Search results for "ricked wicky"

Ricked Wicky

Poor Substitute

GBV Inc

***Two new singles from the upcoming third album from Dayton, Ohio-based supergroup RICKED WICKY. The quartet, led by ROBERT POLLARD and seconded mostly by multi-instrumentalist NICK MITCHELL, with assists from KEVIN MARCH on drums and TODD TOBIAS on bass, have amped Pollard’s already wildly prolific output to Jason-Statham-in-Crank-2 levels. The band serves up the same gleefully messy prog / punk / pop stew as on the previous two Ricked Wicky releases, but there’s a growing sense of assurance evident on the newest record that indicates Big Things for the future.

Ricked Wicky

Number I Can Trust

GBV Inc

***Two new singles from the upcoming third album from Dayton, Ohio-based supergroup RICKED WICKY. The quartet, led by ROBERT POLLARD and seconded mostly by multi-instrumentalist NICK MITCHELL, with assists from KEVIN MARCH on drums and TODD TOBIAS on bass, have amped Pollard’s already wildly prolific output to Jason-Statham-in-Crank-2 levels. The band serves up the same gleefully messy prog / punk / pop stew as on the previous two Ricked Wicky releases, but there’s a growing sense of assurance evident on the newest record that indicates Big Things for the future.

Ricked Wicky

Swimmer To A Liquid Armchair

GBV Inc

Dayton, Ohio-based supergroup Ricked Wicky pulls off a rarely ventured and even more rarely gained three-peat with its third album—all recorded and released in the span of a year—Swimmer to a Liquid Armchair. The quartet, led by Robert Pollard and seconded mostly by multi-instrumentalist Nick Mitchell, with assists from Kevin March on drums and Todd Tobias on bass, have amped Pollard’s already wildly prolific output to Jason-Statham-in-Crank-2 levels. Swimmer serves up the same gleefully messy prog / punk / pop stew as on the previous two Ricked Wicky releases, but there’s a growing sense of assurance evident on the newest record that indicates Big Things for the future. We draw your attention in particular to “Poor Substitute,” as straightforward a song as Pollard has ever written, emotionally charged, melancholy, executed with rough vigor by the band and sung with unaffected mastery. Contrast this with the following song, which showcases Mitchell’s more polished songwriting approach (and abundant guitar chops) and his vibrant, albeit less elastic, tenor voice. If Guided By Voices, Pollard’s other other band, often bear comparison to the Beatles, Ricked Wicky on occasion calls to mind a kind of lo-fi Blue Öyster Cult, with a touch of early Queen (Mitchell’s slide work on “The Blind Side” recalls Brian May). Those accustomed to more standard Pollardian fare will find plenty to chew on here: the virtuosic wordplay on album opener “What Are All Those Paint Men Digging,” the thumping thug-rock of “Red-Legged Pygmalion,” the epic sweep (in three minutes) of...

Ricked Wicky

King Heavy Metal

GBV Inc

King Heavy Metal, the second release from Robert Pollard’s self-described “supergroup” (tongue practically piercing his cheek with self-deprecating irony), is a hitherto undiscovered species of rainforest songbird capable of changing colors in the ultraviolet and infrared spectrums. At once prog-struck, collagist, technically impressive and melodically complex, King Heavy Metal lives up to and subverts its title over the course of its twelve songs. There’s stuff on here that wouldn’t be out of place on any post-Isolation Drills Guided By Voices album, stuff that wouldn’t be out of place on an alternate-universe mid-’70s Who album, and stuff that’s as lo-fi, booze-addled and sloppy as anything from “classic”-era GBV. Pollard’s determined to establish Ricked Wicky as more than just another solo or side project: it’s a proper, self-contained group with significant contributions, both instrumental and songwriting, from guitarist Nick Mitchell (long time GBV / Pollard stalwart Kevin March supplies drums). Mitchell sings lead on two songs here, both presumably written by him as well: “Imminent Fall From Grace” and “Weekend Worriers.” The latter is a kind of “A Salty Salute” update, with Pollard taking the anthemic first chorus, but Mitchell handling the rest of the vocals. Stranger, but in some ways more interesting, is Mitchell’s other contribution. “Imminent Fall From Grace” contains probably the most straightforward, earnest lyrics ever associated with a Pollard record—and yet, bizarrely, the song fits, and fits well, with the sort of no-fucks-given experimentation on display throughout King Heavy Metal. From the skewed-time-signature stomp (with periodic King Crimson-esque breakdowns) of...

Ricked Wicky

Tomfoole Terrific

GBV Inc

Two 7” singles from KING HEAVY METAL, the forthcoming 2nd album by Ricked Wicky, the new project of Guided By Voices’ mastermind Robert Pollard, joined by GBV’s Kevin March (drums), long-time collaborator Todd Tobias (bass) and secret weapon, Nick Mitchell (guitar).    The A-sides are majestic and hook-filled - classic Pollard rock. The non-LP B-sides are written and sung by Mitchell. “Quite Worthy”: power pop / glam rock / 70s AM radio fuel this harmony-laden nod to Joseph Campbell-esque advice to “Follow Your Bliss.”    “Dissonance” is baroque chamber pop, acoustic guitar and cellos, harkening to early Jeff Lynne / Roy Wood.

Ricked Wicky

Jargon Of Clones

GBV Inc

Two 7” singles from KING HEAVY METAL, the forthcoming 2nd album by Ricked Wicky, the new project of Guided By Voices’ mastermind Robert Pollard, joined by GBV’s Kevin March (drums), long-time collaborator Todd Tobias (bass) and secret weapon, Nick Mitchell (guitar).    The A-sides are majestic and hook-filled - classic Pollard rock. The non-LP B-sides are written and sung by Mitchell. “Quite Worthy”: power pop / glam rock / 70s AM radio fuel this harmony-laden nod to Joseph Campbell-esque advice to “Follow Your Bliss.”    “Dissonance” is baroque chamber pop, acoustic guitar and cellos, harkening to early Jeff Lynne / Roy Wood.

