Pop & Rock Vinyl New Releases - News

Foghat Live Is One of Rock and Roll's Great Live Albums, and One of the Great Albums of the '70s
Features the Classic Line-up of 'Lonesome' Dave Peverett, Rod Price, Craig MacGregor and Roger Earl
180-Gram Vinyl
Reproduces Original Die-Cut Jacket and Cardboard Full-Color Inner 'Eurosleeve'
Features Boogie Classics 'I Just Want to Make Love to You' and 'Slow Ride' and a Live Version of the Hit 'Fool for the City'
Lacquer Cutting and Remastering by Peter Black
First-Time LP Reissue

It s one of the greatest rock n roll live albums of all time, and one of the greatest rock n roll albums of the 70s, period. And it (deservedly) vaulted one of the best boogie bands ever to superstardom. But, even in this golden era of classic rock vinyl reissues, Foghat: Live has not seen its killer twin guitar jams recommitted to wax...until now! Real Gone Music is proud to bring this legendary live album back to vinyl where it belongs, with a limited-edition package that pulls no punches: 180-gram vinyl, with painstaking replications of the original die-cut jacket and of the 4-color cardboard inner Eurosleeve that peeks out through the die-cut. Peter Black s remastering and lacquer cutting brings out every note in such stomping songs as Honey Hush (taken at twice the speed of the studio version), Home in My Hand (check those a cappella harmonies), the big hit Fool for the City, Road Fever and, of course, the frenzied boogie favorites I Just Want to Make Love to You and Slow Ride. The quartet of guitarists Lonesome Dave Peverett and Rod Price, bassist Craig MacGregor and drummer Roger Earl were as tight as any rock band before or since 38 minutes of blues-rock bliss.

1973's Bloodshot Was The J.Geil Band's Third Studio Album, and Their First Top Ten Album
Recognized as an Artistic Highpoint for the Band
Includes Such Geils Classics as 'Give It to Me,' 'Southside Shuffle' and ''(Ain't Nothin' but a) House Party'
Released on Limited Edition Red Vinyl Just Like the Original Release
All Other Original Album Art Intact Including Retro LP Labels
Lacquer Cutting and Remastering by Peter Black
First Time LP Reissue

Despite a couple of previous worthy studio efforts to their name, when Bloodshot came out in 1973, the J. Geils Band was best known for being a smokin hot live act, a reputation bolstered by the success of their previous album, Live Full House, which was their highest-charting record to date. But Bloodshot changed all that here was a studio record that captured all the raucous energy of their concerts, but tailored it into nine songs that maintained the band s hard rockin R&B virtues while also displaying a rapid artistic maturation. Give It to Me, for example, was their first self-penned hit and did the Stones one better with its funky, reggae-tinged groove, while the album also included the soon-to-be concert faves Southside Shuffle and (Ain t Nothin but a) House Party. But Bloodshot also delved into blues shuffles ( Struttin with My Baby ), jump blues ( Hold Your Loving ) and even heart-on-the-sleeve balladery ( Start All Over Again ) in short, this was the album where The J. Geils Band really arrived artistically, and they were rewarded with their first Top Ten album (and only one save for Freeze Frame, which came out eight years later).

Now, Real Gone Music is proud to present this classic record in a first-time LP reissue, released on red vinyl for a limited time exactly the way early copies of the album were released back in 1973. We ve even re-created the original labels which were themselves re-creations of the old Atlantic Records labels for maximum verisimilitude. Remastering and lacquer cutting are by Peter Black this one sounds just as great as it did back in the day!

The New Riders of the Purple Sage Began as Something of a Side Project for the Grateful Dead, but Earned a Devout Following on Their Own with Their Distinctive Brand of Hippie Country Rock
Their 1973 Release The Adventures of Panama Red Was Their Only Gold Record, and Boasted the FM Radio Hit 'Panama Red' and Other Tall Countercultural Tales
Featured the Classic Line-Up of John Dawson, David Nelson, Dave Torbert, Buddy Cage and Ex-Jefferson Airplane Drummer Spencer Dryden
Songwriting Contributions by Peter Rowan ('Panama Red,' 'Lonesome L.A. Cowboy') and Robert Hunter ('Kick in the Head')
Sidemen Included Buffy Sainte-Marie, Donna Godchaux and the Memphis Horns
Produced by Multi-Instrumentalist Norbert Putnam
Reissue Includes Original Gatefold Album Art Festooned with Comic Book Illustrations and Inner Sleeve Lyric Sheet
Remastered by Vic Anesini at Battery Studios in NYC
Lacquer Cutting by Kevin Gray

