Originally released in 2013, “Purgatory / Paradise” gets reissued on double vinyl with a gatefold sleeve. Emerging ten years from a hiatus, it’s a formidable 32 track opus of tangible bliss from the alt-rock heroes. Devised as a book with essays by Kristin Hersh with art by drummer Dave Narcizo, it’s a fractured album about loss, most tracks are short, broken, some are even reprises. Everything is tentative with memories listed in order of disappearance – includes Milan about a neighbourhood in New Orleans where Hersh’s house was destroyed by hurricane Katrina, Static that deals with a close loss of a close friend and Terra Nova an ode to the band’s first break up.
Available on double Black Vinyl. Throwing Muses released their long awaited Purgatory/Paradise in 2013, 10 years after their previous studio album this vinyl reissue features all 32 tracks from these alt-rock heroes.
Cover versions are not a new idea. Every band and their groupie have done one. Some are good Kelley Stoltz’s track for track covers album of Echo and the Bunnymen’s ‘Crocodiles’ will be available for the first time on vinyl this Record Store Day courtesey of Nine x Nixe Records.
Originally recorded in late 2001, the album was not released until 2006 and was only available on CD (Orignally a TOUR ONLY CD via Beautiful Happiness).
Crockodials is a re-envisaging of renowned Liverpool band Echo and The Bunnymen‘s 1980s album Crocodiles. Now, recording another musician’s entire album is a tad quirky. But for someone who has The Cones Project (a series of traffic cone photos) on his website, it’s not that far out. In fact, Stoltz is quite a unique guy, he plays every instrument on Crock-O-Dials (as he did on previous album Antique Glow in 2004) and personally recorded each song on 8-track, DIY fashion.
When listening to Crockodials, one question begs an answer: why Echo and The Bunnymen? Simple – the Bunnymen are one of Stoltz’s biggest influences. So what better way to pay homage? (There’s even a bunny on the album sleeve…) Crockodials opens with Going Up, an electronic drumbeat starting the song. Apt really, considering that before the Bunnymen employed the late Pete de Freitas as drummer, Echo was their drum machine.
The beautifully melancholic and haunting song Stars Are Stars is slower than the original, somehow giving its lyrics more meaning, such as: “All your dreams are hanging out to dry/Stars are stars and they shine so cold”. It also has a twangy guitar lick which adds new life to this twenty-year old song.
All That Jazz starts off very chilled with acoustic guitars and Stoltz singing in his Bowie-esque voice, very different from the sound of the Bunnymen. It’s true to state that every song on Crockodials seems fresher, with additional eclectic sounds (such as a xylophone in Pride, and crazily fast tambourine playing in Crocodiles). Crockodials maybe a novelty, one that may pave the way for future album covers. (Perhaps even coaxing Ryan Adams to release his other cover version album of The Strokes‘ Is This It? .
Stoltz took up the mantle of rhythm guitar in the Bunnymen’s live set up in 2016, after a few high profile state-side support slots won largely because of this album. Pressed on 180g colour vinyl, with original artwork and new sleeve notes from Bunnymen guitarist Will Sergeant and Scott Kannberg (Pavement), there’s never been a better time to discover this gem from Stoltz’s back catalogue.
REMASTERED BY MIKEY YOUNG -Bonus 7″ E.P.features 3 early demos of 14 year old Kelley’s band.These are the earliest known recordings of Stoltz’s Bunnymen covers.This E.P.is exclusive to the RSD release and will not be available with any subsequent reissue.
Not previously released on vinyl The Telescopes are an English noise, space rock, dream pop and psychedelic band, formed in 1987 by Stephen Lawrie, and drawing influence from artists such as Suicide, The Velvet Underground and The 13th Floor Elevators. They have a total of eleven released albums including their debut, Taste, released in 1989. ‘Altered Perception’ collects 15 of their most intricate workings from their first two albums with the odd rarity and b-side thrown in for good measure. Never before released on vinyl but now re-mastered by John Rivers at Woodbine Street Studio especially for vinyl release for Record Store Day 2020.