Ricked Wicky

Piss Face

GBV Inc

***Extremely limited singles from new Robert Pollard group in advance of their full length. Non-LP b-side!

Ricked Wicky

Mobility

GBV Inc

***Extremely limited singles from new Robert Pollard group in advance of their full length. Non-LP b-side!

Ricked Wicky

Death Metal Kid

GBV Inc

***Extremely limited singles from new Robert Pollard group in advance of their full length. Non-LP b-side!

Ricked Wicky

I Sell The Circus

GBV Inc

The first thing the listener will notice about Ricked Wicky is that it is the most musically adept project Guided By Voices’ mage Robert Pollard has undertaken in some time, at least since late period-GBV (Half-Smiles of the Decomposed, for instance), or even Boston Spaceships. “[Ricked Wicky] is a sophisticated arena rock band,” says Pollard, and I Sell the Circus offers in evidence a series of ball-peen hammers to the brain-pan (“Piss Face” with its James Gang-era slide guitar and the proto-punk stomp of “Intellectual Types,” for example) alongside more delicate, prog-tinged Frippery (“Cow-Headed Moon” features Court of the Crimson King-esque mellotron, while the acoustic guitar mastery displayed on “Even Today and Tomorrow” recalls the mellow-era ELP of “Lucky Man”). Credit the players: bolstering the easy mastery of a dizzying array of songwriting forms one naturally expects (and receives) from Pollard are the impressive instrumental prowess of fellow Daytonian Nick Mitchell (“no blood relation to Mitch,” Pollard stresses); multi-instrumentalist and producer Todd Tobias; and “the worldly Kevin March,” (Pollard again) who does double duty these days in Guided By Voices. Fourteen of its fifteen tracks were recorded at Cyberteknics in Dayton, a studio Pollard has come to use with increasing frequency due to its profusion of vintage analog gear. “Rotten Backboards” is as gorgeous and melancholic a tune as Pollard has ever written, and lyrically sounds a note of wistfulness that long-time fans will not find unfamiliar. “She can run, ’cause that’s what I did,” sings Pollard over a sublimely textured background...

Coffins

Ancient Torture

Deepsend

***NOW AVAILABLE!!! COFFINS have racked up quite the reputation for a consistently excellent output of utterly filthy and punishing death metal that flirts with the same smattering of skullcrushing doom that launched early greats of death like Autopsy and Asphyx into the zombified stratosphere. Ancient Torture is a wide-ranging compilation of a whole mess of non-album material taken from splits and compilations spanning the years 2005-2009, with the bulk of the material culled from ’07-’08, splayed out on either side of Coffins’ third full-length, the tremendous Buried Death. This 2CD contains the tracks from the Split 7″ with Lobomized, the Split 7″ with Spun In Darkness, the Split 7″ with Skullhog, the Split LP with XXX Maniak, the Split LP with The Arm And the Sword Of A Bastard God, the Split CD with Anatomia and Grudge, the Split 7″ with Cianide, the Split LP with Otesanek, the Split 10″ with Mala Suerte and the tracks from the Warhead 7″, plus compilation tracks.

Callahan, Bill

Woke On A Whaleheart

Drag City

***The anticipated new album from BILL CALLAHAN, who previously rocked the world under his pseudonym SMOG. With the same maverick spirit of Nillsen or Cat Stevens, Callahan delivers nine heart-and-soul-fueled tracks, boosted by the propulsive, glittering and classically pretty arrangements of NEIL MICHAEL HAGERTY. Includes gospel-style backing vocals by DEANI PUGH-FLEMMINGS of the Olivet Baptist Church, incendiary guitar work from PETE DENTON, and the honeyed violin of ELIZABETH WARREN.

Kimbrough, Junior & Soul Blues Boys

Sad Days Lonely Nights

Fat Possum

A reissue of the infamous late Kimbrough's second album. Raw rocked, and laid bare blues recorded at Junior's juke joint and produced by Robert Palmer.

Kimbrough, Junior & Soul Blues Boys

Sad Days Lonely Nights

Fat Possum

A reissue of the infamous late Kimbrough's second album. Raw rocked, and laid bare blues recorded at Junior's juke joint and produced by Robert Palmer.

Dj Sifu

Solenoid

Thermal Recordings

***The debut solo release from Oakland-based producer DJ SIFU delivers a non-stop funky dancefloor roller that has been jumpstarting parties rocked by the likes of DJ TEE BEE, PERFECT COMBINATION, and UNDERCOVER AGENT. "Solenoid" moves away from the more experimental sounds of Sifu's previous work with H.S.O., relying on his uncanny ability to fuse punchy bass lines with hard drums, creating some minimalist funk perfect for both headphone listening and hard-on-the-floor dancing. SHOPWORN COPIES.

Oxbow

An Evil Heat

Neurot Recordings

***Hundreds of years since their last release, Bay Area savagerians OXBOW return with another pain-racked fuck-rock sex-hate explosion. Nine shuddering tracks of unbridled anger, lubricious longing, and tense crawl-out-of-your-skin dementia. Dynamic, daring, and deadly. Woof!

Embarrassment, The

The Embarrassment EP

Last Laugh

***Before they broke up in 1983, this quartet from Wichita, Kansas rocked furiously, with less brittle/more melodious guitar than the Scottish new wave pop bands Orange Juice and Josef K to whom the Embos were sometimes compared. While John Nichols’ vocals weren’t incredible (Bill Goffrier’s guitar work nearly was), the Embarrassment did convey a promising array of nuances—from wistfulness to sarcasm—and an inquisitive, adventurous way with arrangements. The lyrics vary in quality, but “Don’t Choose the Wrong Song” and “Elizabeth Montgomery’s Face” show budding verbal pithiness; “Wellsville” has a laconic melodic strength. Best of all, most of the debut EP’s five songs grow on you with each listen.

Beex

The Early Years 1979-1982

Beach Impediment

***In August of 1978, the young and burgeoning scene of Richmond, VA was rocked to it's very core by the untimely and tragic death of RALPH HARPER—the frontman for one of the area's earliest punk bands known as RICKY AND THE WHITE BOYS. The city mourned the loss of their 23 year old comrade. Once the grief had subsided enough, Ricky along with a couple of the other members of the White Boys ultimately decided to form a new outfit to pick up where they'd left off. After a slew of auditions with hopeful candidates, they found their new band leader in the form of a Jersey transplant named CHRISTINE GIBSON who's voice and personality were like none other they'd ever encountered. Earning their band name (which was in honor of the prominent beaks of the majority of the band) via the popular vote of the crowd at their first live gig in December of that same year, what followed was a blur of gigs throughout the Mid-Atlantic region and the creation of catchy and timeless punk songs that went hand in hand with Gibson's inability to even remotely suffer anyone's bullshit—be it from a smart ass in the crowd or within the ranks of her own band. While the latter would lead to some lineup changes in these formative years, little did all involved know that it was the beginning of a rock and roll odyssey that carries on to this very day. This record compiles the band's first...

Beehive And The Barracudas

In Dark Love

Swami

***The third record from San Diego rock and pop party squad BEEHIVE AND THE BARRACUDAS. A modern day psychedelic experience rocked with plastique guitars, pulsing bass and synths, percussive commotion, and male and female vocals.

Real McKenzies

10,000 Shots

Fat Wreck Chords

***Scotch-drenched, kilt-clad, Canadians the REAL MCKENZIES return with another blast of bagpipe-rocked punk madness. Thirteen tracks that run the gamut from the traditional Scottish-Canadian song “Farewell To Nova Scotia” to the new original classic “Pour Decisions.”

