. Marvel at tossed off verses like "you just crossed the line/ from being snake/ to being slime" or the casual brilliance of the way the last chorus glitches in "Delayed Reaction". In the overfished world of music reissues stuff like this does not come around every day. Like any great musical discovery, the record seems to point a way to an escape hatch to an alternate, better dimension where this got the release it deserved, and Manoff and/or Talvé made a dozen more records. Naked In The Park is that good. RIYL: Pat Benatar, Madonna, Blondie, The Motels.
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Y 014LP
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Restocked. Ted Lucas, the sole published album by singer-songwriter and master guitarist Ted Lucas has achieved an almost mystical reputation amongst aficionados and collectors. Ted Lucas is a seamless marriage of moody odes and raga-style instrumentals regarded by many to be, simply put, the greatest private press folk/psych album ever recorded. Lucas was a fixture in the Detroit rock scene of the sixties and seventies. His first band, The Spike Drivers, relocated to San Francisco to become one of the very first true psych bands, the Motor City's answer to Jefferson Airplane and The Byrds. Following that band's collapse, Lucas returned to Detroit and paid bills doing session work with Motown. And there he recorded, in 1972, the demo for Warner Brothers which would become Ted Lucas, released in two private editions in 1975 and known informally to friends and family as "The OM Album", after Lucas' own label. The album was released with artwork by the legendary Stanley Mouse originally created for Jimi Hendrix. A troubled figure whose lack of commercial capitalization and general disgust with the music business fueled a tragic narrative of self-destruction and an untimely death at 53, Lucas nevertheless reflects a regal confidence on this album, both in terms of his Sandy Bull-level guitar workouts and his masterful songwriting, as reflected in covers by the Blind Boys of Alabama, Richard Buckner, Phil Cook, and Father John Misty. As singular as Skip Spence's Oar (1969), as liminal and uncanny as David Crosby's If I Could Only Remember My Name (1971), Ted Lucas is a collection of elevated and elegiac cosmic folk music, presented here in a newly re-mastered edition from the original tapes with high-quality tip-on sleeves and the original back cover art.
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Y 017LP
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I Saw You is the distillation of Right Belief and Right Action, heretofore unknown, privately issued cassettes from 1986 and 1987 by Peter Thomas Kardas. A student of guitar craft and accredited member of The League of Crafty Guitarists, Kardas drew inspiration from Robert Fripp 'sloop-based Frippertronics, but the expansive, introspective washes of synths and repeated phrases and vocalizations are utterly their own thing, conjuring the independence, awe, and isolation of the remote Northern Californian landscapes in which they were created. I Saw You is a co-production -- the first new record from Los Angeles-based Yoga Records (Ted Lucas, Woo, Matthew Young) in over two years, and the first release by the newly-inaugurated Echo Ocho label based in San Francisco. Remastered from the original four-track masters by the artist. All songs composed and performed in 1986 and 1987 by Peter Kardas except as noted. Produced and remastered by Peter Kardas. Cover and Layout by Peter Kardas and Aleya Hoerlein. Reissue produced by Tyler Craft and Douglas Mcgowan. "Tip-on" cover; Includes download code; Edition of 500.
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LP
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YOGA 008LP
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Jill Cislaghi cut her one and only album in 1977, during her senior year at Regis College in Massachusetts. She recorded solely for friends, family, and as a memento for the members of her graduating class. Friends of Mine describes the loves and tribulations of Cislaghi's life with a mixture of naiveté and wisdom. With nothing more than her voice and (mostly unplugged) guitar, Cislaghi's folk sound is singular and resonant, bold yet humble. Friends of Mine's hopeful yet wintry vision should appeal to fans of Sibylle Baier, Karen Dalton, Ruthann Friedman, and Ted Lucas. First-ever reissue; includes previously-unreleased bonus track "Lazy J." Eco-rational 135-gram vinyl and high-quality tip-on sleeves. One-time limited pressing of 500. A coproduction of Yoga Records and Music Inside Records.
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CD
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Y 011CD
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Like Kenneth Higney's Attic Demonstration, Dane Sturgeon's Wild 'n' Tender was recorded as a songwriting demo rather than a commercial release. Like Higney, it's one of a kind, legendary since the earliest days of private press record collecting. Wild tracks like "The Ghost of Bardsley Road" and "Queen Bee" drip with the garish, obsessive sexuality of a Russ Meyer movie. Tender songs like "Who's Gonna Hold the Wind" reveal a true tenderness hard to find. The album calls itself "folk-rock in a stone groove," but it's really early rock and roll channeled in the psychedelic era (1967) by a guy too busy getting loaded to notice how fast everything's changing -- in other words, timeless. Three recent living room recordings provide further proof of Sturgeon's sly mastery of metaphorical songwriting. Aaron Milenski, Acid Archives: "No other album has this particular sound -- for the most part this is great." Jello Biafra, Incredibly Strange Music 2: "...like Del Shannon singing with Joe Meek's Blue Men on the dark side of the moon."
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Y 007CD
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The year was 1983, and Bobb Trimble had two then-unrecognized masterpieces to his credit and a lot of confusion and indifference from his fellow travelers in the Worcester, MA "Wormtown" scene. Never one to worry much about appearances, Bobb accepted an invitation to join a group of teenage boys who called themselves The Crippled Dog Band, named after Boopsie, a three-legged canine local. Bobb donned the title of Chief Crippled Dog and led the Band on enthusiastically-received gigs throughout the region. Unbeknownst to almost anyone, they completed a raucous album full of addictive hooks, feedback, teen chatter and video game noises. But soon the Band splintered and Bobb decided to forget about the whole thing, disposing of the entire 500-count LP pressing in an office park dumpster. All of which would be nothing more than a typically weird footnote to the Bobb Trimble legend, except for the fact that The Crippled Dog Band is very different from, but every bit as remarkable and brilliant as Iron Curtain Innocence and Harvest Of Dreams. Having proved himself, if only to himself, this is where Bobb stops chasing glass menagerie fantasies of perfection, tempers the dread of his first two records, and reconnects with his DIY roots. This unique collaboration between "the greatest psychedelic musician of the '80s" and his scrappy acolytes yields pure rock and roll and the effect is raw, crazy, and infectiously exciting.
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LP
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Y 007LP
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LP version. Pressed at RTI and housed in top-quality "old style" covers by Stoughton Press.
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