LIMITED EDITION OF 1000 PURPLE VINYL RELEASE

If there was ever any doubt that the New Riders of the Purple Sage were the ultimate hippie country rock band—and having had Jerry Garcia, Phil Lesh and Mickey Hart of the Grateful Dead as early members meant that there wasn't much—The Adventures of Panama Red put them to rest. This 1973 album's loosely connected tall tales of drug culture, complete with the album's underground comic book graphics, ensured that this gatefold record was a long-time dorm room favorite for separating out those stems and seeds. But Panama Red (their only gold record) had a lot more going for it than just countercultural kicks—the band, by now consisting of John Dawson, David Nelson, Dave Torbert, pedal steel ace Buddy Cage and Jefferson Airplane drummer Spencer Dryden—was much tighter than any outfit this stoned had a right to be, and with songwriting contributions from Peter Rowan (the hit 'Panama Red' and 'Lonesome L.A. Cowboy') and Robert Hunter ('Kick in the Head') as well as from the band's own fine tunesmiths in Dawson and Torbert, the songs were of a uniformly high quality. Production by multi-instrumentalist Norbert Putnam, charts by the Memphis Horns and vocal contributions by Buffy Sainte-Marie and Donna Godchaux helped enshrine this record as one of the finest country-rock outings of the '70s. Now, Real Gone Music is reissuing this classic album for the first time on vinyl, remastered by Vic Anesini at Battery Studios in NYC and lacquer cut by Kevin Gray, with a limited edition pressing of 1000 in—what else—purple vinyl, with the original gatefold album and inner sleeve graphics (with lyrics) intact. Time to add to your stash of essential '70s vinyl!

Picchio Dal Pozzo can be considered as the definitive 'Canterbury' inspired band, coming from Italy's 1970 progressive rock scene. Their 1976 debut album shows an incredibly rich sound tapestry, made out of some peculiar ingredients. Oblique tunes and liquid harmonies, airy flutes, crispy horns, loads of electric piano and fuzz bass, drops of jazz, pop romanticism, waves of minimalism and deep pataaphysical vocals and lyrics. The whole album develops through a sequence of highly composed material and wide open sound forms. A deep journey through a multi layered soundscape with echoes of Hatfield & The North, Soft Machine, Robert Wyatt and Zappa. Picchio Dal Pozzo first work, was out on Grog records and subsequently reissued only in japan (Grog records: an independent label known for releasing the work of Italian undeground pop groups of the seventies such as Corte Dei Miracoli, Latte e Miele and Celeste).

'One of the most original, impressive and highly respected of all the experimental groups to have come out of Italy in the 1970s' (Chris Cutler)

Phil Spector did not produce the tracks on this LP. They all just sound as if he might have.

Spector's sessions at Gold Star Studios in Los Angeles were celebrated for their extravagance. Using massed voices, an army of musicians and cavernous tape echo, his huge productions possessed a distinct aural identity.

Many record producers, songwriters and arrangers attempted to hitch a ride on the Spector bandwagon but few met with his approval. 'There's Beach Blanket Bingo, which is you guys,' he told producers Charlie Greene and Brian Stone. 'And there's me - Fellini.'

Here, spanning the period 1963 to 1967, are a dozen convincing mirror images of his Wall of Sound.

Pressed on 180g red vinyl. Inner bag features rare photos and a 3000-word track commentary incorporating interviews with producers Nino Tempo, James Holvay and Peter Antell.

1989's Automatic is the third album from Glasgow alternative rock institution and was engineered by Alan Moulder. At this point in their career, J&MC was essentially a duo - brothers Jim and William Reid and a drum machine. The dark, twisted pop - sometimes soaked in feedback, sometimes pounded out with drum-machine backing - of Automatic contains their most successful single up to that point, "Head On" (later covered by the Pixies). On green vinyl.