Retisonic

Return To Me

Silverthree Sound Recordings

***The highly anticipated full-length debut album from these emo-heavy hardcore shake-and-bake specialists. Eleven tracks of aggressive and melodic hardcore music rocked with angular guitar riffage and solid melodic singing.

V/a

Another Year On The Screen Vol. 1

Vagrant

***Vagrant complements its popular Another Year On The Streets sampler series with a collection of videos from the label's top acts. You get rocked all over with unreleased vids from HOT ROD CIRCUIT, THE ANNIVERSARY and NO MOTIV, as well as favorites from ALKALINE TRIO, DASHBOARD CONFESSIONAL, FACE TO FACE, GET UP KIDS, and SAVES THE DAY. Includes exclusive behind-the-scenes footage, unseen photo galleries, alternate angles, deleted scenes, and band bios and discographies.

Futurians

Faktory!

Soft Abuse

***The first official CD release from chaotic, distorto-rock noise freaks and sci-fi junkies the FUTURIANS. Twelve tracks rocked with primitive drum wallops, blurts of distorted synthesizers, blankets of white noise, otherworldly guitar, and immediate, megaphoned in vocals. Features CLAYTON NOONE (CJA, ARMPIT, STRANGE GIRLS, CLAYPIPE) on massive guitar.

Doldrums

Desk Trickery

Kranky

***Tri-State sparkling dream weavers and VHF house band DOLDRUMS return to action with another godhead prog-stomp into the future. Seven tracks of guitar-loaded and rocked improv jams mixed via the wonders of computer technology to create some thoroughly damaged sounds and loop-like atmospherics. High like a kite.

Deadsure

From Your Head To You Sacrum

No Idea

***The debut release from this new Canadian band fronted by original SPARKMARKER vocalist RYAN SCOTT. A surging tide of guitars and vocals, rocked over a steady bass-and-drums foundation, all pushed with twisted grooves, dynamic song structures, and a direct and unpretentious attitude. For fans of groups like Rye Coalition, At The Drive-In, Fugazi, Jesus Lizard, Hoover, and Circus Lupus.

Burnside, R.L.

A Bothered Mind

Fat Possum

***The latest remix effort from renowned bluesman R.L.. BURNSIDE. Thirteen tracks of classic Burnside sorcery, remixed and rocked out for added get-it-down good times. Includes collaborations with KID ROCK and LYRICS BORN.

7l & Esoteric

Soul Purpose

Landspeed

***NOW AVAILABLE ON VINYL!!! Boston's high-chargin' hip hop duo returns with their long-awaited debut full-length. Twenty tracks of live-style action rocked with hardcore battle lyrics and top-shelf production from DJ SPINNA, JOC MAX, VINYL REANIMATORS, and 7L & THE ARE. Includes guest appearances from WU-TANG's INSPECTAH DECK, fellow Bostonian MR. LIF, APATHY, JEDI MIND TRICK's VINNIE PAZ, REKS, AKROBATIK, and KARMA.

Mall

First, Before And Never Again

Mount Saint Mountain

***A limited edition release from rising Bay Area group THE MALL. A punishing assault of beat-heavy, art-damaged hardcore, rocked with screamed vocals, catchy Casio keyboards and angular guitars. Four exclusive tracks packaged in 2-color, 3-panel silkscreened sleeves, and pressed in an edition of 300 copies. “One of the most exciting bands to form in the past two years.”—San Francisco Bay Guardian

Real McKenzies

10,000 Shots

Fat Wreck Chords

***BACK IN PRINT!!! Note new price. Scotch-drenched, kilt-clad, Canadians the REAL MCKENZIES return with another blast of bagpipe-rocked punk madness. Thirteen tracks that run the gamut from the traditional Scottish-Canadian song “Farewell To Nova Scotia” to the new original classic “Pour Decisions.”

Pitchfork

Eucalyptus

Swami

***A reissue of this choice slice of San Diego punk history from this band that eventually evolved into DRIVE LIKE JEHU and ROCKET FROM THE CRYPT. Led by RICK FORK and JOHN REIS, the band rocked the '87-style with a potent mix of post-punk angularity, suburban frustration and melodic punk rock. Includes all the tracks from the original release (Nemesis Records), plus the three tracks from the band's debut Saturn Outhouse 7-inch.

Brother Jt

Maybe We Should Take Some More?

Birdman

***Combining the classic trappings of '60s psychedelic guitar rock with an eccentric spirituality, lysergic high priest BROTHER JT's records are deep, penetrable and seek to entertain. He has racked up a multitude of impeccable releases on a multitude of independent record labels with impeccable taste. His palette expands with each passing release. Heavy pop, thick with guitars, thumping drums and stoned, tremulous melodies take the listener on a trip through the complex patterns and designs that are unique to the mind of JT. From stretched-out zoner wail to agile, psychedelic strum, his body of work is singular, odd, outstanding and unimpeachable. It's a pretty tall order to name a contemporary artist with enough panache to carry on the legacy of wrecked pop and what writer BYRON COLEY would call "Blieb Alien rock" left behind by the likes of Syd Barrett, Roky Erickson, Skip Spence and sandbox-era Brian Wilson, but Brother JT is the only name worthy to stand alongside.

Pere Ubu

Live At The Longhorn 4/1/78

Nero's Neptune

***The three vinyl sides of PERE UBU Live at the Longhorn are as much an indispensable live rock album as Modern Dance is an indispensable studio album. The show consists mainly of material from the Modern Dance album, only rocked out and swinging, more raw-nerved yet seasoned than their studio counterparts. What becomes apparent, especially on repeated listenings is how well-made this music is, how the drama and comedy flows within the modules of each song, how the songs fit together to give an audience an experience that—while sharpened to paranoia and sensitive to harsh realities—is as ineffable as it is concrete. Released on CD and 3-sided double-LP vinyl.

Pulses

Little Brothers

Dirtnap

***The second Dirtnap release from this Seattle three-piece featuring former FALLOUTS member SHANNON McCONNELL. Eight burning tracks of art-rock, garage, and quirky punk, rocked super catchy, super twisted and super fun.

Murs

Def Cover

Def Jux

***The debut single from the upcoming End of the Beginning album from LIVING LEGENDS member and longtime rhyme-slinger MURS. Features the tracks "Def Cover" and "Brotherly Love," produced by EL-PRODUCTO, and rocked in dirty, clean and instrumental versions.

New Mexican Disaster Squad

Don’t Believe

No Idea

***NOW AVAILABLE ON VINYL!!! The third album from Florida punkers NEW MEXICAN DISASTER SQUAD and hardcore revolution in the making. Fourteen songs of furious, blue-collar smash-up, rocked with rage, power, and intensity. For fans of Minor Threat, Dag Nasty, Kid Dynamite, and Lifetime. Limited colored vinyl pressing of 500 with screen printed covers. Includes a bonus song not included on the Jade Tree CD version.

