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LP
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4M 126LP
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2021 restock. "Nina's second LP, originally released in 1959, The Amazing Nina Simone features a repertoire ranging from a swinging 'Stompin' at the Savoy' and an emotional 'It Might as Well Be Spring' to an English folk ballad ('Tomorrow'), spirituals, and an R&B song ('You've Been Gone Too Long') and is backed by a subtle orchestra arranged by Bob Mersey that effectively showcases her top-form vocals. 180 gram vinyl."
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2LP
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FOX 003LP
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2021 restock. One of the strangest and most enigmatic groups in the history of rock n' roll, Les Rallizes Denudes, also known as Hadaka no Rallizes or Hadaka no Rarizu, were a Japanese experimental rock band that is often cited as a pioneering force of the noise rock movement. The story of the band is as strange and difficult as the music they made and although much of the tale is shrouded in mystery, everything apparently begins around Kyoto's radical anti-establishment communes of the late 1960s, where androgynous frontman Takashi Mizutani formed the group in November 1967 while attending Kyoto University. Hard facts are in thin supply and the band's name employs complex punning that essentially equates to "Fucked Up and Naked" in Japanese, a slang reference to being high on drugs. Inspired by the Velvet Underground and other groups employing prominent, overamplified guitar, the band's music was typically based on repetitive rhythmic patterns bolstered by Mizutani's heavily distorted lead guitar, though the poor sound quality of early demos apparently turned Mizutani away from studio recordings, rendering much of their output in the form of live bootlegs, supplanted by the occasional leaked studio demo. Early performances were given as accompaniment to avant-garde theater groups, though the group was soon deemed too loud to be a mere accompaniment, and membership fluctuated frequently, with Mizutani being the only constant, though he retreated from public view following the 1970 Red Army hijacking of Japan Airlines flight 351, with the assistance of original Rallizes bass player, Moriaki Wakabayashi, who subsequently fled to North Korea; the band continued to sporadically record and perform under various guises until 1997. The two versions of There's No Heaven Like Hell, presented here, was recorded on April 1, 1975 at Rallizes House in Fussa, a small town to the west of Tokyo, joining Mizutani with keyboardist/guitarist Taisuke Morishita's experimental group Be, originally known as Yellow. The first version takes the form of an epic slow drone, featuring Mizutani on acid guitar, backed only by Morishita's pulsating synthesizer lines; the second version is in full marathon mode, an hour-long dirge that sees the spacey duo joined by drummer Shunichiro Shoda and a plodding bassist in the latter portion.
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FOX 013LP
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2021 restock. Keith Jarrett: Live at Sendai Jazz Festival, Den-Ryoku Hall, Japan, 20.10.1986. The gifted American pianist Keith Jarrett is one of the jazz world's greatest musicians. Born in suburban Allentown, Pennsylvania in 1948 with a mixed European cultural heritage, Jarrett was a child prodigy that played piano at the age of two, appeared on television, aged five, and gave his first classical recital, aged seven. After studying at the prestigious Berklee College of Music, he moved to New York in 1964 to perform at the Village Vanguard and then joined Art Blakey's Jazz Messengers. Drummer Jack DeJohnette subsequently brought him into the Charles Lloyd Quartet, resulting in European tours, and when that group disbanded in 1968, Jarrett began fronting his own trio with bassist Charlie Hayden and drummer Paul Motian, and also began longstanding collaboration with Miles Davis, helping to shape noteworthy releases such as Live/Evil. From 1983, Jarrett's trio featured DeJohnette and former Albert Ayler collaborator Gary Peacock on bass, that version of the trio being the musicians featured on this beautiful concert staged at the Sendai Jazz Festival in 1986. Along with a sensitive rendition of showtune and Miles anthem "Stella By Starlite", highlights include a driving cut of Paul Desmond's "Late Lament" and a moving take of "I Remember Clifford", Art Blakey's memorial to trumpeter Clifford Brown.
