Posts Tagged ‘Various Artists’

There are a few ups and downs here, like in every Springsteen tribute, but I think that Glory Days as a pub singing song is simply genius!.

It’s a mouthful of a title for a mouthful of an album. At a colossal 38 tracks, Play Some Pool… is more of a Now That’s What We Call Broooce. And helpfully there’s nary a part of the Bruce canon untouched for any long term fan who wishes to be offended/ delighted by the homages contained herein.

Usually found in order of importance to an artist’s reputation beneath live albums and remix compilations, tribute albums are notoriously iffy affairs at the best of times. Lots of phoned-in performances by big(ish) names, or just downright weird-bordering-on-insulting pastiches, as anyone who has sat through one will attest.

Despite no actual presence of recent Bruce torchbearers such as The Hold Steady or The Gaslight Anthem, all manner of semi-known indie herberts line up to doff a cap. Probably the best known acts here concern fans of Art Brut – singer Eddie Argos fronts Glam Chops’ version of “Born In The USA” (done, as you’d imagine, in the style of the Glitter Band fronted by Mark E Smith, all deeply unsober at a kebab house) and ex-Hefner youngster Darren Hayman.

Highlights? The splendid Butcher Boy’s delicate reading of Streets Of Philadelphia; Help Stamp Out Loneliness’ gorgeously electro I’m On Fire; School’s C86-y take on Hungry Heart; ‘Allo Darlin”s rippling indie makeover of Atlantic City and the superbly named Swedish Chef’s glistening weaklingness take on Used Cars. Unfortunately Linda Black Bear’s banjo-assisted version of Born To Run sounds like Neil Young at a music workshop, and The WinterSleep’s half awake meander through Dancing In The Dark doesn’t really add anything to your life, other than sucking away what seems like two hours.

There’s actually nothing completely horrendous on here, although the chances of you wanting to sit through it all again are slim. Instead there’s a good dozen or so tracks here to be selected by everyone, Springsteen fan or not.

Originally Released September 23rd, 2009

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Before he became Patti Smith’s bass player, Lenny Kaye compiled the 2 album set, “Nuggets: Original Artyfacts from the First Psychedelic Era”. Released in 1972, the two-LP set covered American garage rock and psychedelia from the years from 1965-1968, and was a major influence on punk rock. Rhino Records reissued an expanded version of the set in 1998, with 118 tracks in total. I’m profiling and rating each of these 118 tracks, working backwards.

Iowa teenager Craig Moore formed a high school band, The Pagans. The band’s bassist, he initially learned two songs – ‘Last Night’ by The Mar-Keys and ‘Steppin’ Out’ by Paul Revere and The Raiders. He added a third song to his repertoire -‘Gloria’ by Them – but inadvertently spent the first six months playing the three note riff backwards. Nicking some members from another local band, The Rogues, The Pagans changed their name to GONN. Why? Guitarist Rex Garrett’s mother didn’t approve of the name The Pagans.

As with many bands featured on Nuggets, the compilation features their signature song. The title was inspired by a 1942 mystery thriller by J. B. Priestley, The Blackout At Gretley. There’s a thrilling opening – Moore intones “The universe is permeated with the odor of kerosene” over creepy organ. The rest of the song doesn’t quite match the introduction, but it’s an enjoyable bluesy riff-rocker that recalls the mid-1960s Rolling Stones. The shaggy dog story of the lyrics is a nice touch.

GONN seemed destined to land in obscurity – a second single, ‘Doin’ Me In’, wasn’t released. They courted controversy by playing in front on a large Nazi flag, didn’t progress far beyond playing Iowa state fairs, and they broke up in 1969.

‘Blackout of Gretely’ belatedly gained a following, especially after it was featured on the CD reissue of Pebbles, Volume 1 in 1992. By the mid-1990s copies of the original single were selling for US$1,000. The band reunited in the 1990s, and recorded their only studio album, Gonn With the Wind, in 1996.

4AD - Final Four 'Bills & Aches & Blues' Tracks Out Now

In 1980, a new British independent record label was christened Axis, but discovered after its first batch of releases that another Axis already existed, so a new name was necessary to avoid legal problems. New name: 4AD.

Now, 41 years after its inception, 4AD came up with the idea to celebrate the label’s glorious past with current artists covering a song of their choice from 4AD’s impressive catalogue of releases.

In 2020, 4AD Records turned 40 years of age. Never one to be on time for a party, the label is commemorating that landmark this year with the release of “Bills and Aches and Blues”. The compilation features 18 of its current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD, 41 years after its inception.

