Suche:ed it

Elvis Presley, 'The King Of Rock and Roll' with his Christmas Classics & Gospel Greats. This album
includes.o. the following Christmas tracks: “Santa Claus Is Back In Town”, “O Little Town Of
Bethlehem”, “Blue Christmas" and some of his gospel greatest "(There'll Be Peace In The Valley (For
Me)”, “It Is No Secret (what God Can Do)” and more. Limited Edition on Green Leaves coloured vinyl.

[a] a1 Mongoloid (Warner Version) [2023 Remaster]
[b] a2 Jocko Homo (Warner Version) [2023 Remaster]
[c] a3 (I Can't Get No) Satisfaction [2023 Remaster]
[d] a4 Come Back Jonee (Single Edit) [2023 Remaster]
















[u] d2 Here to Go (Go Mix Version) [2023 Remaster]

[w] d4 Disco Dancer (7-Inch Version) [2023 Remaster]
[x] d5 Post Post-Modern Man (Macro Post-Modern Mix) [2023 Remaster]

Jill Barber's 2013 masterpiece "Chansons" is an album of interpretations of classic French songs from both France and Québec. Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. “I spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf,
poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.” Jill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee,
and winner of the Sirius/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world.


Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services. Outside Music is proud to reissue "Chanson"s for its 10th Anniversary on limited edition Blush
coloured vinyl.

Official reissue for the 40th anniversary of Pre4y Face. Contains the presgious rmxs of Italoconnecon and Mi Ami and two unreleased versions in addion to the original. Limited version 350 copies.

In the late 1960s, Antonio Infantino linked his name to the Beat world and to italian performance and gestural music circles (Bussotti, Chiari, Curran). A poet and singer, a tireless devotee of the musical traditions of Southern Italy, he focuses his research mainly on the mysterious phenomenon of Tarantismo, a cultural syndrome of hysterical type found in the Mediterranean air and made famous by the studies of Ernesto De Martino. With his group, Infantino twists and reinvents the traditional repertoire of Basilicata, creating an entirely new and original songbook. The music reflects the states of Trance induced by the bite of the spider tarantula, with obsessive and hypnotic rhythms characteristic of the incandescent blood of the peasant world. A deep and universal human sound, it also takes its cues from Dylan's folk revolution and the frenetic drums of North Africa.

Funk The System! The recipe is simple: Dig deep, listen to your heart, record everything you got on a dusty old desktop computer, leave it to simmer for the time of a pandemic, and if it's still fresh, serve it up on the finest plate of black wax! This collaboration started in Dusseldorf in the year 2018. Locked up for a week in the Flanger Studios, Wolf Muller and Credit 00 recorded everything: from the jaw harp to smartphone apps, chopping up GDR Jazz breaks and squeezing the Funk out of every synthesizer and drum machine at hand. You will hear the open mindedness towards all sorts of musical influences from the first note. Each of the five tracks showcases a wild mix of flavours: Disco Reggae, B-Girl Breakbeats, Protest Folk, Subway Funk, Tabla Rhythms, you name it... they'll take it and shake it! It is obvious these two got sonically socialized and educated by the multiculturalism of Hip-Hop in their early days. After the first Recording Session, the tracks fermented for some time until they were cracked open again. This time in Leipzig at Credit 00's Westend Workshop. That's also where Rizmi from Birmingham joined the team and lent her voice to the title track. She reinterpreted the lyrics of the obscure German 1980s Workers' Rock Song, that Wolf digged out for the Intro Skit of ,,Funk The System". A long time in the making, Rat Life is very happy to finally publish this EP!

OVERVIEW: This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop."

'ESSENTIAL' moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling."

'ESSENTIAL' is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones."

Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On 'ESSENTIAL,' he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

repressed!

Demi Riquísimo and his Semi Delicious imprint return for their 15th edition with another versatile, club ready collection of cuts from old & new members of the label family set for a release on the 7th July.