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2LP
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AX 096LP
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2021 repress. Paradox: a doubtful statement or proposition that when investigated or explained may prove to be well founded or true. When a spark ignites between two musicians, the state of flow can be achieved. Usually, a fleeting sensation, but when captured, it is an unstoppable force. The coming together of Jeff Mills and Jean-Phi Dary came from a collaborative project with the late great Tony Allen and created chemistry instantly. Both being cognizant of the skilled innate improvisation that was happening in small jam sessions, they conceived the concept for their collaborative project: The Paradox. They believed that this uncompromising freedom and the manifestation of new ideas allowed them to reach a higher level of spiritual consciousness within their work. Recorded in real-time; these compositions reflect captured spontaneous actions which concede honesty and truth. Jean-Phi Dary is an enriched musical soul of Guyanese descent. The French artist has rhythm infused with his being, taking influence from his father's taste in Afro Cuban and Kompa music, in which he fused with his desire for jazz, reggae, and funk. This melting pot of rhythm manifested in the organ initially, before playing bass in a Caribbean orchestra. The multi-instrument musician had an indubitable flare for keyboard and piano and began to make waves in clubs in the 1980s in the south of France before moving to Paris. Proving to be the catalyst of his musical journey, he has played and collaborated with the likes of Papa Wemba, Peter Gabriel, Paco Sery, and Phoenix. With a career spanning decades, it has taken him everywhere playing Afrobeat, jazz, soul and a plethora of others, all the while contributing to over twenty albums. Jeff Mills is known the world over, performing in nearly all four corners of the globe. Cutting his teeth during a legendary precursory period of techno in Detroit, as The Wizard, he became an influential figure with the Underground Resistance. Mills soon took shape as a multifaced artist molded by his passion for space and science-fiction. He launched the legendary Axis label in 1992, and his reach started to broaden over the occurring decades. A mercurial talent, he has countless collaborations such as Emile Parisien, Mikhail Rudy, Mari Samuelsen, Jean-Michel Jarre, and Tony Allen, over a myriad of fields: cine-mixes, orchestral concerts, DVD projects and performances in prestige art institutions. Personnel: Jean-Phi Dary - keyboards/synthesizer; Jeff Mills - drum machine/synthesizer; Herve Samb - guitar (on "Super Solid"). Recorded at Studio Ferber, One Two Pass It, Midilive Studios, Paris.
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LP
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BYG 332LP
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2021 restock. 32nd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "Avant-garde jazz drummer Sunny Murray was a major player in the experimental jazz community throughout the 1960s. After three years as a member of Albert Ayler's band (1964-1967), Murray traveled to France where, after releasing two LPs on the BYG label, he recorded An Even Break, (recorded on November 22, 1969) for Affinity. Although his first release for the Affinity label, this was Murray's third release of the year! Featuring Byard Lancaster, Malachi Favors and Kenneth Terroade."
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LP
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CACK 017LP
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2021 restock; reissue of 1960 BAM label release. Musique Concrete represents an important milestone in the development and progression of the genre of the same name. It marks a crossroad for the genre and its originator, Pierre Schaeffer and another of the genre's most important protagonists, Pierre Henry. In 1942, Schaeffer and Jacques Copeau founded the Studio d'Essai (renamed Club d'Essai in 1946) as part of Radiodiffusion Française studios in order to experiment with radiophonic techniques. In 1948, Schaeffer occupied his time with the manner in which sound recordings "revealed what was hidden in the act of basic acoustic listening". This resulted in a series of studies known as Cinq études de bruits (Five Studies of Noises) (1948). With word of his theories and experiments spreading, Schaeffer's studies grew in size and he would need assistance. Pierre Henry was an obvious choice and sound engineer, Jacques Poullin, completed the sonic powerhouse. The group was renamed the Groupe de Musique Concrete. In 1951, RTF gave the trio access to one of the earliest purpose-build electroacoustic studios, furnishing it with state of the art equipment such as a morphophone and a phonogene, both designed by Poullin. The studio attracted composers such as Karlheinz Stockhausen and Edgard Varèse and in that same year Schaeffer and Henry produced and premiered the first opera concrète, "Orphèe 51". Pierre Henry began pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart. In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalize both their approach as well as personnel. As a result, Henry and several other key members soon left. Schaeffer lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales recruiting new members Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as ushering in a new steady stream of musicians eager to study, including a young Jean Michel Jarre. Featuring the full versions of these seminal early works (abridged versions of which had previously appeared across two 7" singles on Disques BAM) the recordings presented here are the first fruits of this new alliance and served to lay the bedrock for the future of the Groupe de Recherches Musicales which would later count the likes of Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle.
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LP
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LPOST 018LP
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Cinedelic Records present a reissue of Paolo Vasile's score to Antonio Margheriti's 1975 poliziottesco, Controrapina (The Rip Off) starring Lee Van Cleef. This soundtrack runs the gamut from strumming guitar and vocal numbers, to straight-up dancefloor heaters. This beautifully produced record incorporates smooth sax, disco strings, wah-wah guitar, and a driving beat -- all the essential elements of a first-rate '70s Euro-crime soundtrack. Include a promotional .45 caliber pistol cut-out; edition of 400.