The Telescopes are the brainchild of Stephen Lawrie and Jo Doran. Formed in 1986 in Burton-On-Trent and initially a five piece, their earliest live performances drew comparisons with the likes of The Stooges, The Jesus And Mary Chain and The Velvet Underground, right down to Doran and fellow guitarist Dave Fitzgerald’s insistence on facing their amps rather than the audience while a gnarled hail of feedback and distortion erupted all around them.
With the inevitable swarm of record labels chasing their every move, The Telescopes put out their first three singles and debut album ‘Taste’ on the Cheree label. Nevertheless, bad luck seemed to follow the band from this point onwards as Cheree’s subsequent closure saw the band sign to What Goes On, only for them to see another label go bankrupt months later. Eventually they ended up at their spiritual home, Creation Records, and after three well received singles and the release of their second eponymously-titled album, everything seemed to be coming up roses. Sadly, a couple of blokes going by the name of Gallagher were lurking in the shadows with other ideas, and this coinciding with the already phenomenal expenditure of My Bloody Valentine‘s still-born follow-up to ‘Loveless’ meant a cull was inevitable – of which the Telescopes were one of its many victims.
Opener ‘The Perfect Needle’ mixes tremelo, heavy distortion and an obtrusive violin as Lawrie opines “…and it hurts too much to be where you are” in a melancholic drawl that pre-dates the likes of The Verve by a good four years. ‘Sadness Pale’ and ‘Violence’ meanwhile are psychedelic dirge-like entities that resonate within their own quagmires similar to the early workings of Spacemen 3 or even Mudhoney .
What set the Telescopes apart from their contemporaries at the time such as Ride, Slowdive and the Boo Radleys, and still does today, is that they were never too afraid to take a risk. With the word “conform” seemingly absent from Lawrie and Doran’s vocabulary, they bent the rules a little with their second album and fuzz pedals and feedback disappeared faster than you can say ‘And’ – the closing track on here, incidentally. ‘You Set My Soul’ sounds like Primal Scream engaging in a freeform jazz jam with John Lee Hooker and Daevid Allen while ‘All A Dreams’ is ethereal, winsome psychedelic pop at its best – ‘Pet Sounds’ made by its respective owners, if you must.
‘Altered Perception’ offers a remarkable insight into how a band defined their own legendary status by simply changing everything about their sound just as the pigeons were about to slip them into any of their aforementioned holes, whether that be the ones marked “shoegazing”, “psyche-rock”, “baggy” or “indie pop”. As a history lesson in the development of sounds that your A&R man will tell you are just WRONG for this record, boys, ‘Altered Perception’ is up there with ‘Psycho Candy’, ‘Loveless’ and ‘Ladies And Gentlemen We Are Floating In Space’. If you’re just curious and want to know where the likes of Black Rebel Motorcycle Club, Mogwai and yes, Radiohead got many of their ideas from, then you simply have to own this album.
‘Altered Perception’ could be seen as Lawrie and Doran’s way of setting the record straight. Having spent several years trying to gain full control to the rights of their back catalogue, this album collects 15 of their most intricate workings from their first two albums with the odd rarity and b-side thrown in for good measure.
Arriving on the heels of the socially conscious “Babylon”, Dr.John’s 1970 album “Remedies” marked his 3rd studio release under his eccentric, voodoo-inspired “Night Tripper” persona, and his first not to be produced by Harold Bapttiste, instead turning to famed rock producer Tom Dowd. Featuring a psychedelic and progressive take on Dr. John’s signature style of swampy, hazy New Orleans boogie-woogie rock, undoubtedly inspired by his then recent stint in a psych ward. Remedies is not rock and roll, it is something nearly otherworldly, and almost beyond comprehension. While it includes such standout Dr. John tracks as “Wash Mama Wash” and “Loop Garoo,” it also includes “Angola Anthem,” which is murky, mysterious and downright evil-sounding. Much of this very long cut is lost without headphones, for the music floats about in a smoky fog while Dr. John and his backup singers chant, moan, and cry out. Progressive radio loved this stuff, and it still sounds great during those late-night flirtations with the dark side of the psyche.