The EP features contributions from regulars Lulah Francs, Jive Talk & label owner Demi alongside debuts from NairLess, Last Magpie, Corbi and Michelle Manetti.

The A-side kicks off with ‘All I Need’, a collaborative track from Demi & Michelle Manetti. A bouncing, progressive house number with some old school Italian flavour that sets the tone nicely for the EP. Corbi’s ‘Kraken’ is up next providing some driving, analog acid squelch to SEMID015. ‘Don't Make Me Wait’ by Lulah Francs & Nebari wraps up the Ice Cream side. Proto house style drum programming and bass are juxtaposed nicely to the psychedelic synth work and impeccable vocals from Lulah creating a unique and versatile track to close out the A-side. The B-side opens with NairLess’ ‘Swell’, a tripped out slice of balearic trance. The EP takes a slightly more heads down turn on ‘Release It’ by Last Magpie. A menacing track driven by a sharp synth line that you’re sure to hear over festival season. Jive Talk’s ‘Wizard’s Slippers’ wraps up the EP in their imitable style. Off kilter drums, unique bass and minimalism with the perfect amount of elements to pique the listener’s interest bringing SEMID015 to a close in style.

Ben Bondy dives deep into the aether on this latest full length for Good Morning Tapes, folding blissed chorus-pedal shimmers into smudged dreampop vapours, a bit like like how we’d imagine claire rousay if she were releasing on Chain Reaction.

Mining a similar path to Jake Muir’s Mana album, Bondy explores a late, late night mood on this one, obscuring delicate digital processes behind gossamer webs of static, windchimes and smeared guitars drifting into bliss. Over the space of half an hour, breathy atmospheres blur into a pastel-hued paradise, feeding digitally distressed melodies into whirring machinery and swirling pads.

On ‘Omni Field’ diffracted dub chords swirl around a rainstorm, before ‘Pool’ arranges a guitar arpeggio like some lost E2 E4 edit, and ‘conté' evokes the meditative calm of Harold Budd or Roger Eno with its enigmatic, pastoral ambience. The album’s central point comes with 'kanga', a fuzzy dreamscape assembled from booming subs and psychoactive bells that feel more potent than a blotter under the tongue...

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Maw Records are proud to present the masters At Work Remixes of the Kenlou classic “Moonshine”

Masters At Work are in top form, ready to fill dance floors,clubs & festivals in 2022. Kenny Dope & Louie Vega met at the Kay-Dee headquarters for a few days and jammed together.

Moonshine being one of the tracks they put up in the studio to createnew fresh versionswith a Maw TwistAce beats, programmimng in excellence by Kenny Dope, layered withLouie Vega Keyboards, Synths & Baselines.

The two once again set it off with a bang !!!

Mike Salta & Mortale release their debut album ‘Moloko Island’ on Music For Dreams label. Moloko Island is a getaway where good vibes can float freely. An island where only fantasy set the limits.

It is a collection of tracks, some of which have already been buzzing around the balearic / downtempo scene for a while now. The Album includes the infectious ‘Hey Moloko’ which was picked up by Hot Chip for their splendid Late Night Tales compilation, and the gamers amongst you may have noticed it in the most recent Playstation – Gran Turismo 7 soundtrack. Outro track ‘Bye Moloko’ is a brand new Re-edit of this classic.

The music of Mike Salta aka Gert Nygaard flaunts an eclectic palette, collecting strands from New Orleans funk, 80’s italo disco or Brazilian tropicalia and transforming them into rich and sun-drenched dance music.

The album is produced in collaboration with long-time studio partner Mortale, and is a sumptuous piece of chillout to call on the summer. A full-bodied groove of an album to transport you and soundtrack those sunny days & balmy evenings. Moloko Island concludes a voyage and reconcile an era where electronics and acoustics have been explored and united in the unique sound and vibe Mike Salta and Mortale has strived to unfold

Repress!