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LPOST 019LP
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Cinedelic Records present a reissue of Paolo Vasile's score to Enzo Castellari's 1980 poliziottesco film, Il Giorno Del Cobra. This record features one of maestro Vasile's most iconic themes as featured on various polizio compilations. The cues on this soundtrack feature a wonderful mix of cool keyboards, horns, funky basslines, and driving kick drums -- a perfect reverb-fueled accompaniment to Franco Nero's onscreen antics. Includes three bonus tracks; also includes a postcard; edition of 400.
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7"
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CPT 580EP
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Stahlschrank are Sun Ray (Fred und Luna) and Brain Emo (Ufo Hawaii). With their second single, Karin/Inge, Stahlschrank is pushing further their concept of "Elektrodadakraut", a musical style yet to be fully explored and developed. "Karin" is both a reflection on the transience of existence, and a modern tale of control and submission. The single B-side "Inge" is the second dive into the Stahlschrank concept of "Electronic Irritainment". Pushing both the limits of their studio environment and their neighbors' patience, "Inge" is also an observation of the individual's struggles against the background of contemporary club culture. Stahlschrank is currently working on their first long-player, possibly a quadruple album.
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LP
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RED 256LP
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Restocked, last copies/reduced price. Dagored present a vinyl reissue of the soundtrack for Farewell Uncle Tom ("Addio Zio Tom"), complete with extra tracks. Italian directors Gualtiero Jacopetti and Franco Prosperi gave birth to a whole new subgenre of "non-fiction" exploitation movies with their 1962 hit Mondo Cane. After repeated accusations of forgery, unethical behaviors, and war crimes, they decided to make a movie about the atrocities of American slavery as an apology of sorts. It was 1971 and the movie was Farewell Uncle Tom ("Addio Zio Tom"). The famous critic Roger Ebert called the result "the most disgusting, contemptuous insult to decency ever to masquerade as a documentary." Naked flesh, voyeurism, and violence is constantly used but gorgeous photography and a memorable score from Academy Award nominee Riz Ortolani add a sickening slickness to it all: rock-beat tunes mixed with classic big band themes, waltz, and funny marches and the beautiful "Oh My Love", with the vocals from Katyna Ranieri, used, among many others by Winding Refn in his cult movie Drive (2011).
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CD
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DFPRKPM 001CD
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"With a decade and a half professionally in the music business Damu the Fudgemunk's new album Conversation Peace sets a new career milestone. Partnering with London label Def Pressé and the historic KPM Music Library in London, UK, the DC based producer embraced the opportunity of a lifetime. In early 2020 Damu was given access to KPM's entire catalog of music and sound effects dating back to the 1950's. Honored, eager and inspired, Damu took on the task of scouring KPM's extensive library for the perfect components to create this album. Composed and recorded during the eventful past year, Conversation Peace is as intellectually engaging as is musically and creatively entertaining. Following a string of collaborative albums in the past few years including his jazz album Ocean Bridges with Archie Shepp & Raw Poetic, Conversation Peace marks the Fudgemunk's first official solo album since 2017. Several guest appearances from Blu, Raw Poetic, Nitty Scott and Insight offer additional personality and perspective throughout 40 plus minutes. Combined with material from KPM, Damu's personal production library and live instruments, the palette for this work offers a range of textures, tempos, vibes and grooves. This record is also the first volume in a new KPM/EMI and Def Pressé series called Crate Diggers allowing select producers, to both sample the KPM Library and add new original music Into the KPM Library. Expect instalments from Jazzy Jeff, Stro Elliot, Chris Dave, J-Live, and many more to follow. For those unaware of the KPM legacy, their back catalog boasts hits from Jay-Z, 2Pac, Drake, Common, Kid Cudi, Madlib, Prince Paul, MF DOOM, J Dilla, Gorillaz among countless others. Now Damu the Fudgemunk has added to this rich legacy."
