First off are two great new releases from Mississippi records:
MR – 093
Mahmoud Ahmed – Jeguol Naw Betwa LP
Reissue of a 1978 self released LP by one of the greatest Ethiopian vocalists of all time. This material has not been reissued in any form since its original release. Recorded at the end of the ‘golden age’ of Ethiopian urban music, Mahmoud is in top form belting out transcendent intense vocals over the Ibex Bands’ hypnotic soulful sound. As good as it gets & as close to universally perfect music as ever has been made. Old school thick “tip on” sleeve. Beautifully remastered by Timothy Stollenwerk.
MR – 094/SEC -7-009
Michael Hurley – Fatboy Spring LPA full LP of never before released Hurley recordings from 1972 – 73! Great early versions of classic Hurley songs such as Automatic Slim & the fatboys, Drivin’ Wheel, Ghost woman Blues, Watchin’ the Show & The Portland Water. Hurley is backed up by “The Fatboys” – not the rotund hip hop crew from the film “Disorderlies” but rather a bunch of not so fat nice guys in Vermont who played mostly for the local dairy farmers. (Later they were known as “Sheriff Mocus & the Deranged Cowboys”) A laid back countryish album sure to please the hardcore Hurley fan & casual listener too. Deep & breezy. Cover painting by Michael. A co-release with our friends label in San Francisco – Secret Seven.
Also, if you missed this before I was able to get a few more copies:
MR-074 / DS-032
Fred McDowell – The Alan Lomax Recordings LP
The first ever recordings of Fred McDowell! Recorded by Alan Lomax in 1959. The first vinyl
release dedicated entirely to this phenomenal recording session. 12 songs that highlight the depth of his repetoire – from droning & hypnotic versions of songs that later became blues standards such as “Shake Em On Down” & “Good Morning Little Schoolgirl” to his deeply felt renditions of spirituals like “Keep Your Lamp Trimmed & Burning” . Accompanied at times by some amazing hair comb playing & beautiful backup vocals. Comes in an old school “tip on” sleeve with liner notes by Nathan Salsburg. A co-release with our friends Domino Sound. The stuff of dreams.
Next off, from Fusetron there are a TON of killer titles:
Artist: LAURENT, PHILIPPE
Title: Hot Bip
Label: Minimal Wave
“Minimal Wave is proud to present a full length LP by French mastermind Philippe Laurent. The LP is entitled Hot-Bip, a pseudonym Laurent used throughout the 80s and 90s and also the title of his 1983 cassette on Fraction Studio. Hot-Bip features tracks recorded between 1979-1988, most of which have either remained unreleased or only previously appeared on scarce 80s experimental cassette compilations. Laurents music can be described as spacey synthpop, containing much depth and range. It is edgy, political and pushes the limits, transforming his sound beyond one specific genre. Hints of classical influences as well as electro influences can be heard. Hot-Bip showcases Laurents best musical output from the 80s and includes some very avant-garde pieces from as early as 1979. A limited edition of 999 hand-numbered copies, this LP is pressed on 180 gram, translucent red vinyl and housed in a black and white matte printed heavyweight sleeve.” – Minimal Wave.
Artist: LEON, CRAIG
Label: No Label
“CRAIG LEON, producer of late 70s albums by Suicide and Blondie among many others, recorded two solo records in the early 80s of proto-techno minimalist drone, including NOMMOS, for John Faheys Takoma label. Long considered a classic of electronic and cosmic music, as well as being a total anomaly for Takoma, NOMMOS is an album that sounds as if it could have been produced any time from its actual conception in 1981, up until the present. A pure mass of eye blinding expanse set adrift into the world. One time pressing, paste on front and back covers.”
