The Age of Atlantic is the second in a series of rock music samplers released by the Atlantic label in the UK. The compilation is credited to Janet Martin. Issued at a budget price of UK £0.99, ($US 2.00 approx in 2007), the album was for many an inexpensive introduction to new rock acts, and was one of the earliest samplers of “progressive” or “underground” music.
The gatefold’s exterior was modelled in plasticine and, on its front, showed the logos or punning representations of the featured bands, whose album covers were depicted in the interior. The rear features the track listing scratched into a flattened layer of plasticine. The design is credited to Hamish & Gustav.
The track listing is wildly eclectic illustrating the diversty of Atlantic’s roster at the time. You get some fun rockers (Zep, Vanilla Fudge), some white boy blues (The Allman Brothers) and Prog (Yes, Iron Butterfly) and leftfield Americana (Dr John, Buffalo Springfield and Delaney and Bonnie).
Side One
“Comin’ Home” – Delaney & Bonnie (with Eric Clapton)
“Tonight” – MC5
“Black Hearted Woman” – Allman Brothers Band
“Survival” – Yes
“I’m a Good Woman” – Cold Blood
“Whole Lotta Love” – Led Zeppelin
Side Two
“Termination” – Iron Butterfly
“The Last Time” – Dada
“Communication Breakdown” (Page/Plant/Jones/Bonham) – Led Zeppelin
Son of Gutbucket is a 1969 sampler album released to promote artists on the Liberty Records label. It followed the earlier release in 1969 of Gutbucket, (subtitled An Underworld Eruption). Back in 1969 Liberty Records released two compilation albums: ‘Gutbucket (An Underworld Eruption) and ‘Son of Gutbucket’, that featured artists on it’s roster. These included the likes of Captain Beefheart, Alexis Korner, Canned Heat, The Groundhogs, Creedence Clearwater Revival, Roy Harper and Aynsley Dunbar to name just a few of them. The albums were recognisable from the pigs on the cover and something of a DIY looking aesthetic (although Liberty was an imprint of a major label, Transamerica).
Both albums were reissued on a single EMI CD in 1994, with an informative booklet, but with 6 the original 31 tracks (from the combined albums) missing.
Side 1
“Bootleg” – Creedence Clearwater Revival – from the LP Bayou Country
“My Babe She Ain’t Nothing But A Doggone Crazy Fool Mumble” – Ian Anderson’s Country Blues Band – from the LP Stereo Death Breakdown
“I Got Love If You Want It” – Johnny Winter – from the LP The Progressive Blues Experiment
“Preparation G” – T.I.M.E. – from the LP Smooth Ball
“Walking Down Their Outlook” – High Tide – from the LP Sea Shanties
“Oh Death” – Jo-Ann Kelly & Tony McPhee – from the LP I Asked for Water, She Gave Me Gasoline
“Don’t Mean A Thing” – Floating Bridge – from the LP Floating Bridge
“Sergeant Sunshine” – Roy Harper – from the LP Folkjokeopus
“Mistreated” – The Groundhogs – from the LP Blues Obituary
Side 2
“Sic ‘Em Pigs” – Canned Heat – from the LP Hallelujah
“Hard Headed Woman” – Andy Fernbach – from the LP If You Miss Your Connexion
“T.B. Blues” – McKenna Mendelson Mainline – from the LP Stink
“Sunshine Possibilities” – Famous Jug Band – from the LP Sunshine Possibilities
“Hurry Up John” – Idle Race – from the LP Idle Race
“I’m So Tired” – Brett Marvin and the Thunderbolts – from the LP I Asked for Water, She Gave Me Gasoline
“Leavin’ My Home” – T.I.M.E. – from the LP Smooth Ball
“Sugar On The Line” – Aynsley Dunbar Retaliation – from the LP To Mum – From Aynsley & The Boys
Gutbucket (An Underworld Eruption) is a 1969 sampler album released to promote artists on the LibertyRecords label. It was followed later in 1969 by Son of Gutbucket.