Released in 1992, Honey's Dead is the fourth studio album by Scottish brothers Jim and William Reid. The title refers to one of the band's early hits, "Just Like Honey", and the complete departure from their earlier musical style. Honey's Dead was recorded and mixed in the band's London studio with famed engineers Alan Moulder and Flood. Alternative radio stations picked up "Far Gone And Out" which remains one of the band's most popular singles to date while the album's first single "Reverence" attracted some controversy for the lyrics "I want to die just like Jesus Christ", and "I want to die just like JFK". On gold vinyl.

Originally released in 2000, White Pepper, is one of the Pennsylvania duo's finest recordings. Gene and Dean Ween are outsider pop geniuses in the greatest sense of the term, brilliant musicians with a firm grasp on just about every popular genre in the last 50 years (brit-pop, prog, country, soul, new wave, and beyond) and a quirk streak a mile wide. Another Ween classic reissued on white vinyl from Plain Recordings.

'Material' is the brand new album from Blaqk Audio, the electronic alter ego of Davey Havok and Jade Puget (from multi-platinum rock band AFI). Produced and recorded by Puget, 'Material' is Blaqk Audio's third release following 2012's 'Bright Black Heaven' and 2007's 'Cexcells'.

"I'm so very excited to offer Material to the world," says Havok. "My anticipation for each BA release heightens as we grow. For me, lyrically, Material is darker than our records of the past. Being huge music fans and fundamentally driven by music in a creative sense, BA is a wonderful outlet for our long-standing love of electronic music," says Havok. "Were it not for BA, I'd still be writing this type of music, even if it never saw the light of day".

Deluxe numbered box set of Kill 'Em All including four vinyl records, five CDs, one DVD, a hardcover book including never before seen photos and a patch.

VINYL: KILL 'EM ALL (REMASTERED)
1. Hit The Lights
2. The Four Horsemen
3. Motorbreath
4. Jump In The Fire
5. (Anesthesia) - Pulling Teeth
6. Whiplash
7. Phantom Lord
8. No Remorse
9. Seek & Destroy
10. Metal Militia

VINYL: LIVE AT ESPACE BALARD, PARIS, FRANCE - FEBRUARY 9TH, 1984 (2 LP)

1. The Ecstasy of Gold
2. Hit the Lights (Live)
3. The Four Horsemen (Live)
4. Jump in the Fire (Live)
5. Phantom Lord (Live)
6. No Remorse (Live)
7. Ride the Lightning (Live)
8. Motorbreath (Live)
9. (Anesthesia) - Pulling Teeth (Live)
10. Whiplash (Live)
11. Seek and Destroy (Live)
12. Metal Militia (Live)

VINYL: JUMP IN THE FIRE (PICTURE DISC)
1. Jump In The Fire
2. Seek & Destroy ('Live' at The Automatt)
3. Phantom Lord ('Live' at The Automatt)

Deluxe numbered box set of Ride the Lightning including four vinyl records, six CDs, one DVD, a hardcover book including never before seen photos, a mini-book of handwritten lyrics and a set of three posters.
VINYL: RIDE THE LIGHTNING (REMASTERED)

1. Fight Fire With Fire
2. Ride The Lightning
3. For Whom The Bell Tolls
4. Fade To Black
5. Trapped Under Ice
6. Escape
7. Creeping Death
8. The Call Of Ktulu


VINYL: LIVE AT THE HOLLYWOOD PALLADIUM, LOS ANGELES, CA - MARCH 10TH, 1985 (2 LP)
Previously Unreleased

1. The Ecstasy of Gold
2. Fight Fire With Fire (Live)
3. Ride the Lightning (Live)
4. Phantom Lord (Live)
5. (Anesthesia) - Pulling Teeth (Live)
6. For Whom the Bell Tolls (Live)
7. No Remorse (Live)
8. Fade to Black (Live)
9. Seek and Destroy (Live)
10. Creeping Death (Live)
11. Am I Evil (Live)
12. Motorbreath (Live)

VINYL: CREEPING DEATH (PICTURE DISC)
1. Creeping Death
2. Am I Evil
3. Blitzkrieg

CD: RIDE THE LIGHTNING (REMASTERED)

1. Fight Fire With Fire
2. Ride The Lightning
3. For Whom The Bell Tolls
4. Fade To Black
5. Trapped Under Ice
6. Escape
7. Creeping Death
8. The Call Of Ktulu

This new and first vinyl repress celebrates the 30th anniversary of a classic Industrial album, and includes 2 bonus tracks 'Dog Unit' and 'Presence' never released on vinyl before and created to mark the occasion of this release.
Early pioneers of the UK industrial music scene, Zahgurim were formed in 1983 by Paul Ackerley and William Vince and were associated with the iconic Temple Ov Psychick Youth - TOPY

Recorded on October 24th and 25th, 1984 Moral Rearmament was the first and subsequently only vinyl release by the group, and was released on the same year by the legendary Berlinese record label Atonal Records.

