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.
Thundering over the horizon out of Perth, Australia, the psyche-rock capital of the Universe, Psychedelic Porn Crumpets are taking the World by the horns. Having spent the last year slaying sold-out audiences in US, UK and Australia with their blistering live shows, the band have thrown down the gauntlet with their new album, And Now For The Whatchamacallit.
The new album marks an exciting new chapter for Psychedelic Porn Crumpets. Recorded between frontman Jack McEwan’s bedroom and Tone City Studios in Perth, mixed by Michael Jelinek (Gunns)and mastered by John Davis (Gorillaz, The Killers), And Now For The Whatchamacallit is representative of the development in the band’s huge sound, and their most anticipated release yet. “The original concept was to take a 1930’s carnival that had been re-imagined for future generations, a collage of Punch and Judy, Carousels and coconut shy’s that progresses in musical concepts and travels with the listener. Then as we started traveling I was swept off into my own kind of circus, the odyssey of touring life. Large nights out, larger characters, drunken recollections of foreign cities and rabbit hole-ing into insanity.”
The 10-track record is punctuated by the singles Social Candy, Keen For Kick Ons? and Bill’s Mandolin, all perfect slices of manic Psychedelic Porn Crumpets fury. This new album positions them more than ever as a band ready to explode with exciting energy and is a continuation of the musicianship fans have seen bolden over live shows and recent releases.
A fuzz-guitar Cascadian cache! The drive’s cranked all the way up and the needle’s fully in the red for this set of uptempo garage-punk stompers from Salem’s enigmatic Garland Records. Packed with killer, crunchy bass, pummeling drums, in-your-face vocals, and (of course) mountains of fuzz-guitar! 13 tracks (primarily originals, with distorted deviations of select known numbers) that range from impossibly rare to previously unreleased.
The perfect proto-punk blend of melody and aggression by The Rockin’ Ramrods put a stranglehold on the mid 60s Boston rock scene. This array of hip-shakers includes the iconic original “She Lied,” a thrilling cover of Little Richard’s “The Girl Can’t Help It,” four recently discovered gems making their vinyl debut, and even more sonic onslaughts!
“For a while, right in the middle of the 1960’s, the Rockin’ Ramrods were in total control of the Boston rock scene. Originally recorded for Bon Bon Records, “She Lied” is a truly spectacular piece of proto-punk, the sort of perfect blend of melody and aggression that The Ramones would go on to transform the planet with a dozen or more years later. But this was not some troupe of sociopathic knuckle-draggers, the Rockin’ Ramrods – Bob Henderson, Vin Campisi, Ronn Campisi and Lenny Cirelli – were the sort of group who found themselves gainfully employed playing record hops in local department stores where the entrance fee was the cap from a Coke bottle. And yet, just listen to that track again – buzzsaw guitar, sloppy, slung-lo bass, chanted vocals, The Rockin’ Ramrods are rougher than a badger’s arse, yet beautiful pop at the same time. In 1965 they signed with producer Frank Slay (who’d had hits with doo-wop stars The Rays and would go on to work with Strawberry Alarm Clock) and he began to shape their material. Out went the thrash and in came the shapely pop gems. Trouble is, a million people were making shapely pop gems in 1965, while almost no one was making a thrashy racket. As you’ll hear, the Rockin’ Ramrods were truly punk-before-punk.”
From the thriving hotbed of sixties garage and psychedelia of the PNW and Salem’s orphic Garland Records comes this potent cache of rare and previously unreleased recordings. Chiefly composed of moody and mellow folk rockers and ethereal groovers, there are also a few far-out, heady reconstructions of familiar faves. CD includes two bonus cuts not available on the LP. Be warned, these hooks are very sticky!
With Sundazed Music’s acquisition of the Garland Records catalog you’re in for a tidal wave of great garage rock, pysch, soul, and even some country. Here with Pacific Northwest Stash Box, you’re treated to hook laden cuts that sound laced with a little something, and not just “Life Laced Leaf!”
