Posts Tagged ‘Record Store Day 2020’

Craft Recordings has followed up last year’s Poppies: Assorted Finery from the First Psychedelic Age with a new collection focusing on garage rock sounds.  Double Whammy! A Sixties Garage Rock Rave-Up lives up to its title.  Like Poppies, it’s not an overall anthology of the genre but rather an impeccably curated journey through rarities and oddities.  The biggest names here are Count Five (with the unedited version of their 1966 top five hit “Psychotic Reaction”) and The Music Machine (with the previously unreleased, full-length version of “The People in Me”).  But the other artists are no less worthy. 

Producer/compiler Alec Palao writes that “perhaps the easiest way to explain garage rock is simply as the American grass roots response to the British Invasion, as the Beatles kicked a stale record industry into overdrive, and a generation was primed materially, emotionally, and philosophically to create and consume.”  Create they did, often only armed with guitar, bass, drums, and organ – and perhaps a harmonica and the occasional vocal harmony!  There’s plenty of D.I.Y. goodness here from a variety of labels including Fantasy, Scorpio, Vanguard, and even Art Laboe’s Original Sound and Stax – not to mention some professional, polished productions that nonetheless managed to capture that primal, raw garage spirit (the Sonny Bono-produced cover by Joey Paige of Bill Wyman’s “‘Cause I’m in Love with You,” Trade Martin’s production of The Vagrants’ “I Can’t Make a Friend”).  Hooks and riffs abound on the catchy likes of The Torquays’ “Harmonica Man (From London Town),” The Bittersweets’ “In the Night,” and Lonnie Duvall’s British Invasion-influenced “Attention.”  

En toto, the set produced and compiled by Alec Palao features three previously unheard cuts out of 16.  Steve Stanley has designed a beautiful package including a reflective silver jacket and a gorgeous, four-page booklet at LP size which boasts Palao’s detailed track-by-track annotations.  The album itself is pressed on blue vinyl.  With every track crisply mastered in AM radio-ready mono by Joe Tarantino, energy abounds on this Double Whammy! 

Originally released in 1975, Metamorphosis was first official rarities compilation under The Rolling Stones’ name. You’ll hear outtakes, demos, and other rarities from The Stones’ early days, featuring session legends like Big Jim Sullivan, Clem Cattini, and one Jimmy Page.

Side two, meanwhile, includes session material from Beggars Banquet and Let It Bleed. Though the result may have been a bit piecemeal, Metamorphosis presets a compelling collection of intriguing rarities and critical session material. Now, the compilation arrives on hunter green vinyl with a special iron-on of the album artwork. After the release of Hot Rocks 1964–1971 in 1971, an album titled “Necrophilia” was compiled for release as the follow-up, with the aid of Andrew Loog Oldham, featuring many previously unreleased (or, more accurately, discarded) outtakes from the Rolling Stones’ Decca/London period. While that project failed to materialise—with More Hot Rocks (Big Hits & Fazed Cookies) being released in its place—most of the unreleased songs were held over for a future project. In 1974, to give it an air of authority, Bill Wyman involved himself in compiling an album he entitled Black Box. However, Allen Klein wanted more Mick Jagger/Keith Richards songs in the project for monetary reasons, and Wyman’s version remained unreleased.

Metamorphosis was issued in its place. Most tracks that appear on side one of the vinyl album are outtakes, written by Jagger and Richards for other artists to perform. They were mostly recorded with session musicians like Big Jim Sullivan on guitar, Clem Cattini on drums, and Jimmy Page on guitar, and were not intended for release by the Rolling Stones. Indeed, on most of these tracks the only Rolling Stones member who appears is Jagger. While “Out of Time” and “Heart of Stone” were already well known, they appear here in drastically different renditions, with session players providing the backing.

Side two includes unreleased band recordings created up until the Sticky Fingers sessions of 1970. Some people found that the song “I’d Much Rather Be With the Boys” had a homosexual subtext, so The Toggery Five version changed the lyric to “I’d rather be out with the boys.” Released in June 1975, Metamorphosis came out the same day as the band’s authorised hits collection Made in the Shade and was also seen to be cashing in on The Rolling Stones’ summer Tour of the Americas. While the critical reception was lukewarm—many felt some of the songs were best left unreleased— Metamorphosis still managed to reach No. 8 in the US, though it only made No. 45 in the UK. Two singles, “Out of Time” (featuring Jagger singing over the same backing track used for Chris Farlowe’s 1966 version) and a cover of Stevie Wonder’s “I Don’t Know Why” briefly made the singles charts.