The album was produced and mixed by Paul Ackerley and William Vince with Simon Crabtree and Julian Gilbert (both of Bourbonese Qualk) at The Old Ambulance Station, Old Kent Road, London on October 24 and 25 1984.

Zahgurim were in fact invited by Konnex Records Producer, Manfred Schiek to record an album for his recently launched sub-label, Berlin Atonal, and by Berlin Atonal Festival founder Dimitri Hegemann (aka Leningrad), to perform at his pioneering sonic art event alongside Test Dept. Laibach, Club Moral and others. Moral Rearmament became Berlin Atonal's fifth release (ST 3005), the label having launched with two live recordings by Psychic TV.

"A theme so melodiously melancholy it's been singing in my mind continually after one TV viewing 30 years ago" - Gruff Rhys

From the one-man studio vault of the guitarist who adorned Histoire De Melody Nelson, The Kick Inside AND Diamond Dogs comes a post-punk, 80's TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

Scored by legendary KPM/De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80's post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7' EP thirty-three years down the train line.

Limited edition of 500 copies

'Some albums just have the perfect name, and Amon Duul's debut nails that perfectly; Psychedelic Underground is music at its most experimental and relentlessly uncommercial, using late-'60s inspirations as a launching ground for what came to be described as Krautrock.Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, Underground rocks to its own weird beat.

Opening track 'Ein Wunderhubsches Madchen Traumt von Sandosa' captures what sounds like a great experience for everyone involved, a 17-minute composition heavy on the drums and percussion, with a basic, chugging guitar riff in one channel and chanting, call-and-response vocals located throughout the mix. (...) The tracks on the second side have the same understandable vibe, but some are sparer in comparison, as with the keening strummed guitar/vocal combination 'Im Garten Sandosa' and 'Mama Duul und Ihre Sauerkrautband spielt auf,' which is mostly clattering percussion in one stereo channel! (...)' (allmusic)

John Dieterich & Jeremy Barnes began 'The Coral Casino' as an attempt to understand one another. They met one day and the next they were in a blank room with unfamiliar instruments in their hands and zero expectations, each agreeing to do his utmost to ignore the other. Yes, their first forays into musical collaboration began with the stipulation that each had to improvise in a rhythmic manner while not listening to what the other was doing. This idiosyncratic process proved to be the unlikely genesis of songs like "Special Questions" "Sandwild" and "The Frost Pocket" Their shared love of melody and pop provided the anchor for wild performances and deep, rich textures, laying the groundwork for many more moods: the euphoric "Out & About" the stirring tribute to the satellite Philae ("Philae lands on comet 67p_churyumov-gerasimenko"), the first satellite to land on a comet, and so on.

Expansive, unafraid of complexity yet wide-eyed with elation, their sound embodies risk that genuinely rewards. While flirtations with danger and darkness occasionally appear, in the end everything becomes a laughing pile on the floor. An optimistic homage to a possible future, 'The Coral Casino' is both childish and sophisticated, seemingly tossed off yet at the same time exhibiting a depth that reveals itself on each subsequent listen; an exploration of friendship and the pure joy of ecstatic communication.

Take a trip to 'The Coral Casino': the perfect destination, where everything is topsy-turvy, no one is in control and yet all are mysteriously spirited to their beds before dawn.

This Path Tonight is the new studio album and collection of 10 songs from Graham Nash. Produced by Shane Fontayne, this is Nash's first solo record of new music in fourteen years. The title track, This Path Tonight,' is the debut single. Like the album, the song is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting. Graham Nash is a two-time Rock and Roll Hall of Fame and Songwriter Hall of Fame Inductee, GRAMMY ™ Award winner, and Officer of the Order of the British Empire (O.B.E.)

