The hits kept on coming from heroic Dallas fivesome The Five Americans with their third longplayer, 1967’s Progressions. Both “Zip Code” and “Evol-Not Love” careened up the charts as The Five Americans squared off on live stages throughout the Deep South with artists such as the Doors and Jefferson Airplane – and more than held their own against the best American rock ‘n’ roll had to offer!
“This is the second volume of our series collecting the odds & sods of the immortal Nudge Squidfish. Nudge is one of the singular figures to emerge from the Columbus sub-underground rock scene of the 1970s. He was a member of The True Believers (along with Mike Rep & Tommy Jay). He cut a single for the New Age label in ’82, and couple of odd solo LPs while he was living in Nashville later in the ’80s. He was a member of V-3 (along with Jim Shepard) after that. He also released a bonkers full-length cassette on Old Age that was subsequently vinylized by Columbus Discount. More recently, he has become a highly regarded disseminator of UFO videos (Google it). The first volume of this series, You Can’t Have Aliens Without The Squid (FTR 321LP, 2017), was met with gasps of amazement and other tomfoolery. Robot Wars, featuring material recorded between 1974 and 2017, covers even wider stylistic ground than Aliens, and is certain to provoke as many questions as there are answers. The material here is performed by Nudge solo, Root Cellar (a band with Charles Cicirella on smutty vocals), Jayfish (Nudge + Tommy Jay), and V-3. And while Nudge (left to his own devices) has shown signs of being a pop artist, the music here does not hew to that notion. From fine, straight bar blues readymades to spaced-up electro doo-dads to neo-Nig Heistian raunch polemicism, to guitar bursts worthy of Crazy Horse, Robot Wars presents many the faces of the Squid. And yeah, it includes his pop side, but the breadth and balance are kinda staggering. Roll on, Big N!” –Byron Coley, 2020 Edition of 200.
Rare and unissued Pacific Northwest floor fillers! While soul music might not be the first thing that comes to mind when you think of the music of the Pacific Northwest, Salem Oregon’s Garland Records was churning out high quality hip shakers along with their reels of garage & psych.
Contained here is some super deep ‘Northwestern Soul,’ including three cuts making their inaugural spins 50 years after they were put to tape.
Out-Sider present the first ever vinyl reissue of Daybreak’s self-titled album, originally released in 1971. This elusive US private pressing was originally released on the legendary RPC custom label. Intense and crude garage-psych with echoing vocals, loud distorted guitar, fuzz bass, and organ. Three killer band originals plus some insane cover versions (Steppenwolf, Neil Young) with a basement sound not unlike Mystic Siva. Remastered sound; Includes insert with liner notes and photos.
In Stock March 17, 2020
Gritty ’67 Garage Punk Perfection!
The complete known recorded work from dominant New York garage punks The Groupies! Includes their iconic and oft-covered nugget “Primitive,” its B side of equal swagger “I’m A Hog For You,” and a complete bombastic 1967 live show put to tape before the band imploded and microphone madman Cooker went to the pen!
Decades before it caught on as the empty boast of every eighties and nineties hair metal band, there was a group – or Groupies, as it were – who fully earned the title, “the bad boys of rock.” Rising from the gutters of New York, the Groupies rose to brief east coast notoriety in 1966, issuing the astounding “Primitive,” a loose rewrite of the Willie Dixon-Howlin’ Wolf blues standard “Spoonful,” rewritten in the Groupies’ own image.
On this occasion, the Groupies’ live set reads like a tribute to Chess Records, with an emphasis on Howlin’ Wolf and songwriter Willie Dixon. This blues material is all predictably intense, the same can be said for their cover of Ike & Tina Turner’s “It’s Gonna Work Out Fine.” With a nod to their British Invasion influences, also included are fervid covers of Them and the Kinks. While it may be a fool’s errand comparing a Kinks cover to the original, when “It’s Too Late” kicks into the chorus, watch out!