True to form for BeatRocket’s Garland Record collections is the abundance of original material. Out-there originals like “What Goes Up, Must Come Down,” “Parousia,” and “Forest Of Two Trees” sound right at home with the floral covers of “Cathy’s Clown” (Everly Brothers) and “She’d Rather Be With Me” (The Turtles). Sixties Salem Oregon was way out and BeatRocket is sorting through the Garland reels to prove it!
Red and black marbled vinyl!
Minneapolis was their home turf. But in the decades that followed, appreciation for Distortions swelled to tidal wave proportions among fans of amped-up, ramped-up, balls-to-the-wall rock ‘n’ roll. Headlined by two red-hot, stone-cold killers, “Action Woman” and “Soul Searchin'”–both penned by producer Warren Kendrick–Distortions is arguably the greatest private-press garage band album of the era.
The Litter formed in 1966 as a merger between two popular Twin Cities combos, the Victors and the Tabs. They quickly established a reputation as the wildest, loudest band on the scene. Bill Strandlof was responsible for the incendiary, feedback-laced guitar work on “Action Woman”–a local hit for the band when released as a single in January 1967–but by the summer he’d been replaced by another fast-fingered guitar slinger, Zippy Caplan. Caplan’s fiery leads helped ignite the remainder of Distortions, including smoking interpretations of the Who’s “Substitute,” the Small Faces’ “Whatcha Gonna Do About It,” an intense reading of “Codine,” and a comprehensive reconstruction-destruction of “I’m A Man.”
Pure, unfiltered ’60s garage rock excitement is just a needle-drop away with this Bob Irwin mastered, Kevin Gray cut, and RTI pressed beauty! A fuzzy garage must have sounding and looking better than ever before!
Hey there, human kids, lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies—the latest Oh Sees, Face Stabber! Boop, blip, ughhh….people churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!”
This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs, blip-blop goes the scope, heavy funk, dystopia-punk canons, long jams, bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider-legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please…fifty carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out.
For fans of fried prog burn-out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy—over and out.
What do three budding music moguls from Brooklyn do when all the music business is obsessed with the British Invasion? Easy…they pretend they grew up in Australia (on a sheep farm, no less)! But, as it turns out, Richard Gottehrer, Jerry Goldstein, and Bob Feldman (a.k.a Giles, Miles, and Niles Strange) didn’t need any gimmicks to succeed in the music business. They had already written and produced The Angels’ hit “My Boyfriend’s Back” when they launched the Strangeloves; Gottehrer went on to co-found Sire Records and The Orchard, while Goldstein produced Sly & the Family Stone and War among the band members’ many industry achievements. But for their one and only album, Giles, Miles, and Niles Strange they were, adorned in caveman gear on the front cover of this 1965 release on Bert Berns’ Bang label. “I Want Candy” (later, of course, covered by Bow Wow Wow) was the big hit, but “Cara-Lin” and “Night Time” also scraped the Top 40, and the trio also premiered their song “Hang On Sloopy” before they gave it to their discovery The McCoys who took it to number one. In short, this is a one-off slice of classic ‘60s pop-rock, reissued for the first time in over 30 years on vinyl (candy apple red vinyl, to be exact). Limited edition of 1000!
Since forming in 2006, MEAN JEANS have become one of the better-known bands of the Pacific Northwest punk scene for their chaotic but relentless attack, raucous live shows, and fierce commitment to the art of partying. They brought the party to Fat in 2016 with their highly acclaimed Fat Wreck debut Tight New Dimension, followed by last year’s Jingles Collection—a 23-song assemblage of unsolicited jingles written for their favorite products. Gigantic Sike is the band’s’ fifth full-length and falls into the same category as their prior albums—three-chord, heavily Ramones-influenced party punk, but with a bit of a twist. While the songs are fun and fast, there is a darker story being told of the bleak existence of a party boy. Each of the 11 tracks have an element of sadness and cynicism to them. On the surface, opening track “Party Line” is about a hotline you call when you’re ready to party. The hotline is singer BILLY JEANS’ actual cell phone. No one is blowing up the party line anymore and everyone is moving on with their lives. “What the Fuck Is up Tonight?” describes the struggle between heeding the call to grow up, and the desire to live in the moment. Gigantic Sike’s mission statement concludes with its closing track. “Time Warp” is a fizzy, melodic number that serves as an exit strategy for the issues presented throughout the album—you have the ability to run away from all of the stupid decisions you’ve made in life, and take the time warp to start over again. It is a joke on the fantasy of sneaking out the backdoor on a crummy identity you didn’t necessarily mean to create. This underlying theme mixed with classic Mean Jeans like “Just a Trim (Don’t Buzz Me Alright)” and “I Fell into a Bog” has Mean Jeans at their best.