This Path Tonight is the new studio album and collection of 10 songs from Graham Nash. Produced by Shane Fontayne, this is Nash's first solo record of new music in fourteen years. The title track, This Path Tonight,' is the debut single. Like the album, the song is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting. Graham Nash is a two-time Rock and Roll Hall of Fame and Songwriter Hall of Fame Inductee, GRAMMY ™ Award winner, and Officer of the Order of the British Empire (O.B.E.)

This Path Tonight is the new studio album and collection of 10 songs from Graham Nash. Produced by Shane Fontayne, this is Nash's first solo record of new music in fourteen years. The title track, This Path Tonight,' is the debut single. Like the album, the song is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting. Graham Nash is a two-time Rock and Roll Hall of Fame and Songwriter Hall of Fame Inductee, GRAMMY ™ Award winner, and Officer of the Order of the British Empire (O.B.E.)

Jack's cover of the Stevie Wonder classic performed by White on the season finale of ABC's hit series, The Muppets. This 7" single includes White's cover with the legendary Muppets house band, the Electric Mayhem, on the a-side, plus the special TV rendition featuring the Electric Mayhem along with the rest of the Muppets singing along as the b-side.

At the height of their powers, Pylon performed their final show at the Mad Hatter in their hometown, Athens, GA, in the winter of 1983. 2 enterprising gentlemen professionally filmed & recorded this show as a pilot for a potential Austin City Limits-style show, but quickly abandoned the project. Shelved & forgotten about for over 30 years, this single marks the 1st newly released Pylon since the early 90s. A preview of what's to come on their double live LP on Chunklet later in 2016

'A Sailor's Guide To Earth' is Sturgill Simpson's third full-length album and follows his break-through Grammy-nominated 2014 release 'Metamodern Sounds In Country Music'. Beloved by critics and fans, the record was featured on year-end 'best of' lists at The New York Times, Rolling Stone, The Village Voices Jazz & Pop, Rolling Stone Country, NPR Music, American Songwriter, Stereogum, The Los Angeles Times, KCRW, Pitchfork, The Washington Post and many others.

Produced by Simpson, 'A Sailor's Guide To Earth' was written - beginning to end - as a letter to his first child, who arrived during the summer of 2014 and features eight original songs as well as a rendition of Nirvana's 'In Bloom'.

Recorded primarily at Nashville's 'The Butcher Shoppe', Simpson was joined in the studio by Grammy Award-winning engineer David Ferguson (Johnny Cash, John Prime, 'Cowboy' Jack Clement) and assistant engineer Sean Sullivan. Along with members of his touring band, the album features Dave Roe on bass, Dan Dugmore on steel guitar, Dougie Wilkinson on bagpipes, Garo Yellin and Arthur Cook on cello, Jonathan Dinklage and Whitney LaGrange on violin and special guests The Dap-Kings.

'A Sailor's Guide To Earth' is Sturgill Simpson's third full-length album and follows his break-through Grammy-nominated 2014 release 'Metamodern Sounds In Country Music'. Beloved by critics and fans, the record was featured on year-end 'best of' lists at The New York Times, Rolling Stone, The Village Voices Jazz & Pop, Rolling Stone Country, NPR Music, American Songwriter, Stereogum, The Los Angeles Times, KCRW, Pitchfork, The Washington Post and many others.

Produced by Simpson, 'A Sailor's Guide To Earth' was written - beginning to end - as a letter to his first child, who arrived during the summer of 2014 and features eight original songs as well as a rendition of Nirvana's 'In Bloom'.

Recorded primarily at Nashville's 'The Butcher Shoppe', Simpson was joined in the studio by Grammy Award-winning engineer David Ferguson (Johnny Cash, John Prime, 'Cowboy' Jack Clement) and assistant engineer Sean Sullivan. Along with members of his touring band, the album features Dave Roe on bass, Dan Dugmore on steel guitar, Dougie Wilkinson on bagpipes, Garo Yellin and Arthur Cook on cello, Jonathan Dinklage and Whitney LaGrange on violin and special guests The Dap-Kings.