Fifth Hour Hero

You Have Hurt My Business And My Reputation Too

No Idea

***A brand new EP from French Canadian punk and rock heavy-hitters FIFTH HOUR HERO, and a follow-up to last summer's Scattered Sentences album. Four hot songs of urgent and often political powerage, rocked with male and female vocals.

Lady Sovereign

Vertically Challenged

Chocolate Industries

***The new album from self-proclaimed “big midget” LADY SOVEREIGN—the 5’1”, 19 year old MC, lyricist, and producer who’s ready to take the world by storm. Eight tracks rocked with mic vandalizing lyrics, a tuff delivery, and a ton of attitude that reflects her flirtations with McDonald’s, love of cheap cigarettes and pikey jewelry, and penchant for smoking hash and swigging Pernod. Includes remixes by RIKO and ADROCK.

Mixtures

Stompin’ At The Rainbow

Minky Records

***It all happened at the Rainbow Gardens in Pomona, California, 1960, as THE MIXTURES, mighty kings of the West Coast's Eastside dance hall scene, rocked and ruled the house. As the movement for integration that began in Mississippi and Alabama was taking shape nationwide, it was not only the South that was segregated. In the Southern California of the Fifties, non-white races were more allied, though it was rare you'd find them mixed in a band. As the dawn broke on rock'n'roll, "The Mixtures," a six man party band-- was at different times comprised of African Americans, Hispanics, Asians, Caucasians and a Native American, made history. Stepping onstage to the tune of a warm up, the band would move through instrumental superjams like "Turkey Time" and "One Degree North," and crowd-pleasing pop hits like "So Fine" and "Peter Gunn" till the house and all its inhabitants dripped in a cold sweat. By the time they got to Ike and Tina's "It's Gonna Work Out Fine," into which they'd injected their own brand of soul-styled horns and guitar at all the right stops, they'd have the roof tore off.

Peebles, Ann

Straight From The Heart

Fat Possum

***BACK IN STOCK!!! If Al Green is heads on the Hi Records coin, ANN PEEBLES is tails. The signature female artist on the legendary Memphis soul and R&B label, Ann Peebles rocked the pre-disco '70s with songs of love, lost love, and love straight up taken. Released in 1972, Straight From The Heart preceded by just two years Peebles' über-classic, I Can't Stand The Rain, proving the young, soon to be American R&B icon didn't need worldwide fame and record sales for a license to be fierce and provocative (see the album track "I Feel Like Breaking Up Somebody's Home Tonight").

El-P

Fantastic Damage

Fat Possum

REISSUED!!! The Fantastic Damage album from COMPANY FLOW founder, RUN THE JEWELS member and one of hip hop's most respected figures, EL-P. Sixteen groundbreaking and inventive tracks of unparalleled lyricism rocked with cyborg funk, melodic vapor trails, and groove-pumping beats. Features appearances by AESOP ROCK, ILL BILL, VAST AIRE, MR. LIF, CAMU TAO, DJ ABILITIES and others. "Fantastic Damage picks up where Company Flow left off—slamming jagged boom baps into computer crash squeals, like the score for a Blade Runner sequel set in Brooklyn."—SPIN

Davis, Ben

Aided And Abetted

Lovitt

***The sophomore solo album from SLEEPYTIME TRIO and BATS & MICE member BEN DAVIS. Aided by six producers and sixteen guest musicians, Davis delivers a twelve-track mix of melancholy rock and bright, textured pop, rocked with Davis' effortless vocals, AIMEE ARGOTE's rich harmonies, and hints of Pink Floyd and the Beach Boys.

Weedeater

Sixteen Tons

Crucial Blast

***BACK IN PRINT!!! The sophomore album from North Carolina's kings of zero-MPH stone-sludge grimness led by DAVE "DIXIE" COLLINS of BUZZOVEN. A devastating blend of crust, doom, and dirge-rocked metallic slo-mo, brutally produced by BILLY ANDERSON (Melvins, Sleep, Cathedral, Orange Goblin, others).

Los Vigilantes

S/t

Slovenly

***The debut full-length bruiser from San Juan, Puerto Rico’s LOS VIGILANTES. Fourteen original tracks of juvenile delinquent garage-punk smash. Heavy on the ‘60s side with a healthy dose of droopy /50s doo-wop back-up vocals, rocked with additional organs, tape loops and swagger. Vigilante JORGE MUNDO (aka JOTA) filled in for DAVILA 666’s lead guitarist on ther maiden European tour and played lead guitar on Davila 666’s Tan Bajo LP (In The Red).

Evolution Control Committee

Plagiarhythm Nation 2

Seeland

***Columbus, Ohio's legendary ECC predated the entire "mash-ups" phenomenon with an unholy marriage of Public Enemy and Herb Alpert way back in 1996 ("The Whipped Cream Mixes" 7".) This is 29 tracks of instant classics, including "Rocked By Rape" (which earned a cease-and-desist from CBS News). 

Rashamon

Windo Loca

Highpoint Lowlife

***A brand new single from this British electronica combo featuring LEE HUME (Coastline Records) and SEB WYATT (aka SPARTA SAL). A blend of lush organic guitars, melodica, thumb pianos and xylophones rocked with a passion for old-school hip hop and funk, and some improvised guitar mayhem. UK import.

Allan, Chad

Chad Allan & The Reflections

Regenerator

***From the early days of THE GUESS WHO when they were lesser known, this true rarity surfaces, from long lost tapes in the posession of CHAD ALLAN himself for more than 40 years. This is both an essential and historical document of the early days of The Guess Who, before they rocked the world with their Monster Hit, “Shakin' All Over,” which put them in the number one spot in Canada in the spring of 1965. Gathered here on this special collection is 22 live tracks from a Winnipeg area performance in 1962 along with the first ever tracks the pre-BURTON CUMMINGS Guess Who ever recorded in studio, 2 of which appeared on a 45 released by Canadian-American records in 1963. Allan was later replaced by Cummings in 1966. A young and enthusiastic RANDY BACHMAN plays some very talented lead guitar on these tracks, and there is even a track where Chad Allan plays drums. CD includes four bonus tracks. (STREET DATE - 4/26/2011)