Back in 1969 Liberty Records released two compilation albums: ‘Gutbucket (An Underworld Eruption) and ‘Son of Gutbucket’, that featured artists on it’s roster. These included the likes of Captain Beefheart, AlexisKorner, Canned Heat, The Groundhogs, Creedence Clearwater Revival, Roy Harper and AynsleyDunbar to name just a few of them. The albums were recognisable from the pigs on the cover and something of a DIY looking aesthetic (although Liberty was an imprint of a major label, Transamerica).
Side 1
“Gimme Dat Harp Boy” – Captain Beefheart and His Magic Band – from the LP Strictly Personal
“The Wall” – Hapshash and the Coloured Coat – from the LP The Western Flier
“You’re Gonna Miss Me” – Lightnin’ Hopkins – from the LP Earth Blues
“I’m Tore Down” – Alexis Korner – from the LP A New Generation of Blues
“Still a Fool” – The Groundhogs – from the LP Scratching the Surface
“Dismal Swamp” – Nitty Gritty Dirt Band – from the LP Pure Dirt
“Wine, Women & Whisky” – Papa Lightfoot – from the LP Rural Blues Vol 2
Side two
“Pony Blues” – Canned Heat – from the LP Living the Blues
“Down in Texas” – The Hour Glass – from the LP The Hour Glass
“No More Doggin’” – Tony McPhee – from the LP Me And The Devil
“Can Blue Men Sing the Whites” – The Bonzo Dog Band – from the LP The Doughnut in Granny’s Greenhouse
“Mamma Don’t Like Me Runnin Around” – Big Joe Williams – from the LP Hand Me Down My Old Walking Stick
“Rollin’ And Tumblin’” – Jo-Anne Kelly – from the LP Me And The Devil
“Call Me Woman” – Aynsley Dunbar Retaliation – from the LP Dr. Dunbar’s Prescription
“Bumpers” was a double sampler album from Island Records, released in Europe and Australasia in 1970; there were minor variations in track listings within Europe but the Australian release was fundamentally different. The title refers to the training shoes which can be seen on the front of the album cover but there may also be a less obvious reference to the meaning “unusually large, abundant or excellent”.
The album is left to present itself; there are no sleeve notes, the gatefold interior consists of a photograph showing publicity shots of the featured acts attached to the bole of a tree, without any identification. This image is flanked by the track listings, but even there, the information given is unreliable. Unlike its predecessors You Can All Join In and Nice Enough To Eat, there are no credits for cover art (the cover art was by Tony Wright, his first sleeve for Island), photography or design. The impression is left that the album’s production was rushed, presumably to leave enough lead-time to promote the albums featured. The English version of the album came out in two pressings, one with the pink label and “i” logo, the other with the label displaying a palm motif on a white background and a pink rim, each version with some minor variations in the production of individual tracks.
In the late sixties British record labels started to release a selection of their artists’ material on records known as samplers. These were not intended as anthologies or compilations – the purpose was to allow listeners the opportunity to sample a range of acts at a reduced price, showcasing in particular those for whom there was not a conventional singles market and hence little opportunity for radio airplay in the UK. Columbia’s ‘The Rock Machine Turns You On’ and Liberty Records ‘Gutbucket’ . Island Records produced a series of gems from ‘Nice Enough to Eat’ and ‘You Can All Join In’ in 1969, to ‘Bumpers’ in 1970 and ‘El Pea’ in 1971. ‘Bumpers’ was, as it’s name would suggest, the pick of the crop, with an eclectic yet cohesive collection of music across two 33rpm vinyl discs. Priced at actually 29/11 cover price . The album came out in two pressings, one with the pink label and “i” logo, the other with the label displaying a palm motif on a white background and a pink rim.
Side One
“Every Mother’s Son” – Traffic (from John Barleycorn Must Die (ILPS 9116)) (7:06)
“Love” – Bronco (from Bronco (ILPS 9134)) (4:42)
“I Am the Walrus” – Spooky Tooth (from The Last Puff (ILPS 9117)) (6:20)
“Jesus, Buddha, Moses, Gauranga” – Quintessence (Live version of track, not released elsewhere at the time, but available as ‘bonus’ track on CD version of album Quintessence (REPUK 1016) (5:15)
“Nice Enough to Eat” is a budget priced sampler album released by Island Records in 1969. Continuing the policy set by its predecessor You Can All Join In, the album presented tracks from the latest albums by their then established artists including Free, Traffic, and Jethro Tull, and introduced tasters from newer signings to the label, notably Nick Drake and King Crimson. The inclusion of the Nick Drake track, “Time Has Told Me”, has been credited with providing the first opportunity for many record buyers to hear Drake’s music.