Del Val Records present a reissue of Tryad’s If Only You Believe In Lovin’, originally released in 1971 as a private press. Ultra-deluxe LP reissue on the newly resurrected Del Val label — obscure but legendary label previously responsible for early editions by The Brigade, The Bachs, Bent Wind, D.R. Hooker, Fifty Foot Hose, etc. Long overdue and much delayed reissue of this 1971 NYC private press few have heard and less have seen. Comparable to the best UK folk-fusion LPs of the era, this is like a Yankee version of Hunter Muskett’s great Every Time You Move (1970) with co-ed vocals plus bass/drums/pedal steel/flute/keys accompaniment and East Coast haunted not West Coast hip, though you’ll be reminded of a certain revered private from out there that wouldn’t exist for another five years: Relatively Clean Rivers. Comes with a four page lyric insert and the cover is what they were made like fifty years ago.
Trading Places present a reissue of Introducing The Beau Brummels, originally released in 1965. Despite borrowing the name of a historic English dandy and drawing from the sound of The Beatles, influential beat group The Beau Brummels was formed in San Francisco in 1964, when Italian-American singer Sal Valentino needed a backing band for a nightclub residency; Sal brought childhood friend Ron Elliott on board as guitarist and chief songwriter, who drafted bassist Ron Meagher, drummer John Petersen, and rhythm guitarist Declan Mulligan. Signing to the newly-formed Autumn Records through their manager’s media connections, their early recording sessions, produced by future funk hero Sly Stone, yielded the monster hit “Laugh Laugh”, which peaked at number 15, despite being issued by a small independent; it is widely cited as a forerunner to the San Francisco Sound that emerged later in the decade. Follow-up hit “Just A Little” soon cracked the top-ten, both tracks helping debut album Introducing to reach the top 25 on Billboard’s album charts. Licensed by HHO, UK.
When Seattle-based recording engineer Kearney Barton died in 2012, the 80 year-old studio veteran had spent the past 50 years recording the cream of the Seattle music scene through the decades. The Fleetwoods, Quincy Jones, The Ventures, The Wailers, The Sonics, Ann Wilson (Heart), The Frantics, The Kingsmen, and Dave Lewis to name a few. Barton also captured Seattle’s vibrant 1960s-70s R&B and soul scene, including Black On White Affair and Soul Swingers, among others, as documented in Light in the Attic’s Wheedle’s Groove series. In his later years Barton’s old school reputation drew in contemporary bands like Young Fresh Fellows, The Smugglers, The Minus 5, and The A-Bones into his studio. Essentially, when a local unknown band wanted to make a demo tape, or record their debut album, or perhaps someone just wanted to capture their uncle playing banjo or their kid sister’s first songs, they’d go to Barton’s studio.
There were 7,000 reel-to-reel tapes piled up in Barton’s house at the time of his passing. The University of Washington carefully cataloged these tapes, and former Sub Pop employee Dan Trager (who had learned the art of recording from Kearney years earlier as a student) began listening and taking notes. With input from a team drawn from the university and Light in the Attic, Dan compiled a shortlist of essential tracks that would form the basis of this compilation.
Kearney Barton: Architect of the Northwest Sound is a comprehensive document of Seattle in the 1960s, 70s, and 80s. It is also a testament to Barton’s life-long dedication to the art of recording. It includes long out of print recordings originally released by local labels such as Jerden, Topaz, Piccadilly, and Etiquette Records. It covers a wide range of genres: sitar and balalaika players, gospel church choirs, unknown garage bands, steel drums, obscure soul artists and teenage a cappella singers. There’s also some familiar names here: Sonics, Wailers, a young pre-Heart Ann Wilson, Larry Coryell making his first ever studio recordings with Chuck Mahaffay, the Hudson Brothers long before they were on TV.
“However diverse, there is a commonality that stands out among his recordings: hardcore analog fidelity,” says University of Washington archivist John Vallier. “It sounds like you are in the room with the drums, bass, guitar, and vocals. The mix is minimum. It’s a raw, sonic reality, even if the band is poppy and jangly. It’s an honest sound that doesn’t sugarcoat what’s being performed. That’s Kearney, too.”
“Rarely when formulating combinations of musicians you would like to hear play together do you get to actually hear it. If Brian Chippendale and Ty Segall made a record, would you want to hear it? If the answer is yes, read on. If the answer is no, it’s too bad you ended up canned, suspended in syrup with nothing but other peaches to keep you company. “Ty’s 2019 album First Taste and the new Lighting Bolt album Sonic Citadel are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5th -13th 2018, in the air-conditioning free environs of Ty’s home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would. “Prepare To Be Stoked Dept.: The album is exploding euphoria from start to finish. A morphing day-glo rainbow that will bring a smile to your face like if you were on your way to Washington DC for the Million Puppy March. Upon first spin, all boxes are checked and any previously held doubts are completely obliterated. The more you play it, the better it kabongs you upside your head. Hectic doesn’t even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.”