Upon its initial release, Metamorphosis was released with 16 songs in the UK, while the American edition had only 14—omitting tracks “Some Things Just Stick in Your Mind” and “We’re Wastin’ Time”. The album’s cover art alludes to Franz Kafka’s The Metamorphosis.

50 years ago, Booker T & The M.G.’s released their ode to The Beatles’ Abbey Road, and to the street where Booker and his band recorded: McLemore Avenue. Here Booker T. Jones (keyboards), Steve Cropper (guitar), Donald “Duck” Dunn (bass), and Al Jackson Jr. (drums) deliver funky, bluesy takes on 13 songs from The Beatles’ album, making them all their own. In fact, their renditions caught the ears of The Beatles, and Paul McCartney has used the M.G.’s version of “The End” as his walk-on music on tour for years. Cut from the original analogue master tapes by Jeff Powell in Memphis, pressed onto 180-gram vinyl at MRP and housed in a Stoughton-printed sleeve, the music and the iconic album art have likely never looked or sounded better. It’s worth lining up across the street for!.

As the longtime house band for Stax, Booker T. & The M.G.’s not only helped to shape the label’s iconic sound but also backed sessions by some of the biggest acts of the ’60s—from Otis Redding and Carla Thomas, to Sam & Dave and Wilson Pickett. The group also released many acclaimed titles of their own, and their 10th studio album, 1970’s McLemore Avenue, was no exception. Inspired by The Beatles’ Abbey Roadreleased just a year before, Booker T. Jones set out to record a tribute to the album—naming his version after the Memphis avenue where Stax Records stood. In an interview Jones recalled that when he first heard Abbey Road, “I thought it was incredibly courageous of The Beatles… They were the top band in the world but they still reinvented themselves.”

Featuring the classic lineup of Booker T. Jones on keyboards, Steve Cropper on guitar, Donald “Duck” Dunn on bass, and Al Jackson Jr. on drums, the instrumental McLemore Avenue offers a supremely funky take on Abbey Road’s songs in the form of three medleys and one standalone version of “Something.” AllMusicpraised that “Not only is McLemore Avenue a stellar interpretation of Abbey Road, it’s one of the finest Booker T. & the M.G.’s albums to boot.”

This special 50th-anniversary edition of the LP has been cut from the original analogue masters by Jeff Powell at Memphis’ Take Out Vinyl and pressed on 180-gram vinyl at Memphis Record Pressing. The album comes housed in an old-school-style tip-on jacket, featuring the classic, tongue-in-cheek cover image of the band crossing McLemore Avenue.

Mush great artisanal formats

Following hot on the heels of their debut album “3D Routine”, Leeds upstarts Mush will be releasing “Great Artisanal Formats” – a 5 track EP for Record Store Day 2020.Mush have established themselves as one of the most inventive and exciting new guitar bands in the UK having supported Stereolab and Shame, been supported heavily at 6 Music (5 x Marc Riley sessions + daytime playlist) and played a host of high profile festivals including All Points East, The Great Escape and Transmusicales.

“Great Artisanal Formats” is another collection of off kilter guitar licks and wry observational takes on modern society. Mush are touring the UK and Europe in – FR Paris, Supersonic08 Apr – FR Lyon, Le Sonic10 Apr – FR Lille, Pzzle Festival @ Le Grand Mix12 Apr – UK Ramsgate, Ramsgate Music Hall13 Apr – UK Brighton, The Prince Albert14 Apr – UK London, Sebright Arms15 Apr – UK Bristol, The Lanes16 Apr – UK Manchester, YES17 Apr – UK Sheffield, Picture House Social18 Apr – UK Newcastle, The Cumberland ArmsPraise for Mush’s debut album “3D Routine”:

“Old-school indie meets 2020 attitude” 8/10 UNCUT”Wonky indie rock at its best” 8/10 Louder Than War”Mush’s riffy, funky post-punk is as cathartic as it is surreal”

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New Order will release a new vinyl pressing of the group’s 1982 studio session with legendary BBC broadcaster John Peel on Record Store Day this year, complete with what is being advertised as a new sleeve created by the band’s long time graphic designer Peter Saville.