The planet is in trouble. Dire trouble. But fear not: Melbourne seven-piece King Gizzard & The Lizard Wizard return to save us all, this time armed only with blast beats, an arsenal of well-oiled guitars that are locked and loaded, and a desire to melt faces clean off.
Their fifteenth studio album, Infest The Rats’ Nest is by far The Gizz’s hardest and heaviest album to date. How metal is it? Very Metal. Maybe even more.
Recorded in a basement over the course of five days during a typically-inhospitable Midwestern winter, Sleepyhead is an auspicious—if, at the time, criminally overlooked—debut effort from the young songwriter Lillie West and her then-lineup of supporting players (Abby Black on drums and Karl Bernasconi on bass).
Unlike 2018’s critically-acclaimed The Lamb, Sleepyhead is a rawer, more punked-up album with fewer lyrical metaphors obfuscating it’s intimate, direct emotionality. Committed to tape in an urgent outburst of creative energy, the self-produced record eschews overdubs and takes unfussy aim at the listener’s ears, heart, and the lump in their throat.
Album standout “Fuck With Your Friends” was a breakthrough moment for West—it was the first song she ever wrote, one that tumbled out of her fully-formed, setting her on the path that’s led to her recent successes. Its also emblematic of Sleepyhead’s confessionalism and fearless forthrightness: “I drink more than I want to ‘cause it makes you easier to talk to / And what you’re saying is boring,” West sings.
REPRESS ON BLACK VINYL! Subtitled ‘An Outer Space Music Fantasy By Joe Meek’, this is a true classic in incredibly strange music, electronica and pre-Beatles Britpop. ‘I Hear A New World’ is a masterpiece from that left field master of sound, Joe Meek. Recorded at home with secret equipment, as well as at the state of the art Lansdowne studio, which he pretty much designed himself, this serving of spectacular action stereo extravaganza dates back to 1959 and it sounds way ahead of its time.
The world famous Tokyo female rockin’ garage trio The 220.127.116.11’S unleash a ‘best of’ compilation album. The gals have selected 14 tracks that represent some of their fave (and most well-known) recordings (1994-2014). As an added bonus, the album features an alternate version of “Woo Hoo” (immortalized in the Kill Bill movie).
It’s a year and a half since the release of Freedom’s Goblin. A winter of rain has buried the recent times of drought. Contradictions are rife. First Taste is an introspective set after the extroversions of Freedom’s Goblin—yet just as steeped in party beats somehow, even as TY SEGALL trails through his back pages, reflecting on family, re-encountering pasts, anticipating futures. First Taste is arch, full of high-energy jams, with a thing in each mix always insistently different. Ty’s song design’s all over the place—not even a surprise anymore—but unlike the freewheeling feast style of Freedom’s Goblin, these twelve numbers form a tightly revolving cycle of song and sound that focuses thoughts.
Encased in a brown paper wrapping like a forgotten bit of smut from behind the beaded curtain, this unassuming disc is a time-capsule back to John Dwyer’s early SF days, janglingly fingerpicked wisps of melody and electronics baking in the all-too anemic sunshine of San Francisco’s elusive summer. Like a seashell to the ear, one can hear within it Baker Beach bike ride excursions, holding court and gently harassing passers-by on a Haight street stoop, and midnight rambles with friends from out of town, daring the sun to come up. Somewhere chronologically between the folky whisper of Songs About Death And Dying and the recently reissued Cool Death Of Island Raiders, this one’s been vexing to find for way too long and Castle Face has decided to give it “the treatment”. May it awaken the gentle glow of possibility dappled with the dancing shadow of danger that it stirs around this castle.