Summer Flake returns in full force with Hello Friends , the followup to the critically acclaimed 2013 debut LP You Can Have It All . The album marks a new era for Melbourne-via-Adelaide musician Stephanie Crase (whose former credits include No Through Road, Birth Glow, Hit the Jackpot and Batrider), having enlisted the production finesse of Geoffrey O'Connor to propel her idiosyncratically sun-drunk guitar pop into new and more lush territories. Drenched in a timeless reverb, Summer Flake's transcendent songs float on the ethereal wings of pop , via the Crystals and the Paris Sisters, wander down the lonely byways of Karen Dalton and Laurel Canyon folkies, amble up alongside the hard-edged '90s alternative rock of Hole and Sonic Youth, before finally emerging into the sunshine of other dream-pop contemporaries like Best Coast or Mac DeMarco. It's only the second full-length release for Summer Flake but Crase's output has been prolific over the last four years, with four EPs under her belt that garnered increasing attention in Australia and internationally. Hello Friends continues Crase's tendency for the thoughtful arrangements, '90s-tinged frankness and dizzying harmonies that have led her from strength to strength, this time adding a deeper layer of emotional reflection to an already enduring sound. These songs, as delicate as a snowflake on a summer beach, unmoor one from the drudgeries of place and time, and Hello Friends confirms Summer Flake as a band to watch.

Hermetically sealed punk broadcast from a bunker. This guitar is untying a knot of wires, vocals like watching a fight where two men exchange tit-for-tat face blows. Surgical drums, bass grown under glass. The occasional synthesizer like you didn't know you were thirsty till water crossed
your lips. Wound tight, lock-jawed, no rust on these gears. Chilly production crystallizes these
post-apocalyptic poems from San Francisco.'
—John Dwyer

Hermetically sealed punk broadcast from a bunker. This guitar is untying a knot of wires, vocals like watching a fight where two men exchange tit-for-tat face blows. Surgical drums, bass grown under glass. The occasional synthesizer like you didn't know you were thirsty till water crossed
your lips. Wound tight, lock-jawed, no rust on these gears. Chilly production crystallizes these
post-apocalyptic poems from San Francisco.'
—John Dwyer

Fronted by Pauline Black, the seven-piece Selecter were unique in marrying female
vocals with infectious ska rhythms. The Coventry-based band were in the vanguard of
the 2-Tone craze that shook up the post-punk music scene and set it dancing: this
Rockstage performance, filmed at Nottingham's Theatre Royal in summer 1980,
catches their original and best line-up delivering signature tracks like 'Too Much
Pressure', 'On My Radio' and an energetic rendition of the 'James Bond Theme'.

The Traditional Fools were David Fox, Andrew Luttrell and Ty Segall. They splashed onto the underground music scene around 2006 with a no-frills, lo-fi, fun, sloppy brand of budget garage-surf-punk sadly absent from music at the time. The trio released one cassette, one full-length album, a single and then knocked it on the head. They occasionally still get together for the odd reunion' show (they never technically broke up) but will only play suitable venues like Permanent Records in Eagle Rock or Don the Beachcomber in Huntington Beach. Fools Gold collects the tracks from their 7-inch single along with thirteen previously unreleased recordings that have been languishing in their garage for years. Taken together, this is a barn-burner for those who can appreciate trash rock at its finest —soaked in reverb, feedback and cheap beer. Cover versions of The Damned, Love,
Redd Kross, The Mummies and Gary Glitter stand shoulder to shoulder with the band's original jams. The Traditional Fools were a party band and this album is a rock 'n' roll party!

The Traditional Fools were David Fox, Andrew Luttrell and Ty Segall. They splashed onto the underground music scene around 2006 with a no-frills, lo-fi, fun, sloppy brand of budget garage-surf-punk sadly absent from music at the time. The trio released one cassette, one full-length album, a single and then knocked it on the head. They occasionally still get together for the odd reunion' show (they never technically broke up) but will only play suitable venues like Permanent Records in Eagle Rock or Don the Beachcomber in Huntington Beach. Fools Gold collects the tracks from their 7-inch single along with thirteen previously unreleased recordings that have been languishing in their garage for years. Taken together, this is a barn-burner for those who can appreciate trash rock at its finest —soaked in reverb, feedback and cheap beer. Cover versions of The Damned, Love,
Redd Kross, The Mummies and Gary Glitter stand shoulder to shoulder with the band's original jams. The Traditional Fools were a party band and this album is a rock 'n' roll party!

Limited edition of 500 copies.

For their third album, 1970's I Spider, The Web (now simply called Web) brought in Dave Lawson on keyboards, mellotron and vocals, prompting a major shift in the band's sound, away from psychedelia and towards a more progressive rock approach.