“Most people should recognize the name of this artist. However, most people will recognize the name of this artist when its paired with a production credit, not as…well, the artist. Craig Leon is, of course, one of the seminal NYC punk/New Wave producers who brought us so many excellent things from that scene, ranging from Suicide to Blondie. And hes continued his production work on up to the present day, of course. Still, very few people know about the electronic albums hes made himself. And thats a shame, because theyre fine, fine drone-a-delic stuff. Especially his first, “Nommos”. Used as a soundtrack for a dance work by Twila Tharp (as was a lot of nifty NYC stuff from this general period), “Nommos” is supposedly based on African rhythms and the like. But really, its always reminded me more of some sort of missing link between the proto-industrial rhythm and drone of Suicide and the whole minimalist drone/static/repetition method as in Terry Riley, LaMonte Young, etc. Youve got the rhythm generator thing going on. Youve got the synthdrones. Youve got the constant repetition. The whole hypnotic but not necessarily relaxing vibe. Much of the album uses the nifty-but-simple trick of comb filtering to make the drums/rhythm box ring on a certain pitch. And then over this, Leon builds up layers of more drones. And more. And even more. And then sometimes, as in “Donkeys Bearing Cups”, also adds a bunch of evil, headwarping processing to this. End result: hypno-brainmelt. On the first side of this, both “Ring…” and “Donkeys…” are fairly fast-paced affairs, constantly rhythmically pulsing, droning, buzzing…like the discoid equivalent of some mutation of LaMonte Youngs “The Tortoise, His Dreams and Journeys” pieces. But “Nommo” slows things way down, with this discontinuous, jerky, almost bluesy-type beat, over which everything just slowly builds chordally, like some weird heat-mirage architecture. Its a serious eyes-roll-back-in-head sort of thing…blissy, hypnotic…off in a kosmische sort of zone, but at the same time not really having that kosmische sound to it. Side two kicks off with a harsh, bzzzaaating rhythm, also jerky, and incomplete-sounding. But in this case, instead of building up a chord, Leon builds the components of the rhythm pattern. One bit here, another bit off in the reverb zone out there somewhere, and so on as this insectoid buzz-hum starts to key up and ripple away, a bit disquietingly perhaps. Then a voice…an actual voice, yes…and then another, joins this, sometimes tunelessly, making odd birdcall-like sounds, ahhs, wails, vocal line fragments, and so on. Whoevers doing this isnt credited, but I can say that it reminds me some of Meredith Monks primal-vocal type work. Eerie, spacy…quite trippy. Then BAM!!! suddenly were dropped without warning into the fast, frantic rhythm-box groove of “She Wears a Hemispherical Skull Cap”. Its abrupt, almost startling, because you get locked into the former and chucked headlong into this. But as a chordal, hymnlike polysynth starts to arch over this, you just sit back and go yeahhhh…. as the dronebliss just washes over you in one long I-chord being played out and with. Theres things here that, like I said, remind one straightaway of Suicide. But its never really as abrasive an experience as Martin Revs great work with that duo. Instead, its more blissed-out. You could also draw some comparisons with some of the more motorik Kraut stuff; theres a sonic kinship here with, say, Clusters “Zuckerzeit”. But its the obvious minimal/drone school linkages that really draw things together here, from the buzzdrone beats to the washing chords and hummmmmmmming synths. Head music? Oh, yes…yes, indeedy. But also, the sort of head music that anyone with an astute ear for an electronic beat can gravitate to. As for where to get this these days…no idea. Its odd that Takoma, which is usually known for folk-type releases, put this out, because its about as antithetical to a folksy-sounding record as one can get. But its very much worth hunting down if youre into the robotiker groove-trance brainhum sound its got.” – JULIAN COPE, Head Heritage. Very highly recommended!
Title: Life In The Future – Swedish Post Punk & Synth Wave 1979-87
Label: Life In The Future
“Life in the Future compiles 12 rare singles (and 2 album tracks) from the golden era of Swedish synth and post punk. From the DIY madness of Horforstaelse to minimal classics by Reason to Live and Friz Be, via the dark post punk of Cortex and Unter Den Linden, LITF only scrapes the surface yet paints a complete picture of the countrys fertile scene. 500 copies on white vinyl, with screened covers and insert.” Highly recommended!