DUSTER’s first album of new material in 20 years after selling out 4,000 copies of the recent Numero reissue box set and latest US tour. Their new video for “Interstellar Tunnel,” posted with 0 fanfare on youtube was all over Pitchfork, SPIN, Stereogum and others the next day.
“It is impossible to deny no one sounds like Eddy Current. I was hooked from riff one and I was lucky enough to do a full tour of Australia with them years ago—good fucking boys, simple as beer and chips, and that satisfying live. But that’s not to say there aren’t odd complexities to their definitive sound. “You can smell Mikey Young’s guitar approach like Sasquatch rustling the bushes, every time you think you see the bend ahead, you go into a tunnel or backtrack for a moment, then back to a nice place you can call home. Rob [Solid]’s bass is pub-fuzz groove. It’s shells-on-the-floor and leaning-against-the wall-with-one-hand-while-you-have-a-piss thinking: maybe you can take that guy? Only one way to find out— oh wait, he’s smiling…nice bloke! Danny [Young]’s drums are a clinic in reservedness: 4-on-the-floor. This guy’s Charlie Watts in the looking glass, every hit a necessity—solid, not flashy, like the lead street tough in a ‘70s flick. He don’t say much, but it counts. And then there is Brendan [Huntley], be-gloved lead mensch in this quartet. Singing with earnest street poet confidence, his message coming in on the weird-wire, hard to describe, best to just listen and see: a pub-punk-priest.
Mono-Tone Records present the first vinyl reissue of CORONADOS’ Un Lustre, originally released in 1989. One of the great French bands of the ’80s. Coronados created a perfect mix of wild garage, off-beat influences (for the times)—like Alex Chilton, Kevin Ayers, Harry Nilsson, or Beefheart as well as French twisted ’60s pop—delivering it all in their own original and even eccentric style, savage but literate, loose but subtle. Un Lustre is Coronados’ second album. The first one, N’Importe Quoi, had a very bare sound (that the band didn’t like at the time but that has aged well). Un Lustre has a great full production, perfect for the ambitious songs. Despite great reviews, in France and abroad, and praise from their peers, they split soon after and have never played again, adding to their myth and cult status. A vivacious cult LP for garage fans and literate rockers. Buy or die!
14 tracks from the Louisville late ’60s/early ’70s garage-psych scene. These cuts (all of them previously unissued, except for one originally released on a rare 45) were found in the archives of the city’s well known Allen-Martin Studio, after the owners retired and the place closed down. Including some rather well-known names, such as The Rugbys, The Illusions, The Keyes, and The Oxfords, as well as more obscure local heroes like Free Reign, The Premieres, Roc, and Conception. Highlights include fabulous psych rockers by The Rugbys and The Oxfords; fuzzed-out garage by Blues and The Illusions; psychedelic hard-rock by Babylon and Free Reign; jangly teen beat by JB and The Young Wheels; killer psych covers of The Beatles and Traffic by The Keyes and Company Front. Also features Brothers Pride, The Waters, and Copperfield. Master tape sound and insert with liner notes and photos.
Debut album from this hotly tipped new band. Planchettes are the coolest ‘new’ band on the scene. Mixing elements of 60s garage / horror rock with Thirteenth Floor Elevators tinged psychedelic rock and a bloodthirsty feast of Cramps / Birthday Party shakedowns, they are set to raise some much needed hell in rock and roll circles.
Seven years after their last long player, the Melbourne band finally returns with a 10 tracks new record. They’re like an old friend who promised he’d swing by but never shows up… until he does, unannounced. But it’s ok because everybody loves him! And everybody loves the UV Race too! The recipe hasn’t changed much: they’re still this great messy punk band you wanna dance to.