Mesh-Key is pleased to announce the release of a lavish, limited edition run of this heretofore unheard collaboration, finally seeing the light of day 15 years after its recording. Acoustic instrumentation and synthesizers meet Mukai's haunting voice for four sparse, minimalistic compositions unlike anything in either artists' previous output.
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Mesh-Key is pleased to announce the release of a lavish, limited edition run of this heretofore unheard collaboration, finally seeing the light of day 15 years after its recording. Acoustic instrumentation and synthesizers meet Mukai's haunting voice for four sparse, minimalistic compositions unlike anything in either artists' previous output.

Chie Mukai is a composer and musician from Osaka, Japan, best known for her underground improv-folk group Ché-SHIZU (PSF), which she founded in 1981. In addition to her song-based work, Mukai has been an active improviser since 1975, when she joined the East Bionic Symphonia group under the leadership of Fluxus violinist-composer Takehisa Kosugi at the Biggako Art School of Tokyo. She has since collaborated with Keiji Haino, John Duncan, Agata Morio and many others. Her primary instrument is the bowed Chinese er-hu, but she also plays piano and percussion.

So This Is Christmas is a compilation of Coloured Vinyl, Limited Edition 13 christmas tracks released as LP on 26 Nov 2021. So This Is Christmas includes a.o. the following tracks: “De Staat - Let It Snow”, “Miss Montreal - Being Alone At Christmas”, “Elske De Wall - Last Christmas, One Last Time”, “Pete Philly - Have Yourself A Merry Little Christmas” and more.

blur’s classic second album Modern Life Is Rubbish turned 30 this year and to celebrate this occasion, Parlophone are releasing a limited, coloured vinyl edition, for National Album Day in October.

Modern Life Is Rubbish and its singles: For Tomorrow, Chemical World and Sunday Sunday have been featured across blur’s online channels throughout the year, with a colour*, 4K upgrade of the For Tomorrow video getting nearly 350k views in 3 months (*the first time a colour version of this video has ever been seen!).

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

No Future, No Past – Svart Records set to release a compilation of the lost treasures of Finnish speed and thrash metal in October The roots of speeding thrash metal stretch out to the early and mid 80’s. It did not take long for the waves arising from the shores of California, central Europe and the United Kingdom hit Finland hard as well. The guiding light of Finnish thrash metal from that era was Stone from Kerava, but the entire scene that was bubbling beneath the surface was surprisingly vivid for such a small country. As the old saying goes, in the late 80’s there was not a single town in Finland without a speed metal band. These dozens – or hundreds, to be more precise – of vivacious bands formed by the long-haired youth didn’t just stay in the basements of their parents’ houses. Soon the youth centres of every county and open-minded venues such as the legendary Lepakko in Helsinki would arrange wild speed and thrash metal gigs. Studios run by more experienced musicians such as Timo Tolkki from Stratovarius were fully booked by hungry young bands eager to record their future metal classics. Many bands released 7” singles and demo tapes by themselves or with support from a record company, yet most of them permanently stayed at the demo stage through the golden era of the eighties. Svart Records is set to release a compilation of the absolute top tunes culled from these sought-after, long-lost demo tapes and singles on vinyl and CD in October. No Future, No Past – Finnish Speed & Thrash Metal Explosion combines the strongest, rarest, and most obscure Finnish metal tracks from the years 1986-1992. Backgrounds of the bands presented on the compilation differ a lot from one another. Vendetta and Damage were born from the ashes of the members’ previous hardcore and punk bands. A.R.G. and Catalepsy got their feet in the door fast of record companies such as Poko Records and Megamania, while other metal acts from that time simply faded away. After a few decades passed, some bands saw it fit to restart their careers, Sacred Crucifix and The Hirvi being examples of such comeback artists. No Future, No Past – Finnish Speed & Thrash Metal Explosion 1986–1992 will be released on October 13th on a limited 2LP vinyl edition and CD version. The compilation is packed with 18 remastered tracks of pure Finnish metal mayhem and accompanied by a booklet that contains band histories, photos, and song details. The compilation’s predecessor Real Delusions: Finnish Speed & Thrash Metal Explosion 1987-1991 was released in 2018 and its limited vinyl edition was sold out in a heartbeat, so get this rare gem now before it’s too late!