I Spider was also, unfortunately, the band's last album to feature the stellar sax playing of Tom Harris whose departure prompted yet another change in the band's name. For their next album Web would be known as Samurai, under which name they released one brilliant album in 1971, before finally disbanding when Lawson left to join Greenslade soon after.

Brighton 4 piece BLACK PEAKS can today finally announce details for their massively anticipated debut album 'Statues', along with the first new single 'Saviour'. 'Statues' will be released on February 26th through Easy Life/Sony Red, with single 'Saviour' being available to buy (digital) and stream from Monday 9th November AND will be part of any album pre-order as an instant grat track. . The single received its first ever play last night on the Radio 1 Rock Show with Daniel P Carter, and will be played again this evening on Radio 1 during the Annie Mac show.

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century — particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins - often hoarding them in private collections, or selling at ridiculous collector's prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid: The Second Trip.
Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that's hard to believe have remained unheard for so long.
I essentially go through hell and high water just to find these records,' Barresi says. Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved,' rather than simply bootlegging the tracks. When all of the bands and labels haven't existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.
There's a long list of songs that we'd love to include,' Barresi says. But we just can't track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us.'
One song on The Second Trip actually never even saw light of day, until now. Bell Park Loon' by Spiny Norman - sounding like Jethro Tull on more acid and heavier cider - languished in a collector's archives, unreleased for 38 years until Barresi and Hall arranged to license some of the collector's goldmine.
Brown Acid: The Second Trip opens with the squealing guitar harmonies and Sabbath plod of Ash's Midnight Wish.' Sweet Crystal's Warlords' is a fuzzy and fierce Deep Purple/Arthur Brown inspired organ-led anthem. Raving Maniac's 'Rock and Roll Man' is a tight and brash glam-meets-metal tune proving the true potential of a genre later squandered on Sunset Strip poodleheads. Silence of the Morning' by Glass Sun serves grungy psych while the Volt Rush Band merges MC5 frantic energy with razor-sharp guitar leads. And, Iron Knowledge's aptly titled Show Stopper' features a breakbeat and incredibly infectious detuned bass warble motif that DJs would kill for - had anyone been able to find the tune back in the day. Throughout, The Second Trip is yet another wall-to-wall set of blazing tracks that feels like you've uncovered a holy grail. And, in a way, you have.

California is the new band featuring Jason White (vocals / guitar), Dustin Clark (bass / vocals) and Adam Pfahler (drums). You know White as the other guy in Green Day and Pinhead Gunpowder. Clark was in Soophie Nun Squad. Pfahler you might remember as the other other guy from Jawbreaker. This self-titled LP is their debut album and was recorded over several months that included the birth of two children, a throat cancer diagnosis for the singer and accompanying radiation and chemotherapy treatments (long story short— he's fine). California plays power pop, rock, punk. Why California

Robert Pollard wrote and recorded and played all the instruments on Please Be Honest, and when he finished, it felt to him like a Guided By Voices record. He's not wrong. The songs are compact and tuneful, the playing expertly slack, the production raw and unpolished: sounds pretty much like every review of Bee Thousand. A better cognate, however, might be Vampire on Titus, Pollard's 1993 pre-Bee Thousand (somewhat overlooked) lo-fi tour de force. On that record, Pollard similarly played every instrument—though his drumming skills then were so rudimentary that he had to record the bass drum and the snare parts separately, which is no longer the case— and as with everything he does, it's about the songs, man. Of which Please Be Honest has no shortage, fifteen of them clocking in at just over 33 minutes. The point being there's precedent for a GBV record where Pollard plays everything, and maybe more importantly there's a reason for that precedent. Robert Pollard is Guided By Voices. This has never not been true, certainly, and is now more true than ever. He delights in confounding expectations, and you have to at least suspect that after over 20 years of making records under any number of pseudonyms, of which Guided By Voices is just one, and maybe not even his favorite one, he chafes at the notion that there exists some Platonic ideal of Guided By Voices' that isn't just Bob writing and recording the songs with whatever musicians he wants to use. Guided By Voices' new live lineup reflects not just a possibly subconscious desire to prove that unalterable fact, but fits with Pollard's unchanging changeability. He does what he wants. He is who he is. The only classic lineup' that has ever mattered is singer / songwriter / multi-instrumentalist / band leader / magician / thunderstorm Robert Pollard. Long may he rain.

