Posts Tagged ‘Various Artists’

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

The Song is Coming From Inside the House is a 24-track COVID-19 charity compilation of B sides, demos, and unreleased songs from some of the country’s best underground acts. All proceeds will benefit Groundswell’s Rapid Response Fund, an organization working to address the deep problems and injustices that underlie our economy, political system and our communities.

The Groundswell Rapid Response Fund provides fast funding to grassroots organizations led by women of color, trans people of colour, and low-income women and trans people in critical, but unexpected, fights to protect and advance reproductive and social justice, including mutual aid societies, rent moratoriums, and digital organizing. You can read more here about how they are adapting their approach to meet the demands of the COVID-19 pandemic:

We are supporting Groundswell because this is a way for us to invest in organizations working to address some of the severe inequities in our society that this pandemic is highlighting. Victims of COVID-19 are disproportionately people of colour, and the crisis has already been used as an excuse by lawmakers to deny abortion access. We feel that issues like these have been unreported relative to the general media conversation surrounding COVID-19, and as a result they are likely to be underrepresented in charitable efforts.


Art by Mac Pogue. Special thanks to Jessica George and Amber Carew for their help with this project. 

released April 30th, 2020

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 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.

Beginning with John Mayall and his epochal Blues Breakers With Eric Clapton Grapefruit‘s roughly-chronological collection illustrates how the blues and its variants permeated the late 60s British music scene, happily highlighting the key players – often in more obscure settings – while providing examples of the lesser known, and near-forgotten, equally inspired by Mayall’s example.

The Fleetwood Mac clan are here in force; ‘Love That Burns’ from Mr. Wonderful; Peter Green guesting on Brunning Sunflower Blues Band’s ‘Ride With Your Daddy Tonight’; Jeremy Spencer’sMean Blues’ from his eponymous (and whacky) solo album; and The Christine Perfect Band’s out-take ‘It’s You I Miss’. Likewise Zeppelin; Page in ‘67 on a live Yardbirds ‘I’m A Man’; John Paul Jones guesting on ‘You Shook Me’ from Jeff Beck’s Truth; and Robert Plant in a short-lived trio with Alexis Korner.

Quiet Melon – whose ‘Diamond Joe’ is a revelation – turn out to be Art Wood plus a proto-Faces. The much-refried ‘Bring It On Home’ and ‘Baby Please Don’t Go’ are made fresh in versions from Bakerloo and Jasper. Siren’s ‘Gardener Man’, Steamhammer’s ‘Passing Through’, and Edgar Broughton’s ‘Old Gopher’ might have been equally at home on an I’m A Freak Baby collection, but sit happy here; like many of the later selections, of the blues but reaching beyond.

While there have been many British blues anthologies, the vast majority tend to be single-label projects rather than scene-wide curatorial efforts. This three-disc, 56-track box is the first attempt at a comprehensive overview. On disc one, the Bluesbreakers are represented by Willie Dixon’s and Otis Rush’s steamy, raw, “All Your Love.” The previously unissued title track is offered by with sass and verve by then-new and always unheralded Zany Woodruff Organization (who later hosted guitarist Allan Holdsworth). Tracks by Bond, Jeff Beck, Love Sculpture, and early Fleetwood Mac, Ten Years After, and the Deviants round it out. But there are surprises: Duster Bennett’s demo for “Jumping at Shadows,” made immortal by Fleetwood Mac, and the Bonzo Dog Doo Dah Band delivering a scorching, humorous, barroom strutter called “Can Blue Men Sing the Whites?” There is a smouldering Korner jam here too, titled “Operator,” with a very young Robert Plant on vocals.