The sound on this album is a transition from the voodoo stew on the Dr’s first album Gris Gris and the funky sounds of albums like In The Right Place & Desitively Bonnaroo,
“Remedies” must be heard to be believed. One of the records that made Dr John a legend back in the day – a set that steps off from New Orleans roots into a world of weird funk, tripped-out sounds, and lots and lots of super-heavy grooves! The album’s got a nicely exploratory vibe – as the first side features shorter funky cuts, but the second half really stretches out, and features a side-long track that has the Doctor at his most freewheeling – mixing deep currents from soul and blues with all the great ear for studio techniques he’d developed over the years – fused into a sound that’s almost a fantasy of a soulful subculture in the swamps. Titles include “Loop Garoo”, “Wash Mama Wash”, “What Goes Around Comes Around”, “Mardi Gras Day”, and “Chippy Chippy” – plus the side-long “Angola Anthem”
Track listing:
A Side.1.Loop Garoo 2.What Goes Around Comes Around 3.Wash, Mama, Wash 4.Chippy, Chippy 5.Mardi Gras Day
B Side.1.Angola Anthem
Splatter Colored Vinyl Pressing Exclusive For RSD 2020. First issued in 1970. CD last issued in 2002.
Original Vinyl out of print since the 70s. 2500 copies worldwide
Previously released on vinyl in 1997 British space rock band Spectrum is a project led by Peter Kember under the pseudonym Sonic Boom; an English singer and record producer.He was a founding member, bassist, vocalist and guitarist of alternative rock band Spacemen 3, lasting from 1982 until the band’s dissolution in 1991.
He provided the production on MGMT’s sophomore album Congratulations, Panda Bear’s albums Tomboy and Panda Bear Meets the Grim Reaper, and Beach House’s seventh album, eponymously titled ‘7’. As a solo artist, Kember has recorded as Spectrum and E.A.R.(Experimental Audio Research), parallel musical projects with recordings under both names occasionally only featuring Kember.
He has occasionally performed live under both monikers, most recently as Spectrum, touring as a band in America and Europe. Kember has also played and collaborated with a number of artists, including Stereolab and Yo La Tengo.
‘Forever Alien’ is the third studio album by Spectrum.It was originally released in August 1997 by Space Age Recordings and has long been out of print on vinyl. After the band’s preceding EP ‘Songs for Owsley’ moved away from guitar-oriented music and towards electronic music, ‘Forever Alien’ furthered this approach considerably, as Kember aimed to create a predominately electronic album that sounded organic and analogue in style. The record is dominated by vintage analogue synthesizers, including the EMS VCS 3 and EMS Synthi AKS. Kember had become fascinated by the synths as he felt they presented him with more musical possibilities than guitars. The resulting album fuses psychedelic music with influences from the 1960s electronic music of the BBC Radiophonic Workshop.
The track ‘Feels Like I’m Slipping Away’ from the album was released as a single and ‘Forever Alien’ had modest radio success in the US and also received acclaim from critics. Musicians such as Helena Hauff and Ekoplekz have since cited it among their favourite albums. Will Carruthers (ex-Spacemen 3) joined Spectrum on their 1997 tour in support of the album. Now re-mastered by John Rivers at Woodbine Street Studio especially for vinyl release for Record Store Day 2020.
Florida natives Surfer Blood released their debut and indie breakout album “Astro Coast” over 10 years ago now.
In 2009 Barack Hussein Obama was President and a scrappy bunch of kids from West Palm Beach, Florida were booking their own shows across the country, sleeping in 24 hour Walmart parking lots and going for broke like only teenagers can. They had songs of MySpace. They became CMJ breakout artists. They had a chance meeting with a Brooklyn indie label. And in January of 2010, Surfer Blood released their debut album Astro Coast, 10 tracks that Pitchfork named Best New Music and said upon release that it “succeeds wildy” as a “relentlessly catchy, ‘classic indie’ album”– and their “debut LP … is first and foremost a great guitar album packed with sing-along hooks, but there’s more going on beneath the surface.” Rolling Stone said “they dress up their guitar-mad escapades in a stadium-echo kick that Nineties indie kids were too grumpy to try.” Surfer Blood spent the year touring the world and were the most blogged about indie artist – blogs were a very big thing – culminating with them landing on everyone’s year end lists.
They spent the year touring around the world playing major festivals in Tokyo, Australia, United Kingdom and at home.They have continued to tour and release music in the past 10 years. For the anniversary, Surfer Blood will revisit their most popular release and include some never before heard material.