Bills and Aches and Blues’ includes 18 recordings contain fascinating connections between artist and track. The earliest song chosen (by U.S. Girls) is The Birthday Party’s Junkyard, from 1981; the most recent are the two Grimes covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning) from 2012. Suitably, for the one band that bridges 4AD past and present, The Breeders are all over Bills And Aches And Blues. They’re covered three times – ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt Eaters’ by their ‘90s contemporaries His Name Is Alive.

Bills & Aches & Blues features 18 of the label’s current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD . 

From 4AD’s 40th anniversary compilation Bills & Aches & Blues, SOHN does a double cover, taking on This Mortal Coil’s iconic, Liz Fraser-powered version of Tim Buckley’s “Song to the Siren” and doing so in a very reverential manner.

Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’ ‘Where is My Mind?’, will feel comfortable to casual fans, however by contrast, much joy can be found in the album’s surprise choices, such as Air Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by new signings Maria Somerville and Jenny Hval.

Bills and Aches and Blues is named, arguably (as Elizabeth Fraser never published the lyrics) after the opening line of Cocteau Twins ‘Cherry-Coloured Funk’. Perhaps too unique and uncoverable in their own right, their legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs SOHN’s cover.

Some tracks unearth hitherto hidden shared DNA, such as Future Islands’ and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to reinvention. Aldous Harding distils the melodic essence of Deerhunter’s ‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco ‘Junkyard’ and Bing and Ruth’s neo-classical instrumental ‘Gigantic’ are even more radical interpretations. Leading off the album, Tkay Maidza brings both her Art Rap and R&B game, but also an unexpected ‘80s synth pop template, to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

Side 1:
01 Tkay Maidza Where Is My Mind? (Pixies)
02 U.S. Girls Junkyard (The Birthday Party)
03 Aldous Harding Revival (Deerhunter)
04 The Breeders Dirt Eaters (His Name Is Alive)
05 Maria Somerville Seabird (Air Miami)
Side 2:
06 Tune-Yards Cannonball (The Breeders)
07 Spencer. Genesis (Grimes)
08 Helado Negro Futurism (Deerhunter)
09 Efterklang Postal (Piano Magic)
10 Bing and Ruth Gigantic (Pixies)
Side 3:
11 Future Islands The Moon Is Blue (Colourbox)
12 Jenny Hval Sunbathing (Lush)
13 Dry Cleaning Oblivion (Grimes)
14 Bradford Cox Mountain Battles (Breeders)
Side 4:
15 SOHN Song To The Siren (Tim Buckley)
16 Becky and The Birds The Wolves Act I and II (Bon Iver)
17 Ex:Re Misery Is a Butterfly (Blonde Redhead)
18 Big Thief Off You (The Breeders)

Beggars Group Digital Ltd.

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Before Andy Gill’s death there was a Gang Of Four tribute album in the works. After he passed, it got pushed back a bit, but now “The Problem With Leisure: A Celebration Of Andy Gill And Gang Of Four” is coming out in May. It features a bunch of artists covering Gang Of Four songs, and in January we got to hear Tom Morello and Serj Tankian take on “Natural’s Not In It.” Now we have another new song from the compilation: Warpaint’s rendition of “Paralysed.”

Here’s what Jenny Lee had to say about Warpaint’s cover: “The change will do me good.” (Damaged Goods). Best piece of advice that pretty much changed my life. Not to mention Dave Allen’s bass playing also changed me forever. Made me wanna play bass.

It was cool to get inside of “Paralysed,” and for Gang Of Four to give us freedom to freak out in our way… it was a beautiful opportunity and we’re SOOO excited. It’s an honour actually to be a part of Andy’s tribute.

“Andy loved the way Warpaint created not only songs but atmospheres, without sacrificing drive and danceability,” Gill’s widow Catherine Mayer added. “The marriage of their unique sound with ‘Paralysed,’ on the face of it one of the least likely dance tracks ever, is spectacular.”

Caught Beneath The Landslide

Lost tracks, hard to find versions, B-sides, remixes & more • 4CD or 2LP packages • 500-only limited editions with Kevin Cummins signed print. Demon Music will issue a new Britpop-era compilation curated by legendary music photographer Kevin Cummins called Caught Beneath The Landslide: The Other Side of Britpop and the ’90s.

Available as a four-CD set or a 2LP vinyl package, Caught Beneath The Landslide offers classic tracks, lost gems, live and alternate versions, B-sides and single edits from the Britpop era. Acts include Oasis, Blur, Pulp, Suede, Elastica, Radiohead, Lush, Supergrass, Menswear, Gene, The Auteurs, The Charlatans, Echobelly, Ash and Sleeper.