Circle Pit

Bruise Constellation

Siltbreeze

INCLUDES FREE DOWNLOAD COUPON!!!   Glimmer Twins infatuation--well, some folks can pull it off, others cannot. We all know how well Royal Trux rocked 'n' cocked it through the '90s, and now in the second decade of the 21st century, Circle Pit have sauntered into the boozy sway with their debut LP Bruise Constellation.Seemingly born out of the tar and tobacco of Nellcote / Exile on Main Street-session blooze, Circle Pit ably finesse a torn and frayed sound that's as retro as it is original. Oozing raw talent and possessed with uncanny sensual / sexual osmosis, Bruise Constellation will have you believing it's the Summer of '72 all over again (again). Look for the band to tour US with Pink Reason in August."... fuses elements of scum rock, garage and straight rock to create songs of detached cool, displacement and frustration."--Spook Magazine"Circle Pit is the type of rock band that most others are too lazy to be: aligned closely with tradition but replete with the type of individuality and wit, honesty and intimacy that is usually shed in favor of blindly channelling riffs already written. Bruise Constellation sheds light on the gaudy subterranean sleaze of a Sydney rapidly devolving into a Ballardian capitalist nightmare--all tidy swept streets, pedestrian free thoroughfares and oiled seven-to-when-you-pass-out workdays. It's also the catchiest record you're going to hear all year."--Mess + Noise

Evolution Control Committee

All Rights Reserved

Seeland

For more than 20 years, The Evolution Control Committee has held a reputation as one of the world's leading mashup bands. Long before computers made it easy to be a copyright criminal, The ECC was violating copyright laws the hard way with releases like their Whipped Cream Mixes (which set the standard formula for mashups to follow a decade later) and Rocked by Rape, sampling CBS anchorman Dan Rather (and earning a legal Cease & Desist in the process). Now the group goes even further with their post-mashup album All Rights Reserved... which you are legally forbidden to hear. "The label's lawyers had concerns," the band's TradeMark Gunderson explains. "Although we felt tracks like our 'What Would You Think If I Sang Autotune?' were clearly Fair Use, the legal department thought they were lawsuit-bait." To give the label and the band an extra line of legal defense, the album includes a Listener License Agreement, a set of terms and conditions like those seen in while installing computer software. "Fair Use or not, a track like 'Stairway to Britney' could easily offend a litigious party," says Seeland Industries lawyer Sandy Kryle. "So we thought the safest terms would forbid anyone--everyone--from listening. Period." Time will tell whether the legal protection helps, though mashup artists like Girl Talk haven't suffered without it (so far). Still, with exposure like a full radio, web, and print promotion campaign from Evolution Promotions and European / worldwide performance dates in the future, The ECC might well put that license...

P-love

All Up In Your Mind

Bully

***NOW AVAILABLE ON VINYL!!! The debut solo album from Montreal DJ, Tableturns Montreal founder, and KID KOALA collaborator DJ P-LOVE (aka PAOLO KAPUNAN). A genre-bending mix of styles and sounds that moves from 1980s Bomb Squad-style hip hop to indie rock to easy listening to 19th-century brass quintets to 1960s girl groups and everything in between, all rocked with the scratch mastery and turntable trickery he’s known for. Previous 7-inches on Bully have always sold out.

Medications

S/t

Dischord

***The debut release from this new Washington, DC trio comprised of DEVIN OCAMPO (ex-FARAQUET, SMART WENT CRAZY), ANDREW BECKER, and CHAD MOLTER (ex-FARAQUET). Five tracks of smart, well-crafted, and genre-bending pop, rocked with inimitable guitar lines, acrobatic bass work, unabashedly furious percussion, breakneck rhythms, three-part harmonies and melodic instrumental passages.

Bats & Mice

Believe It Mammals

Lovitt

***The debut full-length from members of FOUR HUNDRED YEARS, SLEEPYTIME TRIO, MILEMARKER, MAXIMILLIAN COLBY, RAH BRAHS, MEN'S RECOVERY PROJECT, and a galaxy more. A dynamic and solid blend of varying moods, rhythms, and timbres, rocked with great guitar work, crisp percussion, and a wide spectrum of vocal harmonies and styles.

Stoneburner

Life Drawing

Neurot Recordings

Stoneburner is one of the mainstays of the Portland, Oregon, underground scene. Formed in early 2008, the band’s familial roots reach back two decades. Drummer Jesse McKinnon (ex-Buried Blood) and guitarist Jason Depew (Buried at Sea) have rocked together in many incarnations. Though their other bands had similarly earth-choked names (a stone burner is a subterranean weapon from the novel Dune), it gets even more incestuous—McKinnon went to school with bassist Damon Kelly’s (Heathen Shrine) stepmother. Years later, McKinnon’s father would be Kelly’s high school government teacher. Today, most of the band shares a house and a musical outlet for their worldly frustrations. To describe Stoneburner’s music, one needs only look to the bands with whom they’ve shared the stage: YOB, Sleep, Eyehategod, Neurosis, Buzzov•en, Weedeater, Saint Vitus, Watain, Tragedy, Noothgrush, Graves at Sea, Lord Dying, Dropdead, Whitehorse, Windhand, Bastard Noise and so on. It’s all about domination through amplification and soul-cleansing catharsis. Stoneburner does not put on airs for anyone. According to guitarist Eli Boland, playing in Stoneburner “cleanses my soul, eases my demons, and fills my heart in a way that keeps me high for a good long while.” Life Drawing is the band’s second album and third overall release following closely in the tradition of 2012’s Sickness Will Pass (Seventh Rule). Once again, the tracking was done at Haywire under watchful ear and red-rimmed eyes of producer Fester “the fifth Burner,” and the same mastering engineer and cover artist were similarly re-employed. What’s new is the Neurot logo on...

Kyle Sowashes, The

Everybody

Anyway

It would be easy for me to start by saying every fertile music scene in America has a Kyle Sowash to call its own. He's the integral, overambitious, indie-rock everyman responsible for bringing to town bands that, barring his begging, would otherwise pass on by. He's the fervent local enthusiast always in the front row, even on a wintry Tuesday. His floor's been infinitely crashed upon, his bank account tapped from self-financed/self-made tours of the country --- basically he's racked up enough D.I.Y. karma points that you're obligated to buy his new record Everybody on his good works alone. Sowash's selfless moral character may be common in places like Cleveland, Portland, Athens, and Chapel Hill, but his style, his demeanor and his songs are distinctly Columbus, Ohio.  Normally, naming a band after oneself is a shallow stroke of ego (e.g., Steve Miller, Bob Seger), but for Kyle Sowash, it couldn't be any other way. After slaving over a decade's worth of unrecognized lo-fi indie anthems, he deserves a complete, full-throttle band to flesh out his earnest ballads and scrappy pop songs.  The Kyle Sowashes are a supergroup of sorts, composed of four dynamic players assembled from formidable Ohio bands such as 84 Nash, SPD GVNR and The Cabdrivers, but each is channeling a little Kyle Sowash on Everybody.   Recorded in August 2014 in Columbus, Ohio by Keith Hanlon, Everybody's 16 songs are straight out of the indie rock cookbook. Tracks like the propulsive "King Shit of...