At last! FRED and TOODY COLE (DEAD MOON, PIERCED ARROWS) and drummer LOUIS SAMORA’s ultimate punk masterpiece—In A Desperate Red. This is the last record by the Portland punk legends before moving on to a very brief country period and then Fred and Toody moving on to Dead Moon. In fact, two songs from the first Dead Moon LP hail from the same session as this LP. In A Desperate Red combines garage rock, new wave and art punk—just picture a more punk version of Dead Moon if you can. 6 years of work went into remixing and remastering this version with Fred Cole twisting knobs and obsessing over it’s every detail and then GREG SHADOAN and TIM STOLLENWERK finishing the job. One of Fred Cole’s greatest records and impossible to find for many years—at last this LP is available as it was meant to be heard. Play it loud! First Pressing includes a 40-page booklet and a xerox replica of a RATS show poster! Co-released with Mississippi Records.
King Khan’s adventures almost 18 years ago in the cities of Bordeaux and Berlin finely documented in music is finally going to get the VINYL TREATMENT. These recordings were made while King Khan galavanted through Europe’s most hedonistic cities and collected a merry group of pranksters to make sweet sweet rock n roll with. And who else did he meet along the way? Sophie Crumb, the genius comic book cretin and painter extra-ordinaire. Upon meeting Sophie in the south of France, Khan had a mystical vision of a giant Turkey Ride with a human ass, and a couple of kids standing around it and staring at it. Sophie enjoyed this mystical vision and put some ink and some watercolor together and brought it to life! Music and art twist the night again! This 13 song ode to bohemia is just what the doctor ordered, if the doctor was Timothy Leary and the nurse was Traci Lords…. hammana hammmmana hammmana!!!!
While young King Khan was making these frequent trips (not only the Lysergic kind) to the cities of Bordeaux and Berlin. He was especially mesmerized by the decadent bohemian relax-your-mind mentality of frogs and krauts alike. He met Dan Ra and waltzed into his studio and within a few days and nights recorded what would be the beginning of the King Khan Experience. After the fourth visit, King Khan walked into the Red Roses (notorious 24 hour drinking hole in Kreuzberg) after an all night recording session. There he met a strange 70 year old African man from Somalia who happened to be wearing the same hat and scarf as King Khan. The man stared into Khan’s eyes and yelled “YOU LOOK LIKE ME”. This scared the young king khan as it truly felt like he was staring at a 70 year old version of himself. The Somalian who called himself “The Electric Sailor” spoke three different languages, and pounded beats on the table in front of him. When Dan Ra approached the somalian he frantically yelled “Don’t touch me White Man!” After a while the ice was broken and they all had a great chat. The somalian’s name was Hassan Hersi Ali Gama, and when they parted ways King Khan headed drunkenly to the train station. Upon staring at the name of the Somalian in a daze, King Khan noticed that his real name “Arish” was in the letters of the Somalian’s name…. after playing around with the letters out popped a message…. “Arish is a shaman Gal”
“Still panting from their installment in Castle Face’s Live In San Francisco series (where they ran a greatest hits clinic for basement sweat-rats) and from mega-mind Lars Finberg’s outside solo oddballer, Moonlight Over Bakersfield, The Intelligence return in Neu-veau mode with Un-Psychedelic In Peavey City, their tenth studio album-amalgam. Load up on electrolytes, all ye who enter here…
“The customary tin / aluminum milestone won’t fit this true band of steel: the current Intelligence iteration is the most forceful and dynamic of any line-up in the project’s history. Although each performer has been smeared across myriad recordings and tours for years, the now-time assemblage of Drew Church (bass), Dave Hernandez (guitar) and Kaanan Tupper (drums) currently positions The Intelligence as a world-class unit, with members playing in partnership with conductor Finberg rather than at his sometimes-service. Lars is giving the back-rubs now, not getting ‘em—a delightful and cruel twist.