1 Horforstaelse – Forlast Javel (7″, 1980)
2 GPJ – Tristess No 3 (7″, 1979)
3 Kitchen & the Plastic Spoons – Happy Funeral (7″, 1980)
4 Modern Art – Envy (7″, 1981)
5 Cortex – Jesus i Betong (7″, 1981)
6 Njurmannen – Chinese Junkies (7″, 1987)
7 Odd Stories – Dance (7″, 1981)
8 Mats Olofsson – Rekordmagasinet (7″, 1981)
1 Reason to Live – The Gift (7″, 1985)
2 Friz Be – I Throw Punches (From “Hmm…” LP, 1981)
3 Unter Den Linden – Vanda Inat (7″, 1981)
4 Vitality – East People (7″, 1986)
5 Elektriska Cellskapet – Shes a Waitress (From “Dansa Med Fig.13.” LP, 1983)
6 Tres – Operator (7″, 1985)
Artist: BURKE, PATRICK
Title: A Black Balloon
1987 release. “This is the last batch of the final installment in the vinyl era of the Parasites of the Western World. Sealed copies of the original pressing of Patrick Burkes second solo outing and tho this distances itself from the rockist Parasites moves and continues on a arc that Silence and Timing might indicate, this is very much worth yr grip. Rare in any realm, and not many to go around.”- Destijl.
Artist: COUM TRANSMISSIONS
“This installment in the COUM story entitled Sugarmorphoses was recorded in 1974 by Genesis P-Orridge within the COUM headquarters, joyfully known as the Ho Ho Funhouse, and is one of the most far-flung, experimental recordings related to COUM. This recording consists of Genesiss candid kitchen recordings of solo broken piano improvisations accompanied by P-Orridges own reel to reel experiments using old tape dating back to 1965, from which a young Neil Megson made countless field recordings and homework dictations. Playful, chaotic, imaginative, and historic. Limited to 1000.” – Dais.
Artist: ERIE, CYRUS & THE QUICK
Title: Get The Message/Southern Comfort
“One of only a handful of North American garage acts to digest the maxim of the Whos maximum R&B and temper it with the dramatic teen pop appeal of the Easybeats and Small Faces, Cyrus Erie and the Quick mark GROUND ZERO not merely for Buckeye state Angophilia, but also for the greatest power pop band of the 1970s: The Raspberries. Long before Wally Bryson was a teen angel and Eric Carmen was all by himself, the future Lennon/McCartneys of Cleveland were devouring the British Beat scene mail-order, scouring the margins of imported copies of Melody Maker and Fab 208; copping looks, licks and hair-styles (dig the drummers perm!). Allotted just two stiff single shots on Epic in 1969, Cyrus Erie and the Quick were huge on their home turf, but could never go all the way outside their Midwestern enclave. Here now is both their end and their beginning. The post-Choir, pre-Berry harvest. Tin soldiers melted with Friday on my minds eye. As necessary for pop fans as life itself.”
Title: Stainless Steel
Label: Ini Itu
“One side of molten, acid-bathed gamelan, with decay and textural corrosion magnified and enhanced, one side of arcanely wired machines spitting out shifting binary patterns. Plus two locked grooves at no extra charge. Edition of 250 copies.” -Ini Itu
Title: Master Sleeps
Label: Intergalactic Tactics
“The 2nd album from Swedish heavy psych / spacerock band is nothing else than a masterpiece! Music taken from parts of psychedelic, drone and evil death. Unsacred mantras echoing from the depths below! Recommended for friends of THE STOOGES, GILA, GERMAN OAK, SYD BARRETT, YAHOWA 13, BARN OWL, WOODEN SHJIPS to mention a few.” – Intergalactic Tactics.
“Though they dont quite hit the same level of fiery abandon as their similarly named American brethren White Hills, these Swedish psych rangers do share quite a few things in common with the NYC noisemakers. Germinating from the same love of the Space Rock-Krautrock axis that brought forth Wooden Shjips, Expo 70, and forefathers like Hawkwind and German Oak, Hills inhabit a low gravity, groove-oriented plateau of guitar-heavy psych that at times ventures into the same Eastern territories that UK guitar-slinger Rick Tomlinsons explores in his Voice of the Seven Thunders project. Hills S/T debut sold out in a quick run of 300 and was a worthy piece to get your hands on; this will surely go just as quickly, and is just as much fun as its predecessor.” – Andy French, Raven Sings The Blues/Altered Zones.