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LP
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DFPRKPM 001LP
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2CD
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DGST 049CD
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Digitmovies releases on double CD for the very first time in full edition, three of Stelvio Cipriani's original soundtracks of the costume erotic comedies Metti lo diavolo tuo ne lo mio inferno (Put your devil into my hell), Leva lo diavolo tuo dal... convento (The countess died of laughter), and Racconti proibiti... di niente vestiti (Master of love). Three completely unpublished soundtracks from Stelvio Cipriani, based on costume erotic comedies influenced by antique novels of Decameron and Boccaccio. This trilogy was formerly supposed to be a quadrilogy with ...E continuavano a mettere lo diavolo ne lo inferno, but unfortunately the master tapes were lost. Thanks to stereo master tapes, Digitmovies used every single note recorded back then, with a result of 140 minutes of music. The author composed many themes that go from classical passages to more modern ones, from holy to profane, both funny and dramatic with the intervention of Nora Orlandi's vocalisms and her notorious choir.
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LP
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LPDM 036LP
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Digitmovies presents on LP another musical jewel by Ennio Morricone from the TV movie broadcasted by Italian Rai Television in 1978 Il Prigioniero (The Prisoner). Ennio Morricone has composed an extremely serious score which reflects the whole sentimental and dramatic side of the historic atmosphere, in which the protagonist is immersed. The author varies the main theme with different orchestrations: the romantic, but nostalgic "L'estate È Finite" for flute, harpsichord and orchestra, reprised with harpsichord chromatism and with harpsichord and orchestra. The second motif "I Due Prigionieri" is introduced by the solo flutes in an almost experimental context, later accompanied by cellos and basses and then reprised as a background to psychological suspense with brass, piano and vibes and with fascinating variations. This painful atmosphere is broken up by "source music" which re-creates the sound of that era, like the Sicilian folk song for voice and guitar "Si L'ammuri" and the romantic old-fashioned romantic tune for male voice, piano and guitar "Dove sei amore". Edition of 300.
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2x12"
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MBED 2021LP
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The milestone of French electronic music, 25th anniversary edition. Originally released in 1996. Only available on physical format -- no digital release. Remastered version of the classic album Pansoul by French legends Philippe Zdar and Etienne de Crécy, aka Motorbass. 2x12" in a gatefold sleeve.
"... the starting point for the French dance movement, and therefore one of that decade's most important records. Yet the spaces its 10 tracks inhabit are far darker than anything Daft Punk or Air have achieved." --Uncut
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2CD
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ESPDISK 5069CD
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The latest release from polymath and musical maximalist Gabriel Zucker is a sprawling and ambitious achievement that defies categorization, featuring complex mixed-meter jazz, virtuosic chamber music, electronic soundscapes, and indie art rock -- performed with emotion and urgency by Zucker's virtuoso large ensemble The Delegation. Written primarily between 2015 and 2018, during several stints Zucker spent living and performing in England and throughout Europe, the record reckons with time, and with the competing impulses of a backwards-looking nostalgia and a forwards-looking futurist belief in progress. Leftover Beats is built on a dialog between two different ensembles: Several movements are performed by a chamber ensemble, while the rest feature a larger ensemble of horns, rhythm section, and voices more firmly rooted in jazz. The work is split into four sections of three movements each. Past is manic and alive, culminating in contrapuntal chamber-music romanticism. Autumn 2016 focuses mainly on November; the night of the election is grotesquely illustrated. Present feels subdued and chastened in its aftermath. Future is a dreamscape of synthesizer and sound collage nightmares punctuated by a Mahler-esque climax in "Requiem III", before we close on Zucker's solo piano in "How to Know, Forever", drifting off into the sands of time. An album release show will take place at Roulette, located at 509 Atlantic Avenue in Brooklyn, on Tuesday, October 5th at 8:00 PM.
Personnel: Gabriel Zucker - piano, compositions, lyrics, vocals, electronics; Adam O'Farrill - trumpet; Nolan Tsang - trumpet; Anna Webber - tenor saxophone; Eric Trudel - tenor saxophone; Yuma Uesaka - clarinet; Joanna Mattrey - viola; Mariel Roberts - cello; Artemisz Polonyi - vocals; Lorena Del Mar - vocals; Bam Rodriguez - bass; Mat Muntz - bass; Gabriel Globus-Hoenich - drums; Alex Goldberg - drums; Kate Gentile - drums; Matteo Liberatore - guitar; Tal Yahalom - guitar.