Lucky number 17? You better believe it. We here at Brown Acid have been scouring the highways and byways of America for even more hidden stashes of psych/garage/proto-punk madness from the so-called Aquarian Age. There’s no flower power here, though—just acid casualties, rock stompers and major freakouts. As always, the songs have been officially licensed, and all the artists get paid. Kicking off this trip, Grapple’s “Ethereal Genesis” is a heavy psych gem from 1969 written by J. Bruce Svoboda, a.k.a. Jay Bruce, formerly of The Hangmen and The Five Canadians (who were actually the same San Antonio band). The latter’s 1966 garage favorite “Writing on the Wall” has been endlessly covered, but Grapple were never heard from again. With a guitar riff that blatantly rips off Sabbath’s “Black Sabbath,” Image’s mostly instrumental lysergic obscurity “Witchcraft ’71” (originally unveiled that very year) also boasts a horror-movie organ intro, a voodoo drum break and some championship chanting. Private press heads might recall late Image drummer John Beke from his ’80s reemergence with country rockers Crossfyre. Stone Hedge were a seven-piece rock band out of Michigan with a penchant for Creedence and anthropomorphism. “Smokey Bear” is their 1972 tribute to the official mascot of the U.S. Forest Services—not to mention the A side of their sole single—and it recalls the kind of organ-drenched swamp jam that soundtracked many a Burt Reynolds flick back in the day. If you think being a Southern rock band from Milwaukee doesn’t make much sense, that’s probably why Crossfire changed their sound along with their name—to Bad Boy—after signing with United Artists. Bad Boy’s severely underappreciated second album, Back To Back, is a 1978 hard rock jewel, but you can hear their boogie-woogie roots on this rare 1975 single. With a band name like Primevil and song title like “Too Dead To Live,” you probably expect some gnarly proto-metal riffage. Instead, you a get a harmonica-drenched, soul-infused rock rave-up from 1972. Primevil would release their sole LP two years later: Entitled Smokin’ Bats at Campton’s, it’s a reference to their trusty singer, harp player (and bat smoker?), Dave Campton. Brown Acid regulars already know Pegasus from their appearance with “The Sorcerer” on our Seventh Trip. “Ready to Rave” is the flipside to that 1972 single, in which they explain how they like their whiskey cold and their women hot. It’s another killer glimpse of what might have been if these one-and-done Baltimore hard rockers had been able to keep it together. One of two obscure singles released by Texas musician Bobby Mabe in 1969 (the other appears under the name The Outcasts), “I’m Lonely” delivers a heavy dose of vocal soul to the otherwise psych-garage presentation. Fans of fellow Houstonians the Moving Sidewalks—whom Bobby and his Outcasts may well have gigged with—will especially dig this one. Cedar Rapids, Iowa, may not be known as a cultural mecca, but they did give us Truth & Janey. This deadly hard rock trio delivered their holy grail full-length, No Rest for the Wicked, back in 1976. “Around and Around” is a Chuck Berry cover that originally appeared on a 1973 single the band released under the earlier name Truth. Originally released in 1973, “High School Letter” is the debut single from San Diego rock squad Glory. This infectious bonehead cruncher features future Beat Farmer Jerry Raney and the original rhythm section of Iron Butterfly in bassist Greg Willis and drummer Jack Pinney. Glory is what they got up to after their former bandmates left for L.A.’s garden of Eden. “Jack the Ripper” is a mercilessly bootlegged Cleveland classic from 1978 with a serrated punk edge and vocals that recall Mick Blood of Aussie savages the Lime Spiders. Or maybe it’s the other way around—the Lime Spiders formed the year after Strychnine carved off this lethal paean to the infamous Whitechapel slasher of olde.