Kevin Cummins was chief photographer at the NME for more than a decade and was witness to – and documented the musical and cultural phenomenon in the first half of the ‘90s, that was variously tagged ‘Britpop’ or ‘Cool Britannia’. Now Kevin has compiled ‘Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s’, brings together artists that topped the chart and set the agenda, some who were lauded one week and laughed at the next, and others who were just along for the ride. From an era of Lad’s mags and Girl Power, “football’s coming home” and chart battles making news headlines,

His photo-book While We Were Getting High: Britpop and the ‘90s, was published last year and now Kevin has compiled this companion collection. The four-CD package contains 71 tracks, which the 2LP vinyl set offers 26.

In-depth sleeve notes explore the bands, their influences and features contributions from producer Stephen Street, DJ Steve Lamacq, Johnny Dean (Menswear), Math Priest (Dodgy), Kevin Miles and Matt James (Gene) and Jaime Harding (Marion) and contain original photos from Kevin’s collection

Kevin Cummins says: “It was always my ambition to have a companion album to the book, a chance to enjoy the music of that era, music as timeless as the images. When I was selecting photos for my book, I took to Twitter to ask fans if certain bands could be considered part of the genre. Several musicians joined in to deny they were ever part of Britpop. The Manics were never considered part of the genre, nor Primal Scream, and much as I would have like to include them I chose not to. So it pleases me that we can feature both bands and many more in this collection, with its broader take on Indie music in ‘90s Britain.”

As well as the Amazon-exclusive 4CD set with signed print, Rough Trade in the UK have an exclusive 2LP black vinyl edition also with signed print. This is limited to 500, like the CD set. There is also a clear vinyl indies-only exclusive (also available at Rough Trade)

The four-CD set of “Caught Beneath The Landslide: The Other Side of Britpop and the ‘90s” is out on 30th April 2021, with the 2LP version following on 14th May.



Subtitled “Glam Queens And Street Urchins (1970-1976)”, this new set is loosely a follow up 2019’s well-received RPM 3CD box All The Young Droogs. This time round Roxy Music, Mott The Hoople and The Troggs rub shoulders with lesser-known combs like Streak, Rococo and Rosie.

On first inspection this new compilation “Oh! You Pretty Things” seems to explore the shiny and brash glam explosion, which became the first true UK pop craze of the 1970s, plus its more “serious” and diverse “older brother” underground rock. But in between we have talented singer-songwriters, proto-punk maniacs, would-be natural heirs to The Small Faces and a boatload of opportunists, among the many other shades of early 70s pop. This does seem to me to be squarely a follow up to the All The Young Droogs 3CD set of a year or two ago and includes some of the same artists too. That isn’t really a big deal as far as I’m concerned, because that was an excellent selection box of the era . It does, however, give Oh! You Pretty Things a lot to live up to.

Naturally inhabiting the same terrain to All The Young Droogs, this new set adds vital detail to what has these days become something of a glittering myth. Glam has become as much a 1970s cliché as dark, foreboding streets, terrible interior design, rumblings of industrial discontent, power cuts and three tv channels that shut off at midnight. Really just an overfamiliar trope purpose-built to be mocked on We Love The 70s-type clip shows. Yet despite this it had real, lasting value and revitalised what was becoming a very dull music scene. Glam only made a limited impact in America, despite being the place pioneers of the style like the Velvets, the Warhol crowd and The Stooges initially emerged from, but in Britain, it was big news.

What isn’t often recalled is that even though thousands of kids all over the UK embraced glam as their own, virtually everyone else in the country hated it and weren’t exactly backwards in lambasting the whole thing. Much like punk, which couldn’t conceivably occurred without glam, all-comers from the Peter Pan of pop Cliff to the NME, from guardians of the nation’s morals to “serious” rock fans, lined up to vent their collective loathing for the glitter pop scene which occupied centre stage.

Old duffers were outraged to see bands in wild outfits and pretty boys in make up, whilst hip music journos sneered peevishly “they can’t play” and “it’s all a money-making con”. Ring any bells? Even though many of the glam ranks came directly from the 1960s generation, a good few of their contemporaries weren’t happy with the situation either. Perhaps being usurped as no longer being the bright young things upsetting the oldies, but becoming the “oldies” themselves, is what irked them. The passing of the years matured the 60s rebels into the new establishment, whereas the glam rockers were just toting some frothy, pure fun for a generation too young to enjoy the fruits of the swinging decade. Even some of the bands codified under the glam label weren’t too happy about it, witness Blackfoot Sue’s scathing Glam Obituary on disc one of this set

But we’re only getting half or possibly three quarters of the story of Oh! You Pretty Things by focussing on solely glam, because a lot else was happening too, with underground rock not a total thing of the past and would-be proto-punks making their first steps. So let us delve into the music, which when all is said and done will determine whether or not you choose to pursue this set further.