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LP
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FTR 573LP
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"Don't hold me to it, but by my count this the sixth LP we have done with the splendid Brighton-based musician named Joseph Allred. Initially known as a master of stringed instruments, Joseph has continuously expanded his musical arsenal. When asked about basics regarding Branches & Leaves, he wrote, 'I played harmonium, piano, guitars, glockenspiel, banjo, tambourine, bass drum, and clarinet on this album and did all the vocals myself. I'm glad I got to collaborate with some friends and would like to have done so more, but the pandemic made that impossible. Recorded at the end of 2019 and in the first few months of 2020 in Overton County, Tennessee and Boston.' The ten songs on Branches & Leaves are originals, apart from two traditional tunes, 'When the World's on Fire,' and 'Can't Feel at Home,' which Allred first heard performed by the Carter Family. And while it if difficult to attach too specific a tag to this wonderfully varied LP, words like 'Southern,' 'gnostic,' 'rural' and 'haunted' keep floating into my head. Not always at the same time, but enough to think I might use them to point in the material's general direction. The mix of harmonium and Allred's vocal delivery gives some of songs the sonic qualities of a spiritual, even if the lyrics are not similarly disposed. Joseph's work is always very personal and idiosyncratic, so I am hesitant to make too many statements about it. Other than to say the way he weaves all these threads into the textures of American Primitive guitar music is amazing to hear. Branches & Leaves may be one of the more plain-spoken albums in Joseph Allred's canon, but like all his music, the songs have many layers of sound and meaning that will unfold themselves for your pleasure for a long while to come. Beautiful stuff." --Byron Coley, 2021
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2LP
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FTR 642LP
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Cardinal Fuzz and Feeding Tube Records bring to you for your listening pleasure Nudity Is God's Creation. A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem. Reissued and for the first time available domestically in the USA In 2004, a commune named Nudity, formed by four travelers from the astral plane, appeared in Olympia, Washington. The founding members were Dave Harvey (guitar) and Jon Quitty Quittner (bass, though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn Ross (drums) from Growling. A couple of self-distributed CDrs and a 12" on Discourage were a visual akin to colored liquid sloshing around on a transparency machine and were a pure drip feed for psych/kraut and Jap rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full-length LP arrived from the original line-up -- something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the four sides of vinyl presented here go from Detroit fuzz blazing face melters to acid trippin' head swirling raga's via The Flower Travelin' Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released -- don't make the same mistake a second time. Terrascope gushed about Nudity: "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years."
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LP
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GONE 173LP
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LP version. "On Now Where Were We, The Exbats hit the ground running like a dystopian garage rock version of the Shangri-Las, or like a message to the future from the pre-Velvet Underground doowop wannabe Lou Reed. The album rings bright, like a beacon in the wilderness: eminently, effortlessly catchy, and loaded with buoyant choruses that rank alongside the best chart-toppers launched by the Brill Building or Phil Spector's Wall of Sound. Kenny McClain and his daughter, vocalist and drummer Inez McClain, formed the nucleus of the Exbats over a decade ago, when Inez was just 10 years old; today, Bobby Carlson rounds out the group on bass. Despite their remote location in Bisbee, Arizona, just eleven miles north of the U.S.-Mexican border, the group quickly racked up accolades citing a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Truthfully, The Exbats embrace a wider swath of musical styles, incorporating blue-eyed soul, tongue-in-cheek country, Brit pop, psych, and R&B into their sound. The McClains describe this album as 'more ambitious' than its predecessors. They tooled ninety minutes northeast to Tucson to record, per usual, with Matt Rendon at Midtown Island Studios. Months later, the Exbats emerged with an album imbued with harmoniously cautious optimism -- the musical equivalent but psychological antithesis to the Brian Wilson-Tony Asher masterpiece 'I Just Wasn't Made For These Times'. While Wilson was looking for 'a place to fit in,' The Exbats have found sanctuary via the brilliant 'Ghost In The Record Store,' which is 'for all of us who need the joy of a little bit of plastic making lots of noise." Like the best records to croon along with, Now Where Were We is captivatingly simple, yet hardly simplistic. The Exbats are singing from their hearts -- and they aren't afraid to bare their souls."
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CD
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GY11 003CD
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"Roy Montgomery, a pioneer of the NZ underground, believes there is always new sonic terrain to investigate. His latest series of albums for Grapefruit marks forty years of rigorous exploration in which he's managed to navigate disparate genres, scenes, and atmospheres, always at the forefront of experimental independent music. To commemorate, Grapefruit will be releasing four new Montgomery albums in 2021, which can be purchased individually or via subscription. The third release of the series, Rhymes Of Chance, is the darkest entry of the four. Songs sound particularly spacious and minimal, with two tracks centering forlorn melodies around trusty collaborator Emma Johnston's singing and two others sung by Montgomery himself. While Side A presents the six-part 'Rhymes Of Chance' suite, Side B's 'Aspiratory' holds a clue to Montgomery's approach on this record; a floating dirge stretches time, much in the manner Mark Hollis (to whom the song is dedicated) approached music."