It was priced as low as 14 shillings and 6 pence (£0.72), less than half of the standard album price at the time. The album is described as a “somewhat incoherent sampler of folk-rock, prog rock, and prog-tinged hard rock”, but with a “stellar artist lineup”
It was combined with You Can All Join In for a CD Re-release in August 1992 entitled “Nice Enough To Join In”
The cover was designed by Mike Sida, who had already provided the cover for Spooky Two, and went on to produce several further classic Island album covers including Free’s Fire and Water and Traffic’s “John Barleycorn Must Die”. The front cover’s simple motif of names of featured bands spelt out in alphabet sweets (in a combination of blue/biscuit colours alone) is subverted on the rear cover, where most of the letters have been dispersed and replaced by what seem to be brightly coloured tablets. The presence of (at least parts of) medicine capsules might make a suspicious observer suspect a reference to drugs.
“You Can All Join In” was a budget priced sampler album, released in the UK by Island Records in 1968. It was priced at 14 shillings and 6 pence (£0.72), and reached no. 18 on the UK Albums Chart that year
It was arguably instrumental in breaking world-class bands such as Free, Jethro Tull and Traffic to a wider audience. It represented one of the most unexpected marketing triumphs of the age — an (admittedly budget-priced) gathering of underground unknowns riding the label’s own reputation for keeping its finger on the pulse, and out-performing many of the era’s bona fide superstars. Wynder K. Frog, Art, Tramline, Clouds these were not names one normally expected to find hogging the number 18 slot on the chart.
Yet, place familiarity (or the lack thereof) aside, and You Can All Join In is one of those seamless compilations that simply cannot be improved upon. A dozen tracks highlight the best — and that is the best — of Island Record’s recent and forthcoming output, from much-anticipated debut albums by Jethro Tull, Free, and Spooky Tooth to the sophomore effort by Fairport Convention. There’s also a healthy taste of the label’s most-successful-so-far signing, Traffic, as a leaf from Steve Winwood’s back pages — the Spencer Davis Group’s “Somebody Helps Me” joins Tramline’s cover of “Pearly Queen” and Traffic’s own “You Can All Join In” (yes, indeed, this collection’s title track). one of those seamless compilations that simply cannot be improved upon. A dozen tracks highlight the best – and that is the best – of Island’s recent and forthcoming output, from much-anticipated debut albums .
The early ’70s were the golden age of British record-label samplers, with Island themselves following through with three, Vertigo weighing in with the legendary “Suck It and See”, and CBS’ redoubtable Fill Your Head With Rock ranking among a myriad others. None, however, echoed either the success or the resonance of You Can All Join In.
The Cover Designed by Hipgnosis and although not as imaginative as some of their later work, the front cover photograph was taken in Hyde Park and is said to feature “every single one of the Island artistes … bleary eyed after a party. The rear cover consists merely of a track listing and monochrome images of the covers of eight of the sampled albums .
Clive Bunker, 2 Neil Hubbard, 3 Gary Wright 4 Glenn Cornick 5 Bruce Rowland 6 Martin Barre 7 Mick Weaver 8 Ian Anderson 9 Patrick Campbell-Lyons 10 Ashley Hutchings 11 Alex Spyropoulos 12 Chris Wood 13 Richard Thompson 14 Ian Matthews 15 Steve Winwood 16 Ian A. Anderson 17 Jim Capaldi 18 Mike Harrison 19 Martin Lamble 20 Simon Nicol 21 Harry Hughes 22 Rebop Kwaku Baah 23 Chris Mercer 24 Simon Kirke 25 Paul Rodgers 26 Billy Ritchie 27 Andy Fraser 28 Ian Ellis 29 Sandy Denny
It was combined with the follow-up, Nice Enough To Eat for a CD Re-release in August 1992 entitled Nice Enough To Join In (Island Records IMCD 150).