“There’s no aspect of Un-Psychedelic In Peavey City that tilts toward phoned-in safe plays, no easy feat for a 10-albums-deep unit. For this collection, the band cast off the comforts of their traditional cosmopolitan haunts (Sacramento, Costa Mesa, etc.) in favor Grass Valley’s Louder Studios, a wilderness recording burg (OK OK, with a pool, yes) helmed by Tim Green, a twiddler maestro who has assisted Bikini Kill, Melvins, Comets On Fire, Wand and countless others in sterling fashion. The resultant recordings are the most expansive Intelligence material imaginable—perhaps Un-Psychedelic, but certainly free, playfully abstract and awesomely stretched out.”
The seven-headed Aussie rock beast King Gizzard and The Lizard Wizard return with Fishing for Fishies, perhaps their most perfectly-realised album to date. Released on the band’s own Flightless Records, here is a world where the organic meets the automated; where the rustic meets the robotic. Where the past and future collide in the beautiful present. The fourteenth album since their 2012 debut – and their first following the release of five vastly different albums in 2017 – Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. From the soft shuffle Outback country of the opening title track through the sunny easy listening of The Bird Song (think the lysergically-soaked Laurel Canyon circa 1973) and on through the party funk of Plastic Boogie (which somehow summons the spirit of Stevie Wonder’s Innervisions) the road-trucking, Doors-like highway rock of The Cruel Millennial and Real’s Not Real – what The Carpenters might have sounded like had they existed entirely on vegemite and weed – it’s a dizzying, dazzling display which addresses a number of pertinent environmental issues along the way.
When he was approached by Scion in 2011 to make an album for the music promotion arm of the car company, Reigning Sound frontman Greg Cartwright found himself unable to refuse—despite his band’s tenuous existence at the time. “Several line-up changes had ensued after the original Memphis quartet disbanded, and I found myself considering the possibility of shedding the Reigning Sound moniker,” muses Cartwright. “I had decided to take a break to work on production for other people and write songs for The Parting Gifts, my upcoming collaboration with Coco Hames.” But now, Reigning Sound had an offer on the table, and there was no band. Besides Cartwright, the one constant of Reigning Sound’s previous three years was keyboardist Dave Amels, who was moonlighting in The Jay Vons, the Brooklyn soul combo formed by Long Island natives Michael Catanese, Benny Trokan, and Mikey Post. Sometimes Amels would even pull double duty at gigs where Reigning Sound and The Jay Vons shared a bill. When The Parting Gifts released their outstanding album Strychnine Dandelion in 2010, The Jay Vons opened shows for them on a brief tour. A few months later, Scion came knocking. Around the same time, Dan Auerbach of the Black Keys, who provided guitar for the Parting Gifts record, had just moved to Nashville and wasbusy putting the final touches on a private studio. “Dan was eager to do some work in the new studio in preparation for an upcoming session with Dr. John, and he offered us some studio time as well as his production assistance. Tentative arrangements with Nashville players evaporated one after another due to prior engagements or last-minute snafus. “There I was, twiddling my thumbs in a Nashville studio, the clock ticking, with no band. On a long shot, I phoned Brooklyn and made a Hail Mary pass to The Jay Vons—and they said yes. I called Scion and asked for three plane tickets and hotel rooms, and in a matter of hours, the band were on their way to Nashville. In two days, we cut five songs. I paired these five with three outtakes from the previous Reigning Sound LP Love and Curses which featured Lance Wille on drums and Dave Gay on bass,” recounts Cartwright, adding, “The Greg and Jay Vons line-up of Reigning Sound continues to this day.”
Serfs Up! is Fat White Family’s third album and their first for new label Domino. It marks the most gratifying and unexpected creative volte face in recent musical history. Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.
Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.
Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as Hounds of Love – era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.
Echoing within the arrangements throughout are traces of blissed-out 60s Tropicalia, Velvets / Bowie sleaze-making and star-gazing, 80s digital dancehall, David Axelrod-style easy listening, joyous Pet Shop Boys synth crescendos, acid house, post-PIL dub, metropolitan murder ballads, doom-disco and mouth-gurning, slow-mo psychedelia so by the time it comes to a close only a fool would deny that Serfs Up! is something very special. No longer is unadulterated music malevolence Fat White Family’s stock in trade; this is cultivated music for the head, the heart. For tomorrow’s unborn children.
Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.
The hard stuff saga continues with Brown Acid – The Eighth Trip! Yet again, Riding Easy has searched high and low to bring ten tracks of straight blue flame fire from the golden age of heaviness. As usual, these rare tracks have been carefully curated, analogically sourced, and fully licensed so one can listen guilt-free and save a lot of time and money tracking down the original copies. This Trip comes straight at ya with an all out attack, quite literally—Attack’s “School Daze” kicks out the jams Detroit-style. White Rock will knock your stank-ass socks off with their 1972 burner “Please Don’t Run Away”. This 45 was privately released by this Houston-based band that reportedly played shows with Josefus, Stone Axe, and Purple Sun. Riverside’s two-sider from 1974 rips from front to back. It’s also exclusively available here and is virtually unknown. And that’s just some of the stellar collection of rare singles featured here. Some of the best thrills of the Internet music revolution is 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 certain genres. 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.
The Centaurs were one of the top rock bands to come out of Vancouver Canada in the mid-60s. With their long hair and bad boy image, they were way ahead of their time in both their sound and style. They left Vancouver seeking fame and fortune and ended up in Holland and Germany where they quickly rose to the top of their game, sharing the stage with some of the biggest groups of the day and gaining thousands of adoring fans.
The tracks represented here are high quality studio recordings from 1966 transferred from the original analog master tapes, plus a few live bonus tracks recorded in 1967 in Amsterdam Holland, just to give the listener a feel of the period from the band’s perspective. Fans of 60s Garage/punk music will greatly appreciate these never before released tracks remastered by award winning mastering engineer Stephen Marsh in Los Angeles. Read the full story of the band’s further adventures inside in deluxe 16 page booklet with never before seen photos and memorabilia.
The most popular and productive line-up of the Athenians beat group came together in Edinburgh in late 1963 and comprised Rick Alcorn ( Bass), Ally Black ( Guitar), Keith Henderson ( Guitar), Arthur Mackey ( Drums) and Ian Orr (Vocals). After a deep delve into the catalogues of Sue, Chess, Atlantic, Motown etc. a pretty sassy outfit became the exponents of some very acceptable R&B/ Rock. Having now acquired a fan club, a manager and a large following, the band were playing seven nights a week, two of these as residents of the famous Gamp Club, allegedly their second home. Although only part-time, they were relishing their situation especially the attention coming from the student fraternity at Edinburgh University and soon they’d be performing with Manfred Mann, The Hollies, The Animals, The Pretty Things, Diana Dors (what?) and many, many more.
The University connection was to introduce them to their first taste of recording as a request was made to cut a single to promote the Charity Appeal for that year. Entering Craighall Studios in early Feb. 1964 tracks ‘You Tell Me/ Little Queenie’ are produced and released in all their glory (It has now been confirmed by rock historians/pundits that this record is the first 7″ Single to be released by a Scottish beat group).
The Wah Wah edition compiles the bands’ 45s plus previously unreleased recordings from surviving acetates – if you love bands such as The Rolling Stones, The Kinks, The Yardbirds, bluesmen like Slim Harpo or Lazy Lester and also the soulful sounds of acts like Ike & Tina Turner or Ben E. King this LP is for you!
xploding from AM radio speakers everywhere in 1965, The Knickerbockers’ “Lies” is a certified ‘60s classic. Much has been made over its sonic similarity to the Beatles, particularly the Lennon-esque lead vocals. True, it is remarkable in that regard but what is often overlooked is just how GREAT the song is in its own right. Written by band members Beau Charles and Buddy Randell, it is a superbly crafted composition that could have been a hit for any number of artists. That the Knickerbockers? ferocious version sounds like it was ripped from the soundtrack to “A Hard Day’s Night” is just gravy. But great as it is, there is so much more to the band?s story than their biggest hit.