The first disc certainly comes out swinging with four big-name acts. Roxy Music open things up with Pyjamarama and there’s probably not a better scene-setter than could have been selected, still sounding otherworldly and like a future yet to be discovered, but also zeroing the listener into the sense of wonder and imagination of the best of the early 1970s UK pop scene. ELO follow with the atypically tough Ma-Ma-Ma Belle and Sparks seems well on the way to inventing new wave a couple of years early on Barbercutie. Here they weld Eddie Cochran riffs to The Who’s original power-pop attack but, aided by the strangeness intrinsic to the Maels, it becomes something completely of their own. Given the boxset’s title it is natural that The Pretty Things are here and the tuneful and assured Joey just goes to show what a valuable outfit they still were.

Front cover stars The Hollywood Brats could have gone on and become one of the UK’s top bands of the time, They were bold, brash and trashy with great tunes, but being ahead of their time and the chaos that surrounded them didn’t help. As it was, they laboured away in obscurity, which doesn’t make Tumble With Me any less great. There’s so much on this disc of note, but space dictates this will have to be a whistle-stop tour. Hopefully most people know how fabulous Be Bop Deluxe, Ian Hunter, The Kinks and Hawkwind are and their contributions here, respectively Teenage Archangel, One Bitten Twice Shy, Powerman and the punk soul Kerb Crawler, all cut the mustard.

Mick Ronson’s spirited cover of White Light White Heat was a cast-off from the Pin Ups album sessions and it would be inaccurate not to mention that the considerable shadow of David Bowie hangs over this set. Most obviously, Simon Turner covers The Prettiest Star, Dana Gillespie does a cool take of Andy Warhol and DB’s underlying influence is usually somewhere to be found in the background.

Among the lesser well-known artists are Peter Perrett’s pre-Only Ones band England’s Glory. Their Bright Lights may have a bit of VU influence, something that is strongly suggested in the sleeve notes, but this song is heart-breaking in a way only Pete could do. Peter Meaden proteges Streak reimagine The Stooges as a pop act on the fine On The Ball and Blue Movie Star, an unreleased song by obscure five-piece Rococo, is a fast and explosive effort which wouldn’t shame Sparks. Gary Holton’s Heavy Metal Kids give us the tearaway anthem The Cops Are Coming and Send Me The Bill For Your Friendship is a bitter, brilliant song right out of the top drawer by the late Duncan Browne, a visionary artist who thoroughly deserves more acclaim. The Pink Fairies rough and ready Street Urchin finishes things off for what is a top quality platter from beginning to end.

Moving on to the second part of Oh! You Pretty Things, you would think that this disc would have trouble following up its predecessor. But when you open up with Slade’s grandstanding breakthrough number one Take Me Bak ‘Ome, Thin Lizzy (with a fuzzy and tough rocker Little Darling), Lou Reed And John Cale as four out of the first five offerings, you know the standard set is not going to drop. Lou is represented by the peerless Satellite Of Love and Cale goes back to his VU roots on the menacing chug of Gun. It is the mix between the bigger bands/singers of the time and new discoveries unearthed which makes this set so appealing.

After this initial blast (and one shouldn’t forget Zior’s infectious stomp Cat’s Eyes among Noddy, Phil and the Velvets), we enter a run of proto-punks. The mighty Jess Hector is a nailed-on certainty for this kind of collection and his Hammersmith Gorillas rarely failed. They certainly don’t on Shame, Shame, Shame, where a mid-60s mod pop number is kitted out with prime 70s raunch and solid playing. Knox of The Vibrators crops up in Despair, who provide us with the busy and pleasing Lady Easy Action and the excellent Doctors Of Madness, who give us a demo version of B-Movie Bedtime, show here how far ahead of the crowd they were in 1975. Iggy crops up with Mainman demo Gimme Some Skin and Third World War get bluesy on the class conscious Rat Crawl.