Disc two contains a smoking acoustic version of “Death Letter Blues” by Mike Cooper, as well as “It’s You I Miss,” by the Christine Perfect Band (aka Fleetwood Mac’s Christine McVie), the swampy, modal blues-rock of Levee Camp Moan on “I Just Can’t Keep from Crying,” Taste’s “Blister on the Moon,” revealing Rory Gallagher’s early guitar genius, and tracks by Blodwyn Pig and Chicken Shack, as well as a host of obscurities including Quiet Melon’s rarity “Diamond Joe,” featuring the pre-Faces Ronnie Wood, Kenny Jones, Rod Stewart, Ian McLagan, and Ronnie Lane. The final disc includes a scorching, live, “A Hard Way to Go” by Savoy Brown (with Chris Youlden), Stone the Crows’ “Raining in Your Heart,” the Edgar Broughton Band’s “Old Gopher,” Skid Row’s “The Man Who Never Was,” an early example of dual-lead proto-metal blues with guitarist Gary Moore (Phil Lynott was their original vocalist, but not here), and Status Quo’s early boogie exercise “Railroad,” with obscure numbers by Linda Hoyle (a rousing “Mr. Backlash”), a ragged “Road Runner” by Stack Waddy, and a rare live take of “I’m a Man,” by the pre-pop Yardbirds.

The set is adorned with copious, authoritative liner notes by compilation producer David Wells, and contains wonderful photos and brilliant sound. Crawling Up a Hill is essentially the definitive British blues compilation. Its amazing cross-licensing and skillful presentation leave very little out, yet covers all major and most minor artists on the scene with careful attention paid to stylistic variation.

There’s a new Rilo Kiley covers compilation titled No Bad Words For The Coast Today: The Execution Of All Things Covers Comp, out today via Bandcamp. The compilation features Sad13, Mannequin Pussy, Diet Cig, Adult Mom, Lisa Prank, Anika Pyle, Gladie and more. Half of the proceeds will go to the artists and the other half will go to G.L.I.T.S., a NYC-based non-profit, social justice, advocacy and service organization addressing the health and rights crises faced by transgender sex workers.


No Bad Words For The Coast Today: The Execution Of All Things Covers Comp is a compilation featuring 14 artists, celebrating Rilo Kiley and their seminal 2002 album.

Released November 6th, 2020

Over a year in the works, we are now taking orders for the double-LP “Through the Static and Distance: The Songs of Jason Molina”. Please take a moment to read about, listen to samples from, and pre-order the album at

Tribute albums are a strange undertaking, funny to love something so well then want to change it, to interpret it for yourself. Anyone who has ever performed or recorded someone else’s song understands that to cover a song is to find some way in, deeper than you could from just listening; it’s a way of knowing a song intimately, to make it your own and to love it.

Jason Molina’s songs seem so passionately torn from his very heart in such a way as to make us smell the fleshy vitality. They are small and personal, as though a tiny secret whispered in our ears, yet speak to such enormous truths and overarching perceptions. They revealed an author in ways we might not even come to know ourselves. To hear Jason’s albums is to understand and fully believe his authenticity.

No one is under the impression they’re going to improve on the genuine article but with these songs we say, “Thanks for showing us what you saw, what you felt. We see it and we feel it and we fucking agree. With the whole of our hearts. Thank you, Jason, for the beauty you brought to this world.”


Tribute to Jason Molina
All proceeds go to the Family of Jason Molina

Read each artist’s story about Jason’s music at:

Originally Released January 27th, 2015

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! 

We’re now in the double digits of brilliant long-lost, rare, and unreleased hard rock, heavy psych, and proto-metal tracks from the 60s-70s and clearly this has become a bonafide archaeological movement as each new edition leads us to more exciting new discoveries. Like we’ve done throughout this series, all of these tracks were painstakingly licensed legitimately and the artists were paid. Make yourself comfortable and prepare for yet another deep, deep dive into the treasure trove of dank, subterranean, wild-eyed and hairy rock ’n’ roll.

This Trip opens with Adam Wind’s “Something Else,” featuring groovy crooning and a very acid-damaged guitar riff that meanders across key signatures like it ain’t no thing. This 1969 single by the Tacoma, WA band predates grunge by 20 years, but the band’s heavy psych and murky tones are just the stuff Northwest heroes Mudhoney sought so fervently at their peak. Lead singer Leroy Bell’s excessive vibrato gives the tune its charm, but the heavy breakdown in the middle is the real payoff.

Boston bruisers Grump return to the series with a previously unreleased dose of raw soul layered in greasy horns, plucky harmonized guitar leads and chirping organs on “I’ll Give You Love.” The track packs twice the punch of their cover of Elvis Presley’s classic “Heartbreak Hotel” heard back on The Eighth Trip, itself a fan favourite.