Brothers John and Beau Charles formed the band in Bergenfield, New Jersey in 1962. Bobby played bass, Beau played guitar and they both sang. They moved through various group personnel, eventually solidifying the lineup with vocalist/saxophonist Bobby Randell and drummer Jimmy Walker. Both of the new recruits already had recording experience, Randall with the Royal Teens (“Short Shorts”) and Walker with The Castle Kings (“You Can Get Him Frankenstein”). Together, the quartet forged their sound as they filled the dance floors on the tough east coast club circuit. While playing the University Twist Palace in Albany, New York, they were spotted by producer and artist Jerry Fuller, who subsequently signed them to Challenge Records in Hollywood.
Sadly, they soon encountered more hurdles. Jimmy Walker left the band in late 1967 to replace Bill Medley in the Righteous Brothers and Challenge Records went out of business soon thereafter. The group carried on for a while with replacement members but disbanded in 1972. Thankfully, Sundazed went straight to the original Challenge analog mono masters and compiled Rockin’ With the Knickerbockers. This amazing album is a true celebration of one of the most criminally underrated groups of all time. Loaded with their best singles and album cuts, it’s rockin’ from beginning to end!
In the bygone era of arena rock, concerts were a way of promoting records. Punk challenged that notion by making rock a communal experience again: the boundaries between performer and punter were blurred; anyone could start a band; and records were no longer the definitive statement of an artist’s vision, but rather a way of promoting visceral and participatory live shows. In their early years, Atlanta trio The Coathangers were very much of the classic punk ethos—the band was a live entity, and the records were merely a document of the charisma and chaos projected from stage. But after 12 years of relentlessly touring on a steady flow of EPs and LPs, The Coathangers finally took a moment to recalibrate before diving into the creation of their sixth studio album The Devil You Know. After a summer break of reflection and reassessment, the band regrouped to make an album that captures all the vitality of their early years while honing their individual strengths into new communal achievements. It’s a record that takes their established takes on vitriolic punk, playful house-party anthems, and heartworn ballads and melds them into a new sound that retains all their former live show glories while revealing a new level of songwriting and nuance.
The album title stems from an old adage whispered at a friend’s wedding. We settle when we’re afraid of the unknown. It’s a theme that runs through every song on the album, and even though the band insists they were writing songs about other peoples’ pain, they acknowledge that the old saying applies to their band as well. We get comfortable, we get scared, and we refuse to change. But with The Devil You Know, The Coathangers lost their fear, and that allowed them to shed the baggage of the past. “Why are we living in these cells we built for ourselves?” Kugel asks. “That’s been the great thing about this record. It’s been honest and confrontational… but not in a shitty way.”
THE HUNCHES surfaced in the waking years of this century to hit a nerve that desperately needed hitting. Playing a cacophonic, gritty kind of rock & roll, they were an antithesis to the stylized version of so-called garage rock that had come into favor. The Portland four-piece released three full-lengths and an assortment of singles on labels like In the Red before calling it a day in 2009. Now, Almost Ready Records, who released an album’s worth of demos in 2016, is releasing a second full volume of recordings heretofore unheard. Recorded in 2002, many of these demos would wind up on their first album, Yes No. Shut It. Here, though, cuts like “Explosion” and “Confusion” are less overblown, with the nuances of The Hunches’ attack revealed. Meanwhile, the new songs show that the band had more solid material than one album could contain. Think of these recordings as ground zero, as they laid the foundation for The Hunches’ all too brief, but amazing existence.
2019 repress. All girl band from Memphis who happened to be Alex Chilton’s protégés; primal, loose rock n’ roll à la Chilton/Jim Dickinson/Tav Falco in a wild and primitive no wave/DIY punk style. Whether you like Charlie Feathers or Kleenex, The Cramps or Lydia Lunch, you will adore The Klitz, the unadulterated sound of the Memphis underground. One side studio, one side live, both sides frantic, chaotic, and electrifying!