Side One
“A Song For Jeffrey” Jethro Tull – (Alternative mix, original version from This Was) (ILPS 9085)
“Sunshine Help Me” Spooky Tooth – (from It’s All About Spooky Tooth) (ILPS 9080)
“I’m a Mover” Free – (from Tons of Sobs) (ILPS 9089)
“What’s That Sound” Art – (from Supernatural Fairy Tales) (ILP 967)
As part of the “Let Go” 15th anniversary we’re releasing “Standing at the Gates: The Songs of Nada Surf’s Let Go,” an album benefitting the ACLU and The Pablove Foundation (which helps children with cancer). The album features covers by an incredible group of artists including Ron Gallo, Aimee Mann, Manchester Orchestra, Ed Harcourt, Rogue Wave and many more. A full track listing is below.
To ring in the announcement, the band has shared Ron Gallo’s cover of the song Happy Kid. Of his version, he says, “I first heard Nada Surf on a mix CD a friend made me in high school that was pretty life-changing. It was 20+ songs from bands I had never heard of before. It opened the door to “underground” or “indie” music for me, and also the door to actually good songs being written by weirdos in the present day, which I didn’t know existed from listening to mostly south jersey pop-punk and hardcore music. I’m pretty sure it was the song “Paper Boats” from Let Go. I really sucked at making music back then so it’s cool to have this resurface many years later and be able to be apart of the compilation.”
Dear Milk! Records followers and fans,
To thank you for another year of supporting what we do, we’d like to give you a free compilation of some of the songs we’ve released in 2017 from Courtney Barnett, Jen Cloher, Jade Imagine and many more.
Happy 2017 everyone, we love ya XO
Jen Cloher – Strong Woman -from Jen Cloher “Self-Titled” 2017
Hachiku – Moonface – from Hachiku “Self-Titled” 2017
Courtney Barnett – How To Boil An Egg – from “Split Singles Club” 2017 www.splitsingles.club
Jade Imagine – Tell Her She’s Dreamin’ – from Jade Imagine “What The Fuck Was I Thinking” 2017
The Finks – Good Intentions – from The Finks “Middling” 2016
Loose Tooth – Everything Changes – from Loose Tooth “Saturn Returns” 2016
East Brunswick All Girls Choir – 14 Clay Gully Court – from East Brunswick All Girls Choir “Seven Drummers” 2014
Fraser A. Gorman – Blossom & Snow -from Fraser A. Gorman “Slow Gum” 2015
Ouch My Face – The Hammer – from Ouch My Face “Bunyip” 2015
Without doubt, 2017 has been a year that, though yielding some phenomenal music, also put some serious effort into killing off too many of our rock ‘n roll heroes.
The wonderful thing about records is that, no matter how many musicians we lose, when they go, or how their work changed over time, we’ll always have those vital, tangible slabs of wax cut deep with the songs that have defined and soundtracked our lives.
As we head into the final few weeks of December, do us (and yourself) a favor and revisit some of your favorite records, whether from this year or three decades past.
Those records brought you here, they keep us here, and we’re pretty sure they’ll still be here when we’re long gone.
Limited Edition Electric Ladyland [Redux] 4 Panel 2 Disc DigiPak.
DISC 1
1. AND THE GODS MADE LOVE – ELEPHANT TREE
2. HAVE YOU EVER BEEN (TO ELECTRIC LADYLAND) – OPEN HAND
3. CROSSTOWN TRAFFIC – SUPERCHIEF
4. VOODOO CHILE – ALL THEM WITCHES
5. LITTLE MISS STRANGE – ORIGAMI HORSES
6. LONG HOT SUMMER NIGHT – THE HEAVY EYES
7. COME ON (LET THE GOOD TIMES ROLL) – EARTHLESS
8. GYPSY EYES – WO FAT
9. BURNING OF THE MIDNIGHT LAMP – MOS GENERATOR
DISC 2
1. RAINY DAY, DREAM AWAY – GOZU
2. 1983…(A MERMAN I SHOULD TURN TO BE) – SUMMONER
3. MOON, TURN THE TIDES… GENTLY GENTLY AWAY – CLAYMATION
4. STILL RAINING, STILL DREAMING – MOTHERSHIP
5. HOUSE BURNING DOWN – KING BUFFALO
6. ALL ALONG THE WATCHTOWER – TUNGA MOLN
7. VOODOO CHILD (SLIGHT RETURN) – ELDER
‘Sonic Blooms’ is a double album compilation of the UK’s finest emerging alt-folk and new roots music produced by the UK’s biggest folk gig listing website, Folk & Honey.