There is so much to dig and excite here, one is tempted to write about every track. Curved Air are alarmingly punky on The Purple Speed Queen and Agnes Strange (a band from Southampton, not a female singer) seem to anticipate The Pistols’ Did You No Wrong on Give Yourself A Chance. Rosie, a spin-off band from Streak, are a real discovery, appearing like a slightly restrained Hammersmith Gorillas on their decidedly non-PC Rosie’s Coming To Town (it was a different time, as I think I once heard someone say) and The mighty Troggs bump and grind on Strange Movies. Tim Curry’s cast recording from The Rocky Horror Show Sweet Transvestite hits the sweet spot betwixt spoof and authenticity and Wayne County, who was another huge influence on all things glam and punk, shows again why his/her work should be more lauded with the fast and funny Queenage Baby.

We arrive at the final disc of Oh! You Pretty Things with The Dolls’ Personality Crisis, the album version with producer Todd Rundgren’s flowing piano part. Then Slough’s Tina Harvey does a more or less straight cover of I’m Waiting For The Man, a record that arrived just that a few months early for the punk crowd. I know I’m biased but to me John Howard is one of this country’s best songsmiths and early recording Small Town, Big Adventures shows his muse already fully formed. It is stuffed full of great lines and cut with a breezy, elegant style. Brett Smiley’s Space Age is full-blown glam mayhem and this opening salvo makes Leo Sayer’s actually quite pretty tune The Dancer seem inconsequential in comparison.

A Raincoat, a pseudonym for studio boffin Andy Arthurs, cut an irresistible camp gem in I Love You For Your Mind (Not Your Body) and Duffy’s The Browns is the kind of 1960s character study The Small Faces and The Kinks specialised in, updated for glitter rock times. Who knows who the berk was at Chrysalis who decided not to issue The Winkies’ superb freewheeling rocker Last Chance as a single. Given a chance it may well have given them a much deserved leg-up. Then The Flamin’ Groovies prove with their back to basics sound Dog Meat they were helping to prepare the ground for punk, prior to jangling themselves right back to the sixties with Shake Some Action.

Spiv, from London, veer close to heavy metal on high energy rocker Little Girl. So much so that it is no surprise that drummer Tony Church later played in NWOBHM band Shadowfax. Jesse Hector returns with more brutal and beautiful sounds in High School Dropout, cut with his pre-Gorillas outfit Crushed Butler. If this is the sound of “three ugly heavy musicians making music to match” sign me up right now!

The Hollywood Stars were put together by Kim Fowley as a LA version of the New York Dolls, though the premeditation doesn’t harm the slightly bluesy rocker King Of The Night Time World. The set finishes with Alex Harvey’s semi-autobiographical The Last Of The Teenage Idols and Mott’s eternal Saturday Gigs – it’s hard not to think The Clash may have got their start as a combo of these two, they are such brilliant snapshots of the early 1970s you can almost touch it.

I’m not going to be making any apologies for raving about this set – it is brilliantly put together and sequences top-notch better known material with rarities in a way that had me jumping out of my seat with joy. As usual with these kind of sets we get nuggets of information and pictures of the artists in the accompanying booklet and the clamshell box it comes in for me gives it that touch of quality the slipcase simply doesn’t. Oh! You Pretty Things is as good a survey of the glam times as we are likely to see and massively enjoyable to listen to.

Released on Grapefruit Records 3CD | DLOh! You Pretty Things”

Released 26 February 2021

With ten Brown Acid records already released and no end to the series in sight, we figured the time was right to release the first ten records in a single, affordable batch. No colour is guaranteed, you might get a clear, two reds a black and a white or maybe they’ll all be purple. Who knows! It’s part of the game. Get on the Brown Acid train today, you won’t be disappointed.

First two releases by Riding Easy Records “Brown Acid” compilation series, “loads of Hendrix, Zepp, Stones, Sabbath, Skynard, worship included in these tunes, but it’s not just ‘Sounds Like’ material, there are a lot of great bands that for whatever reason never got the shine they deserved.” “We have enough tracks for 3 trips at the moment and the goal is to do 5.”

Screaming out of the gate, here’s the third volume of the critically acclaimed Brown Acid series! We curate these heavy compilations so the heads can hear the best songs they’ve never heard. As usual, this batch of tracks is off the rails. It’s an absolute tragedy that these cuts aren’t in heavy rotation on classic rock radio…yet. We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can’t be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night’s half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol’ US of A with two exceptions, Ash-labelmate New Zealanders, Chook, and the mighty Limeys, Factory. We won’t take full credit for it, but we’re sorry to say that these types of 45s have skyrocketed in value over the last little while and some of the records included in this volume have only changed hands a handful of times on the collector market. Although it’s a bummer for the pocketbook, we say “Hell Yeah!” it’s about time these rarities have become recognized as the priceless artifacts that they are. Unlike many labels doing compilations of rare dusties, we’ve actually gone to the trouble to contact the bands included here for permission to use their material. It was a long and arduous task to say the least, but it’s the way it should be done. And we paid ‘em! So sleep easy knowing that no one was ripped off in the making of this record. As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you’ve taken yet. You won’t be sorry you did.