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GY11 003LP
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LP version. "Roy Montgomery, a pioneer of the NZ underground, believes there is always new sonic terrain to investigate. His latest series of albums for Grapefruit marks forty years of rigorous exploration in which he's managed to navigate disparate genres, scenes, and atmospheres, always at the forefront of experimental independent music. To commemorate, Grapefruit will be releasing four new Montgomery albums in 2021, which can be purchased individually or via subscription. The third release of the series, Rhymes Of Chance, is the darkest entry of the four. Songs sound particularly spacious and minimal, with two tracks centering forlorn melodies around trusty collaborator Emma Johnston's singing and two others sung by Montgomery himself. While Side A presents the six-part 'Rhymes Of Chance' suite, Side B's 'Aspiratory' holds a clue to Montgomery's approach on this record; a floating dirge stretches time, much in the manner Mark Hollis (to whom the song is dedicated) approached music."
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GUESS 058B-LP
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2021 resstock, in vintage-styled tip-on hard cardboard sleeve. Guerssen Records present a reissue of Dave Bixby's Ode To Quetzalcoatl, originally released in 1969. Since its discovery in the late '90s, Dave Bixby's legendary $2000 private press album from 1969 is considered by all serious record collectors as the king in the loner/downer folk genre. After being involved in '60s Michigan folk and garage-rock bands such as The Shillelaghs and Peter & The Prophets, Bixby started playing acoustic guitar and experimenting with LSD. After a year of drug abuse, he felt broken. Starting a soul-searching, spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger's Second Coming (1970) in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl using an echo-laden four-track machine in a flat's living room. The sound is lo-fi and sparse: just acoustic guitars and some occasional harmonica and flute, added to Bixby's haunting, emotional vocals, spiritual lyrics, and solid songwriting. The opening cut, the eerie and painful "Drug Song" sets the mood perfectly for the rest of the album which contains more tormented titles like "666", "Lonely Faces", "Open Doors", "Secret Forest" -- never has an acoustic folk album sounded so intense. Carefully remastered sound from vinyl (no master tapes exists) done at Shadoks Music Studios. Includes insert with detailed liner notes by Matvei Procak, who found Bixby in 2006, plus some rare pictures.
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GUESS 149LP
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2021 restock. Guerssen Records present a reissue of Blops' self-titled debut, originally released in 1970. Los Blops formed in Santiago, Chile in 1964, as a beat/cover band. But during the following years, they developed a unique sound, mixing folk, rock, psychedelia, and Chilean folklore. This is their legendary first album, originally released in 1970 on the Dicap label. Psychedelic folk-rock of the highest order with beautiful songs, touching Spanish vocals, acoustic and electric guitars, flute, organ, percussion, xylophone, and a lost-in-time, mysterious feel. Includes the famous "Los Momentos" and more. RIYL: Kissing Spell, Congreso, Embrujo, Ithaca, Agincourt. Comes with a color insert with photos and liner notes in English and Spanish; Housed in old style heavy cardboard tip-on sleeve.
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CD
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GBVI 110CD
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"It's been just a few months since Guided By Voice's faux rock opera Earth Man Blues garnered four-star and five-star reviews, with Rolling Stone proclaiming that it 'squarely hits all the marks that make Guided By Voices great -- again and again and again.' 'Again and again and again', is perhaps GBV's credo, with Robert Pollard's never-ending supply of fascinating and supremely catchy rock. Just when one thinks one's got them pinned down, album number thirty-four opens with bizarre percussion, mariachi trumpets, strings and acoustic guitar. The adventurous spirit pervades yet another killer album from the greatest and most versatile GBV line-up. The golden boys (Doug Gillard, Bobby Bare Jr, Mark Shue, Kevin March) can do no wrong. Hooky singles 'My (Limited) Engagement', 'High In The Rain' and 'Dance of Gurus' intermingle with occasionally dark lyrics and the oddest of GBV oddballs, the ridiculous 'Razor Bug', 'Psycho House', and the 'Maintenance Man Of The Haunted House'. The horns and strings return intermittently, with 'The Bells Get Out Of The Way' going full Burt Bacharach. It's Not Them. It Couldn't Be Them. It Is Them! is a creative tour-de-force full of surprises from the most prolific and captivating band on the planet."
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GBVI 110LP
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