Stevens Point, WI is the actual origin of Bagshot Row, a little-known band taking its name from a street in The Hobbit. However, they sound much less fantasy obsessed than their name suggests and more akin to Sugarloaf of “Green Eyed Lady” fame. Their swaggering “Turtle Wax Blues” of 1973 will put some extra hair on your feet and send you searching for this lone 45 single like a ring that possesses magical powers to control all of Middle Earth (or at least Middle America.)

Larry Lynn’s “Diamond Lady” is the B-side to his 1970 single “Back On The Street Again.” Larry Leonard Ostricki adopted his stage name while performing with The Bonnevilles in the mid-1950s in Milwaukee, WI, and later with The Skunks. Larry Lynn’s eponymous band explored bluesy psychedelic rock from 1969 to 1978, only to reunite in 2009 and they still perform to this date.

Renaissance Fair take things in a very weird, very fun and undeniably heavy direction with an insanely distorted organ that sounds like a monstrous vacuum cleaner over dirge rhythms and growling vocals on their — we reiterate — weird 1968 track “In Wyrd.” Think if someone left a copy of The Doors’ Strange Parade out to warp in the sun on a blown-out toy record player, and then visiting space creatures attempted to imitate what they’d heard.

Chicago, IL’s Zendik bring it all back down to Earth with their politically-charged 1970 firestorm “Mom’s Apple Pie Boy” which echoes the unabashed rage of The MC5 and anthemic sarcasm of CCR’s “Fortunate Son.” The band’s only publicly released single “Is There No Peace” (previously heard on Brown Acid: The Sixth Trip) boasts the proto-punk refrain “God is dead!” This equally direct polemic was recorded during the same sessions, but unreleased until now.

The opening cowbell of Daybreak’s kicked back 1977 rocker “Just Can’t Stay” affirms that the boogie is back on this swaggering nugget of FM-ready rock from San Mateo, CA. “Just Can’t Stay” closes the band’s lone 4-song EP, and the band delivered on the promise, vanishing into the ether shortly thereafter.

West Minist’r of Fort Dodge, IA make their desires clear on “I Want You” with an undeniably driving riff and particularly beefy sounding synth leads that would fit in fine on Sabbath Bloody Sabbath. The song, originally released on Magic Records, is the B-side to “Sister Jane” and the band’s last of three singles issued between 1969 and 1975.

Debb Johnson of Saint Louis Park, MN is a BAND, not an individual member of the band. The 7-piece group featured a full horn section and three-part harmonies on their 1969 self-titled album. The backstory on their name is: three of the group’s seven members shared the last name Johnson, so they then took the first letters of the last names of the other four members and combined them into the word “debb.” The politically minded “Dancing In The Ruin” speaks a truth all-too-familiar to this day backed by a brand of wailing acid rock crossed with Buddy Miles’ Expressway To Your Skullstyle funk.

Crazy Jerry sends us off on a high note with “Every Girl Gets One,” featuring crunching riffs, rollicking electric piano, stop ’n’ start rhythms and a curious telephone call sounding like a creepy answer to the Big Bopper’s “Chantilly Lace.” Crazy Jerry is the alter-ego of guitarist Jerry Ciccone, who can also be heard on a few soul/funk and rock records from the 70s, including The Left Banke’s second album. But here, Jerry is…well, simply crazy.


a new volume of the long-running, Permanent owner-curated Brown Acid compilation series! The Eleventh Trip will drop on Halloween,

The late Hal Wilner’s final work is an all-star tribute to Marc Bolan and T. Rex, including Nick Cave, U2, Elton John, Todd Rundgren, Joan Jett and two Lennon brothers. It’s a mixed bag, but fitting tribute to a genius. Tribute albums always flatter to deceive. Especially when you love the tributee. There’s the initial excitement at seeing all those big names tackling your favourite songs. Then there’s the fascination of seeing edgy artists bring their own sensibilities to the music you love. And, at worst, the risk of heartbreaking disappointment when you hear a song you love being murdered.