The four-track The John Peel Session 1982 EP will be released in both the U.S. and U.K., and features two songs from Power, Corruption & Lies, plus an original, “Too Late,” that was never recorded or released elsewhere, and a cover of reggae singer Keith Hudson’s “Turn the Heater On.”

Now in its 12th year, Record Store Day falls on August 29th (delayed by coronavirus) this year. Head over to the recordstoreday.com and recordstoreday.co.uk websites to see full lists of exclusive, limited-run and “RSD First” releases along with participating record stores in the U.S. and the U.K., respectively.

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Irish rockers The Murder Capital have been building quite a bit of momentum overseas both back at home in Ireland and in the U.K. as well. They released their debut album “When I Have Fears” last year to mass critical acclaim (it was one of our best-albums-of-2019>favourites of the year and now it’s time for the band to have their moment here in the U.S., where they are about to embark on their first-ever North American tour. The Murder Capital released their debut album When I Have Fears on their own label Human Season Records to much critical claim in August of 2019.The band played a string of headlining shows around Europe and the UK and this 45rpm 12″ highlights the broody “Love, Love, Love” and “On Twisted Ground” from their show at The Dome, Tufnell Park in London from October 2019.

The band’s drummer Diarmuid Brennan told us one day before they played their biggest hometown show to date. We talked about the early days of the band, their process, how they bring it live every night, and how grief helped shaped their debut album. You guys are currently in Dublin preparing for your biggest headlining show to date. How are you feeling before the show?
Yeah that’s right. Good! Just landed back in Dublin, we flew over from the U.K. So we are just at Grogans now on South William Street, just meeting up with some mates. But yeah, just staying relaxing about it to be honest. It’s obviously a big one as it’s a Dublin show, Dublin shows are always big, they get us very excited. But yeah I’ll get excited maybe a couple of minutes before we go on.

New album When I Have Fears available 16th August

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Both “I Wanna Destroy You” and “Near the Soft Boys” were first released on Armageddon Records in 1980.Both have been out of print for nearly 40 years. This release would combine both into one double gatefold 7″.

2020 marks the 40th anniversary of two releases from psychedelic icons The Soft Boys, their Near The Soft Boys EP and the single for their biggest hitI Wanna Destroy You. To commemorate these releases, Yep Roc reissue these ultra-rare releases as a limited edition gatefold double 45. Both titles have never been reissued and fetch tidy sums in collector’s circles. I Wanna Destroy You has become an anthem in today’s political climate and features the rare disco version of I’m an Old Pervert on it’s b-side. Near The Soft Boys features two Robyn Hitchcock-penned originals – Kingdom of Love andStrange – as well as a cover of Syd Barrett’s Vegetable Man.

7” 1: track 1. I Wanna Destroy You / track 2. I’m An Old Pervert (Disco) / track 3. Near The Soft Boys

7” 2: track 1. Kingdom Of Love / track 2. Vegetable Man / track 3. Strange

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Wipers   is this real %28anniversary edition 1980   2020%29

Rock autodidact Greg Sage had been kicking around Portland, Oregon, since the early ’70s, eventually forming Wipers in Year-Of-Punk 1977 to showcase his grungy, economical guitar work and shredded-nerve-ending songwriting. Their third LP would be the first to gain them a broader audience due to Brain Eater Records’ stronger distribution ties. Good thing it was essentially the apex of Wipers’—and Sage’s—art. The title track certainly has a life beyond the band, cited as influential by Kurt Cobain and covered by everyone from Hole to the Mono Men.

The Band Started life in Portland in 1977, Wipers are sometimes regarded as the band who brought punk rock to the drizzly Pacific Northwest – though their frontman Greg Sage disagrees. “We weren’t even really a punk band,” he later said in 2004. “See, we were even farther out in left field than the punk movement because we didn’t even wish to be classified, and that was kind of a new territory.”

Wipers’ taut, distorted music traded in sheer brawn and ferocity for a different kind of intensity: Sage messed about in the studio for hours and hours to achieve the group’s rich, overdrive-drenched guitar sound while other punk bands focused on breakneck speed. And the band’s sharp but distortion-slathered debut album ‘Is This Real?’ inspired countless future figureheads of the grunge scene. You can hear Wipers’ influence on everyone from Mudhoney and Melvins to Hole, Green River and most notably Nirvana. Kurt Cobain cited the group as a huge influence (and later covered Wipers’ songs ‘D-7’ and ‘Return of the Rat’).