The limited edition double coloured (blue / purple) vinyl gatefold release, with 10 unreleased demos and live tracks, a foldout poster and download card, is available on Record Store Day 2020 at participating record stores worldwide. This Record Store Day release Includes download code. Limited to 2,000 copies worldwide. Gatefold vinyl. Exclusive color vinyl.
One of the very first ‘rarities’ collections, released to try and defeat the bootleggers, the original 11-track album was released on the Track Records label in September 1974.Compiled in band down-time by bass guitarist John Entwistle, it includes the single ‘Long Live Rock’, the unedited unreleased version of ‘The Seeker’, the studio version of ‘Young Man Blues’, alternative versions of ‘Dogs Part Two’ and ‘Water’, amongst many other gems. This reissue includes the original LP sequence on disc one and adds 14 bonus tracks – B-sides, rarities & extras on disc two, ‘Odds & Sods Too’ – to create a definitive, 25-track double LP.
The stunning artwork and design restore the original ‘die-cut’ front sleeve and includes all Pete Townshend’s original track annotation. Graham Hughes shot the cover for Odds and Sods – “I’d stayed up the night before with Letterset, designing the letters on the American football helmets with each of the band’s names printed on. When I finally managed to get them together in one place, which happened to be the bathroom, Pete and Roger’s helmets didn’t quite fit so that’s why their wearing each other’s. That Quadrophenia tour wasn’t very pleasant and the band were arguing a lot. When I showed Pete the blow-up of the cover, he didn’t like it and told me so. I was so frustrated by this time, I started ripping it up . . . That’s when he decided he liked it! I stuck it back together with adhesive tape and Roger said, ‘call it a bunch of odds and sods.”
Tracklisting:
LP1 / SIDE A –
1. Postcard, 2. Now I’m A Farmer, 3. Put The Money Down, 4. Little Billy, 5. Too Much Of Anything, 6. Glow Girl
LP1 / SIDE B –
1. Pure And Easy, 2. Faith In Something Bigger, 3. I’m The Face, 4. Naked Eye, 5. Long Live Rock
LP2 / SIDE A –
1. Zoot Suit (remix with fade), 2. Here Tis (only previously released on 30 Years… box set), 3. Leaving Here (from ‘Pye’ acetate), 4. Baby Don’t You Do It (from ‘Pye’ acetate), 5. Young Man Blues (alternate studio version, included on 1998 CD), 6. Dogs Part Two (B-side, the single mix; included on Tommy SDE), 7. Here For More (B-side single mix), 8. The Seeker (long unedited version; unreleased)
LP2 / SIDE B –
1. Heaven And Hell (B-side single mix), 2. Don’t Know Myself (B-side single mix), 3. When I Was A Boy (B-side single mix), 4. Waspman (B-side single mix), 5. We Close Tonight (included on 1998 CD), 6. Water (B-side single mix
The Kink Kronikles is a compilation double album by the Kinks, released on Reprise Records in 1972, after the band had signed with RCA Records the label assembled this compilation without input from the band. Instead, Reprise invited rock journalist and noted Kinks fan John Mendelsohn to compile this package. Five tracks made their U.S. debut in any format here – “Berkeley Mews”, “Willesden Green”, “This Is Where I Belong”, “Did You See His Name?” and “King Kong”. The latter two were original to this compilation, and “King Kong” would be released as Reprise single 1094 two months after the release of this double album.
in 1971. It contains thirteen non-album singles, fourteen tracks taken from five albums released by the band from 1966 to 1971 (including the UK-only Percy), and one track previously unreleased. Designed specifically for the American market, it peaked at No. 94 on the Billboard 200. The single versions and mixes were not necessarily used for each track.
Featuring the original sleeve-notes.”This limited edition, gatefold, red vinyl 2LP is a reproduction of the sought-after, 28 track, 1972 Reprise US LP compilation (1966-1971). Considered an exemplary compilation Contains hits, album tracks, US-only versions, non-album singles and B-sides. Featuring original sleeve-notes.
This limited edition, gatefold, red vinyl 2LP is a reproduction of the sought-after, 28 track, 1972 Reprise US LP compilation (1966-1971).Contains hits, album tracks, US-only versions, non-album singles and B-sides .Featuring original sleeve-notes. “This limited edition, gatefold, red vinyl 2LP is a reproduction of the sought-after, 28 track, 1972 Reprise US LP compilation (1966-1971).Contains hits, album tracks, US-only versions, non-album singles and B-sides. Featuring original sleeve-notes.