Marc Bolan was my idol from 1970-75. I was his perfect demographic: discovering pop music for the first time as it emerged from the Beatles era, all satin and tat, glitter and make-up, lipstick and platform boots. And that was just the boys. Bolan was the first, and don’t let anyone try and tell you any different. He rode along in 1970 on his white swan, hinting at what was to come, more of a cygnet than a fully fledged water bird. Then, at the beginning of 1971 he emerged, fully feathered and face painted in his bright new plumage, with Hot Love. And that was that. Glam was born.

Bolan was not just a phenomenon. No one sounded like T.Rex. No one sang like Marc. No one looked like Marc, without a care; no square with his corkscrew hair. So how do you celebrate such an idiosyncratic performer 50 years on from his heyday (and 43 years on from his tragically early death, in that car crash)?

If you’re Hal Wilner, the American producer who specialises in lavish tribute affairs you invite a who’s who of your famous friends to sing a song each, hire another who’s who of top-class musicians so famous that they don’t mind not getting a song of their own, and overlay the whole thing with massive orchestrations.

Here he has collected another impressive cast drawn from the worlds of music, theatre and the art world and put them together in the studio with a backing band of musicians as diverse as Donald Fagen, Van Dyke Parks, Marc Ribot, Budgie from the Banshees, Bill Frisell, Pete Thomas from the Attractions and more. Wilner is, first and foremost, a Bolan fan, and it shows. He remembers first hearing Tyrannosaurus Rex and thinking the records were “very beautiful, soothing and slightly creepy”. Decades later he decided to put this tribute together “to show Bolan as a composer with our typical cast of artists from different worlds that one rarely sees in the same place”

With some great, some not-so-great, a few you rather wish hadn’t been done at all. It’s always like that with tribute albums. But the best bits make it all worthwhile. As ever with these things, the more successful efforts are those where the artist brings their own personality to the song, while staying faithful to the essence of Bolan. The least successful are those that play it straight – no one needs a Bolan tribute act (there’s already T. Rextasy for that) and simply copy the original.

The plain truth is that no one can imitate Bolan. He was unique. A one-off. Never mind the fact that his voice is almost impossible to imitate.

And here’s the thing: the covers work best when the originals are less familiar. Which may explain why a couple of the big hits (Hot Love, Telegram Sam) are missing altogether from this double album. No one needs Joan Jett trundling through a perfunctory Jeepster, a song that cries out to be reinterpreted as the blues upon which it was based – Bolan borrowed freely from Chuck Berry and Howling Wolf on those hits and it would be fun to hear a modern-day bluesman take the songs back to their roots.

But let’s not dwell on the negatives. Kesha has the right idea on the opening Children Of The Revolution, transforming it into a soulful affair with saxophones squealing, a contrast to the oh-so-familiar chunky guitar riff of the original: different enough to hold the attention (all the more so when you know you’ve got MC5’s Wayne Kramer on guitar and Bolan’s son Rolan Bolan on backing vocals).

The interpretations are varied, as becomes clear quite rapidly. Before long a pattern emerges: the female artists are best at reimagining these tunes. Perhaps because Bolan himself was such an androgynous performer; in contrast to the laddishness of the Glam rockers who followed him – Sweet, Slade, Mud, Glitter – Bolan brought a sense of femininity to his music. Even when he was overtly sexual (“I want to SUCK you!”) he didn’t sound gender specific: he was so pretty that everyone fancied him, even if they couldn’t admit it.

Beth Orton’s interpretation of Hippy Gumbo also takes it to another place, with a bar room piano and an air of impending chaos, with horror-movie scrapes and rattles in the background and some nicely distorted guitar from Marc Ribot. It’s one of the more successful numbers; as is Guatemalan Gaby Moreno, the self-styled “Spanglish folk-soul” singer coming close to Bolan’s own tremulous vibrato on a sensitive bossa nova-influenced Beltane Walk featuring Bill Frisell, Van Dyke Parks and Attractions drummer Pete Thomas.

Meanwhile, Peaches deconstructs a short, sharp Solid Gold Easy Action in the style of Prince – with his androgynous glamour, perhaps the closest parallel to Bolan in the pop firmament. Less successful, sadly, is Lucinda Williams drawling sleepily through a funereal Life’s A Gas, punctuated by a pleasingly grungy guitar solo from Ribot, or possibly Bill Frisell: both are credited, and both are part of the house band assembled by Wilner, who recorded several songs on the same day in the same studio, lending the affair rather more continuity than is often the case on these pick’n’mix affairs.