If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong…we’re only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain’t easy to find, but they’re out there if you’re willing to dig…and we aren’t afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we’ve sifted through a lot of dirt, but we’ve dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers. You may remember the Zekes’ jaw dropper “Box” from the First Trip. If you don’t, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we’ve legally obtained from the Beverly Hills Records vaults. “Comin Back” is the longest tune we’ve yet to include on this series and it’s a full-on rager! The only surviving copy of this recording came to us on the original 1/4” master tape from Hollywood’s long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you’ll appreciate the rawness. There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and “Coachman” is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and “Poor Man, Run” as a limited edition 45 with a killer picture sleeve. It’s long out-of-print and only obtainable now on Brown Acid. The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You’ll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don’t even have personal copies. Such a bummer. Anyhow, plug in, turn up, and freak out…this is what RocknRoll is all about.

And the hits just keep coming. For the Fifth lysergic journey, we’ve assembled 10 heavy slabs of obscure rock the likes of which have never been seen before… not in this form anyhow. And as usual, the tracks from these impossibly rare records have all been fully cleared through the artists themselves. We’ve gone to great lengths to get the best possible master sources, the worst case scenario being an original 45. ‘Cuz it ain’t worth doing unless you do it right. The legendary Captain Foam kicks off this Trip like an anvil to your skull with a rollicking stomper sounding like The Who with Matt Pike’s thunderous guitar tone. “No Reason” is a track we’ve been wanting to share with you boneheads since the start. Captain Foam (aka Richard Bertram) wasn’t easy to find, but lo and behold, our super sleuths located him and got his blessing to include the A-side of his sole single here for you. Good luck finding an original copy of the record. It’s rarer than raw beef. That’s just the tip of the iceberg. The other nine tracks continue the onslaught in typical Brown Acid form. You may be familiar with George Brigman’s psychedelic punk masterpiece “Jungle Rot”, but you don’t know Split until you’ve heard the charmingly disjointed bedroom-fi production of “Blowin’ Smoke”. Finch sounds way out of time (1968) and place (Milwaukee) on the grungeadelic anthem “Nothing In The Sun”. Cybernaut’s heavy prog — giving their Canadian cohorts Rush a run for their money — and Flasher’s “Icky Bicky” boogie prove beyond a shadow of a doubt that our neighbours to the north can rock with the best of ‘em. Meanwhile, Fargo’s hallucinogenic BBQ sauce soaked “Abaddon” and Mammoth’s fittingly beefy eponymous riff-monger continue the long line of heavies from the Lone Star State. Ohio based screamers Lance features members of Inside Experience, who you might recall from the Third Trip. Zebra’s gritty rendition of “Helter Skelter” is most likely the way Charles Manson heard the song in his head. And finally, the mysterious and previously unheard Thor appears here exclusively and for the first time ever with their unknown 45 track “Lick It”. Many thanks to our pal Mike Vegh for turning us on to this one. Speaking of turn ons, we love hearing about rare hard rock, heavy psych, and proto-metal records. So, if you know something we don’t, please drop us a line. If we’re able to track and include a record you hip us to, we’ll gladly give you props on a future volume. In the meantime, we’ll keep doing all the hard work ourselves and you can keep reaping the benefits… until we kill all your braincells.

If you’d told us when we started this epic journey that we’d have six volumes worth of licensed tracks released in just three years, we would’ve laughed in your face! Doing the Dark Lord’s work isn’t an easy job, but somebody’s gotta do it, so here we are with six Trips under our belt and more lined up. You heads just can’t get enough obscure hard rock, heavy psych, and proto-metal from the late-60s & 70s! And for that, we’re grateful for the opportunity to keep laying these slabs in your lap. This isn’t just a random mixtape we threw together off the Internet. We find the records, track the bands and transfer the tapes, so you don’t have to. The bands did their job back in the day by writing, recording and releasing this material, most times against all odds, and you’ve squandered your hard earned scratch on this record, so I guess the least we can do is continue to compile quality Rock’n’Roll cuts from the golden age of heaviness. This time around we have 10 deep cuts from across the continental US of A and one from our neighbors up North. This Trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing and also leads one to believe that the only band that could’ve held a candle to Gold back in the day would’ve been the mighty Blue Cheer.