Eddy Current Suppression Ring

Rush To Relax

Goner

***BACK IN PRINT!!! When Eddy Current Suppression Ring formed in Melbourne, Australia, in 2003, bandmates Eddy Current, Rob Solid, Danny Current, and Brendan Suppression thought they would play a few shows and perhaps record a 7-inch or two. One of their first gigs, in fact, was an employee Christmas party at the record pressing plant where they worked. Six years later, the band has racked up accolades from the likes of SPIN Magazine, London's Guardian newspaper, and the Australian Independent Record Labels Association. In March of 2009, they were awarded the $30,000 Australian Music Prize for their second album, Primary Colours. Eddy Current's third full-length, Rush to Relax, is already one of the most anticipated releases of 2010. Cut last August in a six-hour session at Melbourne's Revolver Rehearsal Studios, the album combines stripped-down post-punk sensibilities with the sheer exhilaration of a four-man musical unit that has created its own language, and will never run out of new things to say. While Primary Colours drew on what Guardian music critic Tom Hughes described as "fast 'n' fuzzy garage rock," Rush to Relax employs a pop ethos more common to the mid-'80s Dunedin Sound of New Zealand's Flying Nun label, with cascading guitar riffs and precise rhythms shadowing the introspective lyrics from black-gloved frontman Brendan Suppression. The geographical tug is most prevalent on "Anxiety," the new album's lead single, which is a guitar-driven homage to The Clean's whimsical, scene-launching debut "Tally-Ho," twisted via Eddy Current's inimitable style. The frantic pace of...

Mice

For Almost Ever Scooter

Scat

***AVAILABLE AGAIN!!! “Bill Fox is a sent-to-us-by-the-pharaohs songwriter, no matter what idiom he chooses, but … he was at his best in The Mice. Here he had other forces (Ken Hall and his brother Tommy) prodding and pushing him along in one way or another.… In particular, Ken and Bill were like a married couple at times, with lots of conversations at elevated volume. But when the dust settled, it worked. And they rocked. When you listen to For Almost Ever (1986), you need to remember that they were very young — especially Tommy, who was 15 at the time we recorded it.… [At] the first day of recording … Bill unveiled his amplifier. I think it was manufactured in Sri Lanka and sold through Woolworths — all five inches of speaker cranker power and six screaming watts of it: I thought we were toast. But it recorded beautifully and is still one of my favorites. And Ken was the pulse of the band, keeping it steady and moving, offering harmonies as if Bill had doubled his voice.… I was hooked.  “Nothing could have prepared me for the second sessions, when we were recording Scooter (1987). We set up and they started playing “Little Rage” as I adjusted levels. This was the kind of song every pop songwriter wished he could have done. From the seamless harmonies to the Badfinger-esque arpeggiated guitar, it was instantly amazing. And it still is.…” —Chris Burgess, album liner notes  “…Bill Fox is...

Male Gaze

Miss Taken

Castle Face

“Matt, Mark and Adam, aka Male Gaze, return quickly from the brainy roar of their previous album King Leer with their six heels hanging even further over the edge of the abyss. Good bands often pull punches but the great ones don’t and these charismatically scarred veterans of romance, gear singed from all too real firefights in the dark world of adulthood, lodge ten new slugs into your vest. Your life was spared but you’ll feel every second of the thirtyfive- plus minutes, grateful that all you got was a bruising. Imagine what it did to them! Have you ever flung yourself out there to such a degree that you risked total humiliation if it all went south, to where the next step would be self deportation to some distant island of annihilation in your mind? How did that work out for you? Don’t worry, Male Gaze knows and they wrote some songs about it. Look out your window, down at the glittering metropolis below and listen to this album.” —Henry Rollins

Cramps

Smell Of Female

Vengeance

Released in 1983 after a lengthy court battle with IRS Records, Smell of Female originally contained just the first six songs. These, plus out-of-control ad-lib freakouts “Beautiful Gardens” and “She Said” (previously omitted due to legal restrictions) were recorded live at New Yorkʼs famous Peppermint Lounge. There is nothing like the sound of The Cramps, and this set distills that cross of swamp water, moonshine and nitro down to a dangerous and unstable musical substance, captured live like a crazed animal. They rocked like few others could. Additional bonus track “Surfinʼ Dead” was recorded at A&M Studios in Hollywood and originally appeared on the 1984 soundtrack for Return of the Living Dead—when asked to write a “pop song” for the movie, The Cramps (by then a three-piece) threw into their cauldron a mix of Link Wray, Jan & Dean, Davie Allen, The Righteous Brothers, bongos, Phil Spector and eye of newt. First pressing on colored vinyl.

Kyle Sowashes, The

Somebody

Anyway

Every fertile music scene in America has a Kyle Sowash to call its own. He’s the integral, overambitious, indie rock everyman responsible for bringing to town bands that, barring his begging, would otherwise pass on by. He’s the fervent local enthusiast always in the front row, even on a wintry Tuesday. His floor’s been infinitely crashed upon, his bank account tapped from self-financed / self-made tours of the country—basically he’s racked up enough DIY karma points that you’re obligated to buy Somebody on his good works alone. Sowash’s selfless moral character may be common in places like Cleveland, Portland, Athens and Chapel Hill, but his style, his demeanor and his songs are distinctly Columbus, Ohio. Sowash readily admits his debt to indie rock’s golden age—Somebody is a study in the work of bands like Superchunk, Archers of Loaf, Silkworm and Pavement—but he draws on those influences judiciously. In other words, this is no tribute album. While “Pain Don’t Hurt” and “Gray Hair” will certainly signal a nostalgic flag, the themes are distinctly Columbus, distinctly Kyle Sowash. This album makes getting older and longing for the mid-’90s sound fun... It’s time to get your beard ready again.

Cold Feet

Punk Entity

Feel It

***John Waters once said, "The only thing I wanna be is a negative role model for a whole new generation of bored youth." Well, perhaps Baltimore's COLD FEET were the generation that picked up on those sage words, and have crafted their own trashy, hardcore punk anthems on Punk Entity. Following a promising debut 7" EP and several cassette releases, we find Cold Feet at the height of their game with eight completely scorching tracks. Caught somewhere in the crosshairs of the early '80s USHC craze, like the odd New Englander cousin who caught as much X-Claim! as Mutha Records bands—Cold Feet harness the power of Get It Away-era SSD, steal the reckless abandon of the first couple N.O.T.A. 7"s, and indulge the bohemian sense of humor that Adrenalin O.D. rocked. These guys are complete underdogs, the secretly smart idiots that allow their guitar player to be Jim Lahey for a Halloween gig and still completely blow the place apart. Cold Feet are here to show ya that they're one of the most true-to-form hardcore bands of contempo HC punk and hammer the point home with Punk Entity. First pressing of 400 copies packaged with a double-sided two color risograph insert, download code, and hype sticker in reverse board 20pt. jacket.