Though few people realized it back in 1968, The Outsiders CQ was a landmark album for the Dutch music scene, and the crowning achievement for one of Hollands greatest bands. Had it been released by a British or American band, CQ might be mentioned today in the same breath as Ogdens Nut Gone Flake, Odessey & Oracle, S.F. Sorrow, White Light/White Heat, and Were Only In It For the Money-all iconic underground rock albums released that same tumultuous year. The album was recorded at G.T.B. Studios in The Hague and the Soundpush Studios in Blaricum during the summer of 1968. For the first time the group had the luxury of uninterrupted studio time so were able to work out ideas right there in the studio, rolling tape as they went, then listening back and discussing what changes should be made.
‘CQ Mythology’ presents these session tapes, giving listeners a fascinating glimpse into the bands creative process as they shaped the songs that would eventually comprise the CQ album. The original releases striking gatefold cover art, designed by artist Anton van der Gulik, was supposed to fold out into four rather than two panels. But apart from the album sleeve that Polydor has released, Van der Gulik made a second design. His four unused iron plate panels now house this ‘CQ Mythology’ release, a sprawling double-album that stands as a kind of shadow version of the final album. Its a compelling document of a true masterwork-in-progress.
WHAT. It’s almost 2020!? Face it, the last ten years or so have been a BLUR—so much shit going down, good and bad—and a lot of music too. It doesn’t look like its gonna get any easier for ANYBODY to get their bearing, so TY SEGALL and Sea Note have gotten together a special box to help you reorient your head, no matter where you are. Yeah, this one’s for the freak, the fan, the head. Pig Man Lives is a stack of raw germs that were blown up in the world as Ty Segall releases over this last golden decade or so—specifically, the demos that bred Manipulator, Freedom’s Goblin, Emotional Mugger, Twins, Ty Segall, Slaughterhouse and Sleeper. Each finished record had its own unique aim and intention, but when you hear tracks from 2007 next to 2015, then 2012 cutting in after 2017, the splatter allows you to hear the continuum of a whole body of work exploding over and over again in the burst of freedom that comes with the initial sketch of a song. Non-linear reorientation, taking you back and forward over the course of eight sides and 47 songs. There’s even a few that haven’t seen the light of day before. You’re bound to feel different after you’ve spent any kind of quality time with Pig Man. Whether he’s recording alone at home or in a studio with the band, Ty’s goal in putting something on tape isn’t just to log the song, it’s to make a whole thing that’s rad. For some of these songs, further evolution brought even more out of them. And some are perfect this way, with rough edges and little details you’re not gonna believe you’ve lived without. As sure as Pig Man Lives, you won’t have to anymore.
The forthcoming ninth edition of the popular compilation series featuring long-lost vintage ’60s-’70s proto-metal and stoner rock singles, Brown Acid – The Ninth Trip is set for release! Some of the best thrills of the Internet music revolution are the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century—particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins—often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.
Recorded with producer Jay Joyce in Nashville, Tennessee, You Deserve Love marks White Reaper’s Elektra Records debut and follows their celebrated 2017 album, The World’s Best American Band. The album is a collection of smart, sharply-written songs of doubt, dislocation, and elusive and often complicated love. Earlier this summer White Reaper shared You Deserve Love’s lead singles “Real Long Time” and “Might Be Right,” the latter of which has quickly ascended into the Top 30 on Billboard’s ‘Alternative Songs’ chart.
Reflecting on the album title, vocalist / guitarist Tony Esposito explained that the name for the record came from a note on bassist Sam Wilkerson’s phone. “He had written things down he thought might be good album titles, and we were all sitting around at a bar in Nashville after we had just finished recording, vexing about what we were going to call the album.” Wilkerson explained, “I started reading them aloud at the bar, and everyone stopped me at You Deserve Love,” adding, “I think it’s cool, because it’s true for everybody. I think it’s what everybody needs to hear.”
“When Charles and Josh tapped me to spill some ink for this project, I couldn’t say yes fast enough. Culled from Charles’s vast personal collection, the contents herein abide no formality and as such, ushers forth an insider’s take into Jim’s frantic, restless genius you’ll not likely find again. Timelines? What are you, some kinda cop? It’s fresh ears all around on this one, folks, none of this material has seen the light of day till now. It twitches, it grunts, it flares, and it soars. It ain’t no one type’ve nothin’, unless that’s Loaded. In my king fu village, this pivotal document to the blood spilt across the floor of an iconoclastic career is right up there with the Velvets, Caught Between The Twisted Stars, Beefheart’s, Grow Fins & those Blorp Essette comps. Who knows if the official vaults will ever be opened? And even if, what you’d likely get is the known entities anyway, trussed up in new boots ’n’ panties. This is mud fresh from the private swamp. And as you’ll soon find out, Jim could make it crackle.”