Robert Pollard wrote and recorded and played all the instruments on Please Be Honest, and when he finished, it felt to him like a Guided By Voices record. He's not wrong. The songs are compact and tuneful, the playing expertly slack, the production raw and unpolished: sounds pretty much like every review of Bee Thousand. A better cognate, however, might be Vampire on Titus, Pollard's 1993 pre-Bee Thousand (somewhat overlooked) lo-fi tour de force. On that record, Pollard similarly played every instrument—though his drumming skills then were so rudimentary that he had to record the bass drum and the snare parts separately, which is no longer the case— and as with everything he does, it's about the songs, man. Of which Please Be Honest has no shortage, fifteen of them clocking in at just over 33 minutes. The point being there's precedent for a GBV record where Pollard plays everything, and maybe more importantly there's a reason for that precedent. Robert Pollard is Guided By Voices. This has never not been true, certainly, and is now more true than ever. He delights in confounding expectations, and you have to at least suspect that after over 20 years of making records under any number of pseudonyms, of which Guided By Voices is just one, and maybe not even his favorite one, he chafes at the notion that there exists some Platonic ideal of Guided By Voices' that isn't just Bob writing and recording the songs with whatever musicians he wants to use. Guided By Voices' new live lineup reflects not just a possibly subconscious desire to prove that unalterable fact, but fits with Pollard's unchanging changeability. He does what he wants. He is who he is. The only classic lineup' that has ever mattered is singer / songwriter / multi-instrumentalist / band leader / magician / thunderstorm Robert Pollard. Long may he rain.

*250 COPIES ONLY BLACK VINYL* 5 tracks taken from 2 sessions in the Circle in the Square rehearsal space. 3 of these tracks including the 20 min 'Or' were taken from a rehearsal 'gig' with an audience of just 3 (The Heads uber fans Dave Cambridge, Mark Lascelles and Dave Tuckwell). Recorded by Simon Price in 2005 these tracks see The Heads at their most raw and intense when the band were at their loudest battling for volume space. The other two tracks from 2010 are taken from some of the final sessions within the rehearsal space with jams based on a Heads lp that never happened. Comped and edited by Paul Allen and originally released on very limited cdr back in 2012 Enten Eller finally gets a release on vinyl with the original artwork on a gatefold sleeve. We are getting 250 black vinyl for UK/EU distribution purposes.

The first single from the brand new album.
Limited to 1000 only, preorders by this Thursday 7th April please.

Released on cassette last year, Katie Von Schleicher's Bleaksploitation took the tape world by enough of a storm to thunder demand for more formats. Consequence of Sound described her songs as like ghosts trying to communicate through a cassette deck', Paste claims they sound like a vintage girl group playing in the basement of a haunted house.' This is exciting music from someone we'll be hearing about for a long time to come. Bleaksploitation was recorded in a dark room on a Tascam 4-track cassette machine. The result is hazy, terrifying and playful. This is what happens when well-crafted songs are made in the moment, warped, drunk on themselves. Von Schleicher's voice sinks like anchors and rises like a phoenix, wrestling its way through its very own form of basement tapes. '70s piano rock provides the core, sad lyrics form the shell. The LP is limited to 300 copies, with silk-screened covers made by the asshole herself! They also come with liner notes by Jay Ruttenberg.

Released on cassette last year, Katie Von Schleicher's Bleaksploitation took the tape world by enough of a storm to thunder demand for more formats. Consequence of Sound described her songs as like ghosts trying to communicate through a cassette deck', Paste claims they sound like a vintage girl group playing in the basement of a haunted house.' This is exciting music from someone we'll be hearing about for a long time to come. Bleaksploitation was recorded in a dark room on a Tascam 4-track cassette machine. The result is hazy, terrifying and playful. This is what happens when well-crafted songs are made in the moment, warped, drunk on themselves. Von Schleicher's voice sinks like anchors and rises like a phoenix, wrestling its way through its very own form of basement tapes. '70s piano rock provides the core, sad lyrics form the shell. The LP is limited to 300 copies, with silk-screened covers made by the asshole herself! They also come with liner notes by Jay Ruttenberg.