Shining Path

Chocolate Gasoline

Holy Mountain

***Chocolate Gasoline is the new 12-inch from THE SHINING PATH. While their eponymous album exists in the world of post-SST black-clad psychedelia and noise, the group decided that they had gone far enough in said direction and realigned themselves. Chocolate Gasoline has a less harsh demeanor, à la Accelerator-era Royal Trux if the Stones-meter was set a little closer to "Under Cover of the Night" than "Dancin' with Mr. D," especially on the opener, "Lonely Hearts Killer." The remaining tracks stretch out via influences ranging from hard dub, early PiL, no wave, block-banging hip hop, and kraut-dance/industrial, if one could imagine a version of Viva more about bikinis than white overalls. Nonetheless, all of this can be played with real instruments and "rocked out" in a live setting, which is what the group intends to do.

Schooley, John & Walter Daniels

Dead Mall Blues

12xu

***WALTER DANIELS and JOHN SCHOOLEY have been shadowy figures in the rock n’ roll underground for a combined forty years.  Daniels was mixing blues with punk rock as far back as 1992 with Austin, Texas combo JACK O’ FIRE, alongside the Big Boys' Tim Kerr. Schooley’s first release as a one man band was a lo-fi cassette recording released on 45 by Goner Records in 1996.  Both have been mixing blues and roots music with punk rock and noise ever since.  Schooley’s first band THE REVELATORS toured with the now-legendary Oblivians, while Daniels recorded with that same Memphis trio on the Melissa's Garage Revisited LP. Daniels has recorded and performed live with everyone from James Williamson to Eugene Chadbourne, most recently lending his harp to the OBN III’s for their latest album. Schooley toured the U.S. and Europe with the late blues great R.L. Burnside, and has racked up a long discography both as a solo artist and bandleader. Longtime friends who share a similar musical aesthetic and mindset, they have occasionally performed together and appeared on each other’s records.  While it hasn't always a fashionable or popular opinion, both have consistently championed the importance of roots in rock n’ roll. No matter how noisy or abrasive, their styles have always drawn from the deep well of American music, both black and white: country, blues and soul, gospel.  Recorded in a few hours over the course of a couple of relaxed Sunday afternoons, the resulting album Dead Mall Blues...

Ausmuteants

Order Of Operation

Goner

Jake Robertson and Billy Gardner started Ausmuteants in late 2011 in Geelong, Australia, after having played since teenagers in trad garage bands (The Frowning Clouds and The Living Eyes, respectively). Per the norm for good-looking rebels who play by their own rules, they cracked the shits, broke loose with just a synth and drums and, in early 2012, knocked out the Split Personalities tape. The addition of Melbourne’s loose-unit Marc Dean on bass followed, and soon after, ex-Canberran hardcore non-guitarist Shaun Connor on guitar. Their second album Amusements (note: not self-titled) comes from this fledgling time as a full band, with a heavy dose of the duo’s songs. Since the runaway international success of that record and playing every second weekend in Melbourne, they’re rocked-out full-tilt with all four members writing and singing new songs—23 of which were recorded live with vocal overdubs in the basement of an old ice cream factory by Mikey Young, then mixed and mastered in his idyllic coastal abode. Again the band and their Australian label Aarght! Records strained the friendship with song picks, agreeing on thirteen to make up Order of Operation. This record is better than Amusements any way you cut it: songs, lyrics, delivery and sound. It opens with Connor’s forehead- and thigh-slapping musical and lyrical debut, “Freedom of Information.” From there, songs range from balls-to-the-wall punkers (“Felix Tried to Kill Himself”; “Boiling Point”), well-considered workouts (“Family Time”; “Tunnel Vision”) and unguarded tenderness (“Wrong”; “Looney Bin”). Even people who couldn’t stand their...

The Exbats

Now Where Were We

Goner

LIMITED EDITION REISSUE ON NEW CLEAR WITH GOLD SPECKS VINYL!!! On Now Where Were We, The Exbats hit the ground running like a dystopian garage rock version of the Shangri-Las, or like a message to the future from the pre-Velvet Underground doo-wop wannabe Lou Reed. The album rings bright, like a beacon in the wilderness: eminently, effortlessly catchy, and loaded with buoyant choruses that rank alongside the best chart-toppers launched by the Brill Building or Phil Spector’s Wall of Sound. Kenny McClain and his daughter, vocalist and drummer Inez McClain, formed the nucleus of the Exbats over a decade ago, when Inez was just 10 years old; today, Bobby Carlson rounds out the group on bass. Despite their remote location in Bisbee, Arizona, just eleven miles north of the U.S.-Mexican border, the group quickly racked up accolades citing a wealth of influences that run from cartoon quintet the Archies to punk rock originators the Avengers, and from the so-sweet-it-hurts 1910 Fruitgum Company to Los Angeles antiheroes the Weirdos. Truthfully, The Exbats embrace a wider swath of musical styles, incorporating blue-eyed soul, tongue-in-cheek country, Brit pop, psych, and R&B into their sound. The McClains describe this album as “more ambitious” than its predecessors. They tooled ninety minutes northeast to Tucson to record, per usual, with Matt Rendon at Midtown Island Studios. Months later, the Exbats emerged with an album imbued with harmoniously cautious optimism—the musical equivalent but psychological antithesis to the Brian Wilson-Tony Asher masterpiece “I Just Wasn’t Made For These Times.” While Wilson...

Booker T. & The Mg's

Doin' Our Thing

Jackpot

***Jackpot is honored to be releasing these four mighty reissues from Booker T. & The MG's during their hot streak from 1965-1968. Likely, the most well known, respected, and beloved instrumental band of all time, their recorded output has also become one of the most cherished ever put to tape. (AAA) all analogue process sourced from the original master tapes. Cut by Kevin Gray. Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’ They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts. But they became legendary powerhouses of their own making when they started recording for themselves. Throughout their history, they racked up Top 40 hits, had their songs covered by artists as diverse as The Ventures, Count Basie, and Tom Petty & The Heartbreakers, were inducted into the Rock and Roll Hall of Fame, received a Grammy Lifetime Achievement award, and continued being the band of choice in collaborations with legends such as Bob Dylan & Neil Young. 1968’s Doin’ Our Thing is not only their first self-produced album but offers their most varied selection of songs, including tracks...

Cex

Tiny Creature

Tigerbeat6

After a quick succession of uniquely soulful electro-prog albums, Baltimore’s Cex loomed ominously on the periphery of pop stardom. He wore prominent underground record labels the way other rising artists wore gaudy diamond jewelry; the music press salivated like hyenas behind a hunting tigress, eager to feed on the havoc this unpredictable wunderkind was sure to wreak upon the increasingly conservative American music scene. All of this, though, was dashed when Cex attempted to release the cyberotic loveletter that is Tiny Creature, a miniature synthetic opera that explicitly invokes an unbridled lust so inappropriate it might leave even Nabokov or de Sade speechless. In an era which so relishes both the integration of digital technology into our sexuality and the story of the once-celebrated hero’s fall from grace, it is a testament to the intense graphic imagery Cexman wrings from his electronic orchestra that his name is mentioned only in whispers of late. After finding his labels distancing themselves from him, legitimate venues banning his live show and online media outlets blacklisting all associated projects, Cex turned to longtime friend and advocate Kid606’s Tigerbeat6 to make sure that his obscene opus could be heard by the public. Convinced that history would vindicate Tiny Creature like it did like earlier boundary-pushing works by James Joyce, Gore Vidal, and Prince, 606 has risked potential years of litigation to publish this nasty, nasty album.