As for the rest, the clear highlight is Nick Cave’s impassioned Cosmic Dancer, plangent strings enhancing the deep melancholia he has brought to his own work since family tragedy changed him for ever. A shout-out, too, to Marc Almond, never knowingly underblown, for his extravagantly orchestrated, verging-on-overwrought, kitscher-than-your-kitchen take on the already overwrought Teenage Dream.

The decadent nightclub mood is continued by Helga Davis, a New York performance artist, whose Organ Blues features an ominous drum beat and swirls of bass clarinet, and Todd Rundgren who, with the help of Donald Fagen on piano, converts Planet Queen into a slice of sci-fi cabaret. Speaking of which, Metric front woman Emily Haines sprinkles fairy dust on Ballrooms Of Mars to close Side 1 of this double album; her ghostly vocals seeping through the weirdness of a lavishly orchestrated arrangement. It’s really quite special.

Festival favourite King Khan offers a boisterous romp through I Love To Boogie which lives up to its title, if nothing else, and invests Bolan’s final hit (from 1976, a year before his death) with rather more life than Bolan’s own pallid effort. The big-name collaboration between U2 and Elton John on Get It On (irritatingly listed under its American title of Bang A Gong) is predictably terrible: despite selling more records than everyone else on the record between them – and then some – they sound like some bunch of middle-aged men at their local pub’s karaoke night. Not only is it uninspired, it’s the one thing Bolan never was.

Other misfires – and thankfully they are fewer than the successes – include actor-director-playwright John Cameron Mitchell interpreting Diamond Meadows in a style somewhere between MOR and musical theatre, despite the novelty of Showgirls actress Gina Gershon on Jew’s harp. Father John Misty falls into the copycat trap by doing an entirely forgettable Main Man, despite the legendary Van Dyke Parks on piano, while the German singer Nena, last heard of 36 years ago singing 99 Red Balloons, sadly adds nothing of note to Metal Guru though, to be fair, it is practically perfect in its original form and would probably have been best left alone.

It all ends with a hauntingly effective medley of Ride A White Swan and She Was Born To Be My Unicorn, sung virtually a capella by an angelic Maria McKee and gravelly Gavin Friday, duetting from what sounds like beyond the grave. Which is as fitting a finale as one could hope for to a record that reflects Wilner’s overarching ambition (and celebrity connections – it’s hard to imagine many people said no to taking part), and will be remembered, despite the odd misstep, as a fitting memorial to hthe life and work of the producer – and the man to whom he’s paying tribute.

Side A:
1. Children Of The Revolution – Kesha
2. Cosmic Dancer – Nick Cave
3. Jeepster – Joan Jett
4. Scenescof – Deveandra Banhart
5. Life’s A Gas – Lucinda Williams
6. Solid Gold, Easy Action – Peaches
7. Dawn Storm – Børns

Side B:
8. Hippy Gumbo – Beth Orton
9. I Love To Boogie King Khan
10. Beltane Walk – Gaby Moreno
11. Bang A Gong (Get It On) – U2 feat. Elton John
12. Diamond Meadows – John Cameron Mitchell
13. Ballrooms Of Mars – Emily Haines

Side C:
14. Main Man – Father John Misty
15. Rock On – Perry Farrell
16. The Street and Babe Shadow – Elysian Fields
17. The Leopards – Gavin Friday
18. Metal Guru – Nena
19. Teenage Dream – Marc Almond

Side D:
20. Organ Blues – Helga Davis
21. Planet Queen – Todd Rundgren
22. Great Horse – Jessie Harris
23. Mambo Sun – Sean Lennon and Charlotte Kemp Muhl
24. Pilgrim’s Tale – Victoria Williams with Julian Lennon
25. Bang A Gong (Get It On) Reprise – David Johansen
26. She Was Born To Be My Unicorn / Ride A White Swan – Maria McKee

Double vinyl. Angel Headed Hipster – Various artists sing ‘The Songs of Marc Bolan & T. Rex.’