Everybody’s favourite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

The hard stuff saga continues with Brown Acid – The Eighth Trip! Yet again, we’ve searched high and low to bring you ten tracks of straight blue flame fire from the golden age of heaviness. As usual, these rare tracks have been carefully curated, analogically sourced, and fully licensed so you can listen guilt- free and save a lot of time and money tracking down the original copies.

This Trip comes straight at ya with an all out attack, quite literally. The residents of St. Clair Shores should consider themselves lucky to have been so close to the greatness of Attack! “School Daze” kicks out the jams Detroit-style, but has enough flair and style to have our main man Jimi rolling over in his grave. Another prime example of why Detroit is known as Rock City!

Speaking of rock, White Rock will knock your stank-ass socks off with their 1972 burner “Please Don’t Run Away”. This 45 was privately released by this Houston-based band that reportedly played shows with Josefus, Stone Axe, and Purple Sun. And it was basically unknown until it surfaced at the Austin Record Convention in 2018! The fact that there are still completely unknown records out there to be discovered never ceases to amaze us.

They don’t say “Don’t Mess With Texas” for nothin’! Riverside called Austin home way before anyone was worried about keeping it weird. This two-sider from 1974 rips from front to back. It’s also exclusively available here and is virtually unknown. Go ahead, try to look for it anywhere. Currently, there’s no proof anywhere online that it exists.

The forthcoming ninth edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Ninth Trip is set for release on Halloween 2019.

“So rare that diehard fuzz junkies say you’d have a better chance of winning the lottery than finding a physical 45 rpm single by one of the bands featured on their latest installment.” — Dangerous Minds “Will do for hard rock, proto-metal and heavy psych what Nuggets did for garage rock, and bring it to a wider audience of collectors and music fans.” — The Guardian

“Mining the surprising rich reserves of heavy rock and proto-metal from the ’60s and ’70s, these collections have been crucial to understanding the history of a subgenre of rock that had far deeper roots than most fans realize.” — Paste Magazine

The forthcoming ninth edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Ninth Trip is released on Halloween 2019. 

The tenth edition -of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Tenth Trip is available now. As the celebrated series reaches landmark double-digits, there are no indications it will slow down in the near future. Here we are, arriving at the tenth edition of Brown Acid in just half as many years! As always, we packed in the highest highs of the dankest hard rock, heavy psych, and proto-metal tracks previously lost to the sands of time. As usual, all of these tracks were painstakingly licensed legitimately and the artists were paid. It’s hard to believe we’re already up to 10 volumes of this lysergic neanderthal wail, but the long-lost jams just keep-a-coming like Texas crude to fuel your rock’n’roll engine and melt your metal mind.

When an artist receives any kind of tribute treatment, it’s generally a sign of some well-deserved recognition. It means that the music has become so iconic, reverence is readily assured. Likewise, when a salute of that sort spans two discs, it’s also evident that there’s plenty of source material that can be considered.  Not surprisingly then, the iconic rocker Willie Nile gave the musicians that contribute to his particular tribute, Willie Nile Uncovered, plenty of songs to choose from. Nile, whose career was originally spawned during the Greenwich village folk scene of the mid to late ‘70s, eventually turned his gaze towards the insurgent sounds that drew Springsteen, Patti Smith, Elliott Murphy, and various arch denizens of his city’s post-punk scene.

That said, the music represented here is strikingly diverse, whether it’s Emily Duff’s take on the celebratory sing-along “Hell Yeah,” the appropriate Band-like sound given Quarter Horse’ read of “When Levon Sings,” the tender tones of James Maddocks’ version of “She’s Got My Heart,” or, naturally enough, the rousing revelry found in Nils Lofgren’s performance of “All God’s Children

A varied list of rock, folk and Americana luminaries take part — which, aside from those mentioned above, include Graham Parker, John Gorka, Caroline Doctorow, Slaid Cleaves, Richard Shindell, Richard Barone and Lucy Kaplinsky — and they not only offer appropriate homage, but also ensure that the appreciation Nile so decidedly deserves is served up quite sufficiently.

“The subtitle to this 2 CD set of songs of native New Yorker Willie Nile is ‘Celebrating 40 Years of Music.’  26 sterling interpretations of his oeuvre have resulted in one of the most playable and entertaining tribute album in years.  Incorporating Americana, roots rock, folk rock, country rock and the kind of singer-songwriter smarts that a fella named Bruce pioneered just over the Hudson River on the Jersey side, there are no clinkers. Not one… So many highlights!” – Mike Greenblatt- Goldmine Magazine, November 2020.