14 cuts from their first recording studio sessions of Sept 2-4 1994. Originally the band recorded 23 songs but in October 1994 BEN fired the drummer and decided to re-mix everything. Dec 1994: Ben erases the drum track and re-drums it himself. Ben decides to jettison most of the songs and suggests 10 cuts for the debut so we decide on a 10” (See: Crypt-060 10”—COUNTRY TEASERS Pastoral / s/t, also reissued.) And here they are at last: the 13 tracks cut at Toe Rag that didn’t make it onto the Pastoral 10”, PLUS the original version of “Black Cloud Wandering.” In a sumptuous gatefold containing ancient pre-interWeb communication forms (letters, faxes, etc). It would have made a damned great debut album in 1994. It IS a damned great album in 2019 (and forever!).
A Love That Leads To War is a clear departure in style and mood for Memphis Tennessee’s Aquarian Blood. The band’s 2017’s debut LP on Goner Records, Last Nite In Paradise, is a chaotic punk epic, rising and falling like the soundtrack to a paranoid nightmare. As a live act, the six-piece band’s sonic atrocity left clubs and house shows around Memphis on life support. The band’s follow up Goner release, A Love That Leads To War, is a more intimate offering of fifteen tracks. Indirectly sparked when full-band drummer Bill Curry was temporarily lost due to a broken arm, Aquarian Blood began playing out in February 2018 as a scaled-down, four-piece incarnation. This more personal album was written, recorded and (almost entirely) performed by founding husband / wife duo J.B. Horrell (Ex-Cult) and NOTS alum Laurel Horrell. Just grazing the surface of the album can draw a line backwards from the acoustic entirety of A Love That Leads To War to Aquarian Blood’s unsettling past. The opening track “There’s A World” is a finger-picked fever dream nailing the rarified “beauty jumps into bed w/ horror” sweet spot so squarely one can’t believe it’s not a cover of some hippy hangover perfection dating back to the Nixon administration. It’s no first-song / best-song hat trick, but rather a deft setup of the next thirty-nine minutes. “No Place I Know,” “In the Water,” and “Their Dream” would fit in well in the shimmier side of the Shimmy Disc catalog, and “Thought Of Her” is reminiscent of Damon and Naomi. Taken as a whole, though, this album retains the unsettling feel of the best atmospheric ’60s loner psych better than any of the above, and the occasional addition of swirly moog and staccato drum pad beats keep it from slipping into nostalgia. A Love That Leads To War is the perfect sound to erase the summer and soundtrack the low-hum of cold-weather anxiety.
Recommended If You Like The Drones, Nick Cave, Dinosaur Jr., Iceage, Protomartyr. The phantasmagorical debut album by Tropical Fuck Storm, A Laughing Death in Meatspace, delivers a fraught vision of algo rhythmic apocalypse. Featuring Gareth Liddiard and Fiona Kitchin from Australian heroes The Drones, Tropical Fuck Storm is an end-of-days consciousness-stream across nine seething tracks. The debut dive-bombs into the realms of mortalitynd immortality, moralizing and amorality; the passing of time, and how little we have left.These are lurid songs, urgently told through Gareth Liddiard’s barbed and byzantine lyricism, abrasive guitar slashes, drum adrenalin, raunchy bass and electronic undercurrents. They’re raging, rapscallion, and funny, lyrically delving into everything from internet shaming to the kuru “laughing death” disease of the PNG highlands to Russian chess great Gary Kasparov’s portentous loss to an IBM computer. Live, Tropical Fuck Storm are a force of nature, conjuring chaos at every blistering performance, with zero shits to give for corporate music hegemony. “Kneel down by the advertising, don’t you make a single false move” calls out the female chorus of Fiona Kitschin and Erica Dunn echoing the dismay of our time as we bear witness to the sinister seductions which social media surveillance has entangled us. A Laughing Death in Meatspace doesn’t show us the way out of this situation, but it howls along with us as we peer into the maelstrom ahead.