‘Sonic Blooms’ has been curated by leading alt-folk promoters New Roots and features the scene’s most exciting talent, including Brooke Sharkey, Leonie Evans, The Nightjar, Low Chimes, Jinwoo, Ned Roberts and many more.
The album will be launched with a special gig at London’s iconic 100 Club on November 27th featuring many of the artists on the compilation.
ALL PROFITS FROM THIS ALBUM WILL BE SPENT ON FURTHER PUBLICITY FOR THE RELEASE AND THE ACTS INVOLVED.
‘Sonic Blooms’ shines a light on a wonderfully diverse, vibrant scene that is happening right now, on its own terms, mostly without the backing of the media, the music industry, or the folk music establishment. Call it alternative folk, call it new roots, it pulses under the surface with word of mouth gigs in perfectly intimate venues, put together by dedicated owners and promoters – everyone there for the music, everyone there to listen intently to what these young, innovative artists are creating.
Though built from the ashes of a folk awareness, the flame for most of the work on this album was lit in a city setting. For many of these musicians their sound is the result of soaking up everything the metropolis throws at them. You can hear it in the easy cultural mix of English and French in Brooke Sharkey’s ‘Faces’, Robert Chaney’s noir city tales, the urban electronics that underpin Sisika’s ‘Routes’, Adam Beattie’s story of what it is to be an immigrant in the city.
This music is fearless and fiercely intelligent, led neither by fast changing fashion nor the rules of tradition; these are independent artists with independent voices. It’s curious and open-minded – you can hear the hunger for pushing boundaries.
These artists are deeply linked, many play on each others songs, share a producer, a studio, a stage, shared experience. Each has their own strength of vision, a DIY ethic that links back to traditional folk music.
This musical movement is not just limited to the twenty artists on this album, there are many more British musicians performing and recording boundary-pushing alt-folk. Rather, ‘Sonic Blooms’ is a snapshot of an emerging scene that merits a little time in the spotlight.
CD1
1. Firefly Burning ‘Beloved’
2. Ma Polaine’s Great Decline ‘Been Loved Too Much’
3. Brooke Sharkey ‘Faces’
4. The Nightjar ‘Cockleshell’
5. Mishaped Pearls ‘Six Dukes’
6. Low Chimes ‘Blood Orange’
7. Jinnwoo ‘Waiting For P To Have A Vision’
8. Leonie Evans ‘Freya’
9. Sisika ‘Routes’
10. Robert Chaney & Laura Tenschert ‘Corozones Amarillos’ (exclusive recording for this release)
CD2
1. Whiskey Moonface ‘Dictionaries’
2. Josienne Clarke & Ben Walker ‘I Never Learned French’
3. Adam Beattie & The Consultants ‘The Same Sea’
4. Ned Roberts ‘Drifting Down’
5. Samantha Whates ‘Icicle’
6. Benedict Benjamin ‘My Feet Have No Need For The Ground’
7. MG Boulter ‘Clifftown’ (exclusive recording for this release)
8. Ferris & Sylvester ‘Save Yourself’
9. Sailing Stones ‘Blazing Sun’
10. Tobias Ben Jacob ‘Parallel’ (currently unreleased)
Funding for this project is being provided by Folk and Honey.
F&H are being assisted by Big Life Management and distribution is by The Republic of Music.
Paul and Toby at Folk & Honey and Rory from New Roots are giving their time to this project for free.
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The Fat Angel Sings 