“…it’s consistently excellent…it’s a dependably absorbing listen”. Hal Horowitz – American Songwriter – 8/20/20

“The range of Willie’s music has been captured brilliantly on Willie Nile Uncovered… It’s been lovingly packaged with complete credits and extensive liner notes… The album reveals the richness of Willie’s catalogue… Thanks to Willie for his unwavering rock & roll heart and thanks to Paradiddle for giving Willie his due.” – John Platt – New Folk Initiative – 8/28/20

“An effort with something for everyone, Americana, rock, folk, country and roots rock are all explored here and interpreted in thoughtful, exciting ways that certainly puts Nile’s work at the highest regard.” – Take Effect – 8/30/20

“A delightful compilation by many. Willie Nile has great friends. John Apice – Americana Highways – 8-20-20

 “…all of the contributing artists bring something fresh to the material while remaining true to its spirit. The album will likely make you want to explore Nile’s recordings and also investigate some of the folks who cover them here.” – Jeff Burger – Americana Highways August 2nd, 2020 & TMR August 5th, 2020      

“It’s an extraordinary tribute that gives justice to the brilliant Willie Nile catalogue.” —6/30/2020 – Norm Prusslin, co-founder of the Long Island Music Hall of Fame – New Jersey Stage

If you know Gang of Four, PiL and The Slits inside and out, this three-disc box sets heads mostly to the fringes of the original post-punk disco scene

Making for a nice follow-up to the EXEK reissue is this new three-disc compilation of scratchy disco from the original post-punk era. The mix of funk, disco, punk, dub and bleak industrial noise is formative to this writer and its a sound that will forever be appealing to me, whether it’s the original article (Gang of Four, ESG, PiL, The Slits, The Pop Group), the ’00s second-wavers (Liars, Yeah Yeah Yeahs, Radio 4, Franz Ferdinand), and more recent acts like EXEK or Working Men’s Club.

For those who think they’ve heard it all, as well as folks who only casually know the heavy hitters, new three-disc compilation “Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984” opens a few new doors and brushes the dust off some forgotten acts from the era. While it doesn’t have Gang of Four, The Slits or Au Pairs — probably for budgetary reasons — it does have great tracks from lesser-known acts like Medium Medium, The Higsons, PiL bassist Jah Wobble, punk poet John Cooper ClarkeGlaxo Babies, Blue Rondo A La Turk, Specials-offshoot Fun Boy Three, pre-Breakfast CluSimple Minds, very early Haircut 100Ian Dury, Bauhaus offshoot Tones On TailVisage, Furniture, Family Fodder, and more. There are also plenty of bands who are new to me, including The Chicken Granny, Viscous Pink, and C Cat Trance.

Bill Brewster, who wrote the great history of DJing, Last Night a DJ Saved My Life and compiled this box set, says he took the same approach to this collection as he would a DJ set. “The important thing was not to impress James Brown, emulate the Fatback Band or wear Kraftwerk’s game-face. The point was to have a go. ‘Shake The Foundations’ is not a comprehensive look at post-punk, so much as a shakily hand-drawn map of a particular area. It’s what happened when the post-punk fallout collided with the dancefloor, and forty years later we’re still feeling its effects.” 1980 single that also appeared on their Nine Months To The Disco debut album. Tony Wrafter, Dan Catsis and Charlie Llewellin eventually left and formed Maximum Joy with singer Janine Rainforth.

Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984 is out March 26th via Cherry Red Records. You can check out the full tracklist and preorder the album here and meanwhile this is the compilation’s title inspiration, Glaxo Babies’ “Shake the Foundations”:

Merge Records is an independent record label based in Durham, North Carolina. It was founded in 1989 by Laura Ballance and Mac McCaughan. It began as a way to release music from their band Superchunk and music created by friends, and has expanded to include artists from around the world and records reaching the top of the Billboard music charts.

We live in North Carolina, where a racist Republican legislature has worked for a generation to undermine democracy through unprecedented voter suppression. Our neighbours in Georgia have successfully fought back, through the efforts of Fair Fight and other organizations. The voters who turned Georgia blue in November can now elect Raphael Warnock and Jon Ossoff, take back power in the Senate, and make true progress possible in this country.

The Merge Records artists on this comp came together quickly, recording in various quarantine situations, to pay tribute to their favourite artists from Georgia, or maybe just record their favourite songs with “Georgia” in the title, and to support those working hard in Georgia to make sure everyone’s voice is heard.


Released December 4th, 2020