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All the songs on the album were recorded at High Sea Studios by Jacques Du Plessis and Adrian Erasmus, described by the band as the 6th and 7th members of SHORTSTRAW. Musically, the collecton as an album expresses the diferent types of music all the members are into, not being dictated by any sound or genre each month, the band wrote about whatever they were feeling at the tme and what they thought sounded good.
Lyrically there was defnitely a theme