Booker T. & The Mg's

Soul Dressing (Mono)

Jackpot

***Jackpot is honored to be releasing these four mighty reissues from Booker T. & The MG's during their hot streak from 1965-1968. Likely, the most well known, respected, and beloved instrumental band of all time, their recorded output has also become one of the most cherished ever put to tape. (AAA) all analogue process sourced from the original master tapes.  Cut by Kevin Gray.   Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’   They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts.  But they became legendary powerhouses of their own making when they started recording for themselves. Throughout their history, they racked up Top 40 hits, had their songs covered by artists as diverse as The Ventures, Count Basie, and Tom Petty & The Heartbreakers, were inducted into the Rock and Roll Hall of Fame, received a Grammy Lifetime Achievement award, and continued being the band of choice in collaborations with legends such as Bob Dylan & Neil Young. 1965’s Soul Dressing features the legendary The Mar-Keys’ horn section, who add gravity to their soul sound, while Side Two might...

Booker T. & The Mg's

Hip Hug-Her

Jackpot

***Jackpot is honored to be releasing these four mighty reissues from Booker T. & The MG's during their hot streak from 1965-1968. Likely, the most well known, respected, and beloved instrumental band of all time, their recorded output has also become one of the most cherished ever put to tape. (AAA) all analogue process sourced from the original master tapes.  Cut by Kevin Gray.   Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’   They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts.  But they became legendary powerhouses of their own making when they started recording for themselves. Throughout their history, they racked up Top 40 hits, had their songs covered by artists as diverse as The Ventures, Count Basie, and Tom Petty & The Heartbreakers, were inducted into the Rock and Roll Hall of Fame, received a Grammy Lifetime Achievement award, and continued being the band of choice in collaborations with legends such as Bob Dylan & Neil Young. 1967’s Hip Hug-Her is one of their most beloved records, with its toe tapping into the pop world. Spawning two significant...

Booker T. & The Mg's

And Now!

Jackpot

***Jackpot is honored to be releasing these four mighty reissues from Booker T. & The MG's during their hot streak from 1965-1968. Likely, the most well known, respected, and beloved instrumental band of all time, their recorded output has also become one of the most cherished ever put to tape. (AAA) all analogue process sourced from the original master tapes.  Cut by Kevin Gray.   Initially serving as the house band for Stax Records, organist Booker T. Jones, guitarist Steve Cropper, bassist Lewie Steinberg (later replaced by bass monster Donald ‘Duck’ Dunn), and drummer Al Jackson Jr. were instrumental in creating the “Memphis Sound.’   They recorded the basic tracks for well over a hundred records, including backing some of the greatest artists of all time: Otis Redding, Sam & Dave, Rufus Thomas, and Albert King, all the while breaking barriers as one of the South’s first integrated acts.  But they became legendary powerhouses of their own making when they started recording for themselves. Throughout their history, they racked up Top 40 hits, had their songs covered by artists as diverse as The Ventures, Count Basie, and Tom Petty & The Heartbreakers, were inducted into the Rock and Roll Hall of Fame, received a Grammy Lifetime Achievement award, and continued being the band of choice in collaborations with legends such as Bob Dylan & Neil Young. 1966’s And Now!’ is the first to feature long-term bassist Duck Dunn, who helps create a nightclub feel that alternates between...

Butthole Surfers

Brown Reason To Live

Alternative Tentacles

***Re-pressed on vinyl!!! This is where it all began for these acid casualty reality trippers. Brown Reason To Live is their very first release; it came out in 1983. Here it is on vintage thick wax. 12" vinyl, 7-song ep- their first classic slab o' wax, and still as crazed and lysergic as ever!  P.S.- And the answer to the timeless question, "what speed is this meant to be played on?" It's meant to be played at 69 rpm, of course! (But if your turntable doesn't have a "69" setting, try it on 45 instead.)  "'I am the ultimate god!' followed by the sounds of a man nearly breaking down in tears- it's one of the most emotional and honest moments in rock history. Oddly enough it's at the end of a song called 'The Shah Sleeps in Lee Harvey's Grave' off of the superb Butthole Surfers debut EP 'Brown Reason To Live.' It's that accidental shift from extreme bravado to mournful regret that most bands only dream of pulling off, and it's all courtesy of some of America's most drug-addled pranksters. The following 6 tracks put experimental punk on the map. No one was quite sure what to make of it. Was it psychedelia, was it punk rock, or was it just crap? But everyone was certain that it was nothing like anything else. Insane, but not cheesy, lyrics that sounded passionate while the music sometimes grooved, rocked, irritated, or just became noise... this sounds...

Hearts & Minds

S/t

Monofonus Press / Astral Spirits

“Sometimes it’s dumb fun to think up impossible supergrouops. Maybe they help you imagine a sound you’ve never considered, a combination of histories and vectors that contradicts those that might be steered by normal forces, such as geography or genre or circle of colleagues. A parlor game designed to transcend time and place.Here’s one: John Carter, Bernard Parmegiani, Mike Ratledge and Tony Williams. Think of the possibilities, Ratledge offers fudgy bass keyboards, circa 1970, Soft Machine’s Third, while Williams alternately takes to the breeze with a swift swinging ride or breaks things up restructurally, a wooden metronome or one-man marching band. On clarinet, Carter gulps and whorls his way into an appealing alternate temporal-spatial framework, the one occupied and charted by Parmegiani, who, from the INA-GRM soundboard dubs the proceedings into electroacoustic ladyland. I’d love to hear it: free-prog-jazz-concrete.In this case, the dream group’s inspiration came the other direction, rather than imagining something fictional, from listening to Hearts and Minds. Not to suggest that they sound like an additive experiment in mix-and-matchery, quite the contrary, they’re a singularly original unit. But unusual forces are at play, unique combinatorics, suggesting a confluence of ideas, newly directed teleologies, a turbulent eddy in the natural flow of creative music’s waterway.The collective’s eponymous debut emanates from an eight year incubation, sporadic and occasionally intensive gigging resulting in the accretion of a songbook, featuring tunes and structures divided about equally between the bass-clarinetist Jason Stein and keyboardist and synthesizer player Paul Giallorenzo. Stein and Giallorenzo...