Tracklist:
SIDE 1 1 Victoria 2 The Village Green Preservation Society 3 Berkeley Mews 4 Holiday In Waikiki 5 Willesden Green 6 This Is Where I Belong 7 Waterloo Sunset
SIDE 2 1 Lola 2 Mindless Child Of Motherhood 3 Polly 4 Big Black Smoke 5 Susannah’s Still Alive 6 She’s Got Everything 7 Days
SIDE 3 1 David Watts 2 Dead End Street 3 Shangri-La 4 Autumn Almanac 5 Sunny Afternoon 6 Get Back In Line 7 Did You See His Name?
SIDE 4 1 Fancy 2 Wonderboy 3 Apeman 4 King Kong 5 Mr.Pleasant 6 God’s Children 7 Death Of A Clown”
In November 2019, Girl Band played back to back sold out shows at Dublin’s iconic Vicar Street, this was following the release of long awaited second album ‘The Talkies’ hailed as ‘more abstract and more focused than their debut’ and a sold out East coast U.S & European tour. Recognised for their ferocious live shows which have been described as chaotic, electrifying and ‘genuinely dangerous, like one last rave before the apocalypse’, these shows were highly intimate and intensely sought after creating an air of ‘you had to be there’. This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times.
“As perfect an expression of rock n roll essentials auto – destructive impulse as this writers ever heard” The Guardian 5/5
“Girl Band play ugly noise with a charisma and energy to drag them from the no wave ghetto to somewhere bigger” Mojo 4/5
“It’s a hellish noisy odyssey in vicious rock n roll” Crack 8/10
GIRL BAND are: Dara Kiely (vocals) Daniel Fox (bass) Adam Faulkner (drums) Alan Duggan (guitar)
Tracklist:
1.Pears for Lunch – 3.35 2.Fucking Butter – 7.49 3.Lawman – 6.14 4.Heckle The Frames – 1.31 5.The Last Riddler – 1.21 6.Laggard – 5.56 7.Salmon of Knowledge – 6.21 8.Amygdala – 1.43 9.The Cha Cha Cha – 0.29 10.Shoulderblades – 6.07 11.Prefab Castle – 7.39 12.Why they hide their bodies under my garage? 13.Going Norway – 4.13 14.Paul – 6.54
For Craig Finn, these three records feel like one big body of work, and the songs on this collection are a part of that piece. For various reasons, these songs didn’t appear on the records they were recorded with, but they still tell a part of the same story – modern people trying to make it through, to keep their heads above water, to live past their mistakes, to survive. “All These Perfect Crosses” gives a glimpse into what this collection of odds and ends will sound like. It’s a tender piano ballad that clocks in at just under three minutes and its easy to see how this didn’t fit into what went on his three solo albums.
Craig is best known as the frontman of The Hold Steady, however he is also a skilled songwriter in his own right. 2019’s I Need A New War solidified Craig as one of today’s most important storytellers, among the ranks of Leonard Cohen and Tom Waits.
I wanted to tell you about my new release! “All These Perfect Crosses” is a 2xLP set out for Record Store Day, courtesy of the amazing people at Partisan Records. The songs largely come from the sessions that made up my last three records, but it’s also got a few demos and acoustic versions. All of this music was lovingly produced by Josh Kaufman, and a great deal of it was recorded by the awesome Dan Goodwin. (The demos and acoustic tracks were recorded by Josh).
These are songs I really love, they often just didn’t fit the theme or the flow of the record they were recorded for. Thus, I’m thrilled to be putting these together and putting them out in the world on vinyl. I wrote liner notes about each of the tracks, and the whole package is really cool. Artwork by Vance Wellenstein .
Double black LP collecting B-sides and alternate version from Craig Finn’s previous three albums Faith In The Future (2015), We All Want The Same Things (2017), I Need A New War (2019).
Craig Finn – ‘All These Perfect Crosses’ is the title track from Craig Finn’s Record Store Day exclusive album. Record Store Day will take place on June 20, 2020
The Fat Angel Sings 