Artist: HAMMER DAMAGE
Title: Automatic Lips
Label: Last Laugh
Title: Exquisite Corpse
Label: Azul Discografica
Features Kevin Pink Reason, Loy Chinese Restaurants and Billy Bao. “What makes this record an exquisite corpse? Margarida, Kevin and Loy were given the lyrics to these ten “songs” only two days before the recording, and each of them recorded separately – consecutively – without hearing or even seeing each other. They were only given one chance to record their parts for each song, so what you hear on this record consists entirely of first takes. This way, as with all improvisation, there was no way back: the moment is what matters and if you record it, its there forever. I hate telling people what to play, just as I hate other people telling me what to play, so each of the musicians on this record played whatever the fuck he or she wanted to. Contrary to the usual way rock n roll records are recorded (first drums, then bass, then guitar and finally voice) I started by recording the voice; then Kevin recorded his guitar and piano without hearing me; then Margarida recorded her bass, again without hearing anything of what Kevin and I had done previously; and finally Loy added his drums without reference to any of the other musicians tracks. The only thing that we had in common was the lyrics, which functioned as a graphic score or, if you like, as a way of setting a mood for each song. Oh, yes, and we all had to conform to the stereotypical duration of a rock song – three minutes – which also happens to be the ideal length for one side of a vinyl without losing any volume. Once the tracks were recorded, I simply laid them on top of each other on the laptop, and did a very direct mix without moving or taking anything away… so as to let the exquisite corpse vomit the new wine!” – Mattin.
Artist: PARADE GROUND
Title: The Golden Years
Label: Dark Entries
“Parade Ground has always been the duo of brothers Jean-Marc and Pierre Pauly from Brussels, Belgium formed in 1981. Taking cues from Post-Punk, Coldwave, Dada and Surrealism, Parade Ground channeled suffering, tension and rage through pulsing synthesizers, skeletal guitar, severe bass and Jean-Marcs expressive vocals as the most melodic and emotional instrument. The Golden Years is an 11-song, career-spanning collection of Parade Grounds long out-of-print 7” and 12” singles as well as rare compilation tracks from the pioneers of emotional body music created during 1982-1988. Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242s Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs (“Moans”/”Action Replay”) while Daniel B. produced flipside “Gold Rush” on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood. In 1993 the brothers wrote and composed the vocals on two Front 242 albums Up Evil and Off. After 15 years of silence the boys released their second album Rosary in 2007 and continue to write new material and tour with their extensive catalog of dark dance classics. All tracks have been carefully remastered by George Horn at Fantasy Studios in Berkeley. Each LP includes a 6-page press kit with lyrics, discography, photos and liner notes by Daniel B. of Front 242. The history of Belgian electronic music would not be complete without a trip through “The Golden Years” of Parade Ground.” – Dark Entries.
Artist: REALLY RED
Title: Crowd Control
“Nineteen seventy-nine debut single from one of Texas, if not the whole damn countrys, greatest punk bands. Immortalized on the second side of the finest of the original Killed By Death comps (#2), “Crowd Control” addresses the hassles of serving the public, whether its food or propaganda, via brawny, agile punk and singer U-Rons full-throated roar. “Corporate Settings” features their soon-to-be trademark sarcastic post-punk edge , but also features some killer melodies underneath the well-deserved bile. Essential.”
Artist: SHITDOGS, THE
Title: The History of Cheese
Format: Double 7″
Label: Last Laugh
Title: Kill The Beat
Label: Last Laugh
Title: Oh You Beautiful Child/Little Girl
Label: Mighty Mouth Music
“Limited reissue of 1973 glam masterpiece.” – Mighty Mouth. “Oh You Beautiful Child” is a great example of the perfect Glam Cruncher with its slap-back compressed handclaps, cutting lead, catchy hook and exuberant vocals, its up there with the best. “Little Girl” starts off like Dear Prudence but then turns into this Radio Birdman/ New Christ styled rocker with the vocalist sounding uncannily like Rob Younger! The single was produced and the A side written by Laurice Marshall – the same person who was behind Grudge (When Christine Comes Around/ Im Gonna Smash Your Face In), Paul St. John (The Flying Saucers Have Landed) and Weeny Bopper (David, Donny And Michael).” – Scram Magazine.
Also in with this stuff are a few copies of the White Boy and The Average Rat Band LP – if you haven’t picked up one of these yet you are wither seriously missing out, or just don’t like rock music.
Finally, an order from Iron Lung Records came in with copies of the new Total Control LP, the Dead Language 12in and the White Wards 7in.
And, as always, there are tons of great used records going out, so stop in today!
If you have any questions give a call to the shop – 412 621 1715.