Galveston’s premier psychedelic/garage band, the Countdown 5. Here’s a compilation with recordings dating from 1967-68, featuring a selection of their 45 sides for Toucan and Cobblestone. It includes the mod-psych classics “Uncle Kirby” and “Shaka Shaka Na Na” plus some amazing studio tracks which were never released at the time. Fab Beatlesque/Anglophile psych with great vocal harmonies, jangly and fuzzy guitars, organ… Formed in Galveston in the mid-60s, the Countdown 5 were one of the leading psychedelic/garage bands from Texas. From sharing stage with legendary Houston groups like Moving Sidewalks, the Clique, and 13th Floor Elevators, and opening for big names like Paul Revere & The Raiders, they went to running their own label (Toucan) and were also part owners of the renowned Walter Andrus Studio, home to bands like the Elevators and Fever Tree. Uncle Kirby is focused on the psychedelic period of the band (1967-68), including their most psych sounding 45 sides (in original mono mixes) plus unreleased tracks recorded at Andrus Studios which had never been released on vinyl, until now. Master tape sound; Includes four-page insert with liner notes and photos.
Marinated in such diverse influences as the mind-splintering mushroom folk-rock blast of the Jefferson Airplane and the feel-good pristine pop of the Turtles, original copies of the Neighb’rhood Childr’n’s lone album trade hands these days for sums usually mentioned in ransom notes. Hailing from the tiny town of Phoenix, Oregon, the Childr?n made deep inroads into the early San Francisco scene, opening for the Who, the Grass Roots, and the Beau Brummels and subsequently taking the psychedelic message back to the Pacific Northwest hinterlands?sometimes at great risk to their persons at the hands of small-minded locals. Marked by singer-organist Dyan Hoffman’s wailing vocals and guitarist Rick Bolz’s stinging fuzz leads, the Neighb’rhood Childr’n are one of the most criminally overlooked acts of the entire psych/acid era.
“Oh yass! More unissued stuff, way more pix and stories of Boston’s finest Rock & Roll band. Essential? We’d leave this decision up to you, but definitely a must for ye Real Kids fans out there!” Twenty-four previously unreleased Real Kids cuts—kicks off with ten crude rehearsals from April/May 1976, of which six were never re-recorded in a studio setting, plus fourteen live cuts from 1976-1977 chosen as best from a stack of 31 cuts. 21 originals and 3 cover songs all housed in a double gatefold LP, plus innersleeve crammed with photos, zine clippings and liner notes.
“Oh yass! More unissued stuff, way more pix and stories of Boston’s finest Rock & Roll band. Essential? We’d leave this decision up to you, but definitely a must for ye Real Kids fans out there!” Twenty-four previously unissued REAL KIDS cuts—23 live from 1977-1978 chosen as the best from a stack of 44 songs, plus one crude rehearsal from April/May 1976. 19 originals and 5 cover songs in double gatefold jackets with innersleeve crammed with photos, zine clippings and liner notes. CD version includes a 24-page booklet.
This S/T, by The C.I.A. is an urgent musical notice. I feel it immediately. The pointed vocal cadence & lyrics of Denée Segall (Lamps, VIAL) is a sharp scythe, and the actual time is…Now.
I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. in fact, if you took that…mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari teenage riot) and even Dinah Cancer (45 Grave) “Autopsy” era, you can get a feeling. And Similarly to those mentioned, Denée is putting a time stamp on THIS time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing.
Reissue of ‘At Home With Satan’s Pilgrims’, the very first full length Pilgrims album originally released in 1994 on eMpTy Records. Even on their first album, the Pilgrims came out of the gate with some of their best loved original songs, such as ‘Surf Lyre’, ‘¿Que Honda?’, and ‘Petty 43’. The cover songs they chose show their allegiances. Rather than going for the Dick Dale style that was about to reintroduce the world to surf music via ‘Pulp Fiction’ (which was released into theaters not long after the release of ‘At Home With Satan’s Pilgrims’), the Pilgrims chose a more band oriented style as they covered The Bel-Airs, Eddie & The Showmen, The Rondels/The Challengers, and having three guitars, The Astronauts…natch! Limited to 350 copies on black vinyl.