Limited Edition clear colour vinyl with 7”. Limited to 2000. Celebrating the 40 year Anniversary of the debut LP by the Wipers. Includes individually AUTOGRAPHED concert poster by Greg Sage. Bonus 45 with four songs from the original 4 track sessions. Transparent Clear Audiophile Vinyl pressed at RTI with custom reflective mirror board jacket. Unquestionably Portland’s most well-loved punk group, the Wipers formed in the late 1970s and in 1980 released their debut LP, “Is This Real?”– twelve songs of stabbing, jittery guitar, snapped vocals, and unabashed teen angst. Full of desperation and yearning, the LP has stood as a blueprint for wretched youth for over 25 years. In the early 1990s “Is This Real?” was given mainstream attention when Nirvana covered two tracks off the record and Cobain announced it was one of the primary influences on his group.

Track listing: 1. Return Of The Rat 2. Mystery 3. Up Front 4. Let’s Go Let’s Go Away 5. Is This Real? 6. Tragedy 7. Alien Boy 8. D-7 9. Potential Suicide 10. Don’t Know What I Am 11. Window Shop For Love 12. Wait A Minute 13. Mystery (Original 4 Track Sessions) 14. Tragedy (Original 4 Track Sessions) 15. Let’s Go Away (Original 4 Track Sessions) 16. Is This Real? (Original 4 Track Sessions)

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This 1971 collaboration between primal one-part-delta / one-part-Detroit singer-guitarist John Lee Hooker and southern california blues revivalists Canned Heat works in large part because all parties involved are a little off. Hooker, the most unsystematic of the major bluesmen of his generation, isn’t a good fit for disciplined players; rather, he requires sidemen who play by feel. In harp player-guitarist Alan Wilson, the crawling king snake found a particularly sympathetic foil; sadly, Wilson died shortly after these sessions were completed. roughly divided into spare, gritty delta exercises and full-on boogie stomps featuring the full band, Hooker ‘n’ Heat is surely one of Canned Heat’s crowning moments, which isn’t saying that much. But that it stands as a milestone in Hooker’s oeuvre is quite a statement indeed.

The double-album “Hooker ’N Heat”, which was released on 15th January 1971, is a fascinating meeting of mentor and protégés. Canned Heat had long admired John Lee Hooker and were delighted to find out that the revered blues guitarist-singer also enjoyed the band’s music. “I sure like the way you boys boogie,” Hooker told harmonica player Alan Wilson at a chance meeting in Los Angeles. Canned Heat floated the idea of recording together and, in April 1970, Hooker’s record company gave him permission to do just that. Just one month later they met up at Liberty Records in LA to record the album that was titled Hooker ’N Heat.

That real “Hooker sound”, In deference to Hooker’s genius, the boogie-rock band, who had a global hit with ‘On The Road Again’ in 1967, gave the first half of the album to him alone, and Hooker laid down compelling versions of five of his own compositions: ‘Messin’ With The Hook’, ‘The Feelin’ Is Gone’, ‘Send Me Your Pillow’, ‘Sittin’ Here Thinkin’’ and ‘Meet Me In The Bottom’. Hooker arrived for the recording session wearing a plaid cap, leather jacket, black satin shirt and some old dress slacks. He was carrying his favourite old Epiphone guitar. Producers Skip Taylor and Robert Hite were keen to capture the authentic Hooker blues sound. They tried out eight amplifiers before finding an old Silvertone amp that had that real “Hooker sound”. The engineers built a plywood platform for Hooker to sit on while he played, with one microphone on the amp, one to capture his vocals and a third to pick up his distinctive stomping. Nearby was a large bottle of Chivas Regal Scotch and a pitcher of water to keep him well refreshed.

“The most gifted harmonica player I’ve ever heard” For the second half of Hooker ’N Heat, Wilson joined in on piano, harmonica and guitar. “Blind Owl” Wilson, as he was known, died four months after the record was cut – at just 27 years of age – from a barbiturates overdose. He had suffered from depression and his death robbed the world of “the most gifted harmonica player I’ve ever heard”, as Hooker described him. Hooker ’N Heat captures his wonderful talent for music, including his piano playing on ‘Bottle Up And Go’ (written by the Delta blues musician Tommy McClennan) and ‘The World Today’, and his guitar work on ‘I Got My Eyes On You’.

After more Hooker solo songs, including ‘Alimonia Blues’, ‘Drifter’, ‘You Talk Too Much’ and ‘Burning Hell’, the whole band chimed in for the final songs, with Hooker and Wilson joined by lead guitarist Henry Vestine, bass player Antonio De La Parra and drummer Adolfo De La Parra on exuberant versions of ‘Just You And Me’, ‘Let’s Make It’ and ‘Peavine’. It all soars and moves, even though it seems like the band are sometimes frantically trying to keep up with Hooker’s vocals.

Hooker ’N Heat ended on a high, with a rambling and powerful 11-minute version of Hooker’s first record, the classic ‘Boogie Chillen’’. The song showed just how much fun Canned Heat were having recording with their musical hero, who died in 2001.

After the album came out, Hooker and Canned Heat – who hired guitarist-vocalist Joel Scott Hill to replace Wilson – played some live shows together, including one at New York’s Carnegie Hall. The memorable studio collaboration Hooker ’N Heat captured a natural fusion of empathetic musicians – and Hooker, who was 53 at the time, revelling in the occasion.

Tracks:
“Messin’ With The Hook” | “The Feelin’ Is Gone” | “Send Me Your Pillow” | “Sittin’ Here Thinkin’” | “Meet Me In The Bottom” | “Alimonia Blues” | “Drifter” | “You Talk Too Much” | “Burning Hell” | “Bottle Up And Go” | “The World Today” |  “I Got My Eyes On You” | “Whiskey And Wimmen’” | “Just You And Me” | “Let’s Make It” | “Peavine” | “Boogie Chillen No. 2”

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Mikal Cronin experienced a creativity boom in late 2018/early 2019, inspired in part by the massive wildfires in Southern California that forced him to evacuate from the Idyllwild cabin where he’d been writing songs. Upon his return to Los Angeles, he recorded two full albums: Seeker, released in October 2019, and its electronic counterpartSwitched-On Seeker”, which is out digitally June 30th and on vinyl August 29th via Record Store Day Drops. Mikal  Cronin experienced a creativity boom in late 2018/early 2019, inspired in part by the massive wildfires in Southern California that forced him to evacuate from the Idyllwild cabin where he’d been writing songs. Upon his return to Los Angeles, he recorded two full albums: Seeker, released in October 2019, and its electronic counterpart Switched-On Seeker, which is out digitally now and on vinyl August 29th via Record Store Day Drops.

While Cronin’s self-assured vocals and the overarching theme of destruction and rebirth unite Seeker and Switched-On Seeker, everything else about the two albums is different. Support your local record store on August 29 to experience the songs from Seeker in a whole new way!

Playing garage-accented pop, multi-instrumentalist and songwriter Mikal Cronin was raised in Laguna Beach, CA, where as a teenager he developed a passion for both surfing and rock & roll. While attending Laguna Beach High School, he fell in with a handful of like-minded music fans, many of whom he still collaborates with to this day.

On July 1st, Cronin will perform a “Switched-On” set from Zebulon in Los Angeles, on Zebulon’s YouTube channel.

The idea for Switched-On Seeker, whose title was inspired by a series of early electronic music records by Wendy Carlos playing classical music on an early Moog system, arose from Cronin’s interest in synths and electronic music, and he set out to record the songs of Seeker track by track using only his collection of synthesizers and drum machines. Alone in his garage, Cronin made the album with a variety of synths including Arturia DrumBrute, Moog Sub 37, Moog Mother-32, Hohner String Performer, Mellotron, Omnichord, various little Casios, Roland SH-01A, Korg R3, and classic drum machine samples.
While Cronin’s self-assured vocals and the overarching theme of destruction and rebirth unite Seeker and Switched-On Seeker, everything else about these two albums is different. Support your local record store on August 29th to experience your favourite songs from Seeker in a whole new way!

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Limited edition companion piece to Mikal Cronin’s 2019 Seeker album, Switched-On Seeker is a completely synth-based, full-length reworking of 2019’s Seeker in the vein of Wendy Carlos’ “Switched-On” series.Mikal Cronin will continue his world tour across the calendar in 2020, including a confirmed BBC 6 Music session with Marc Riley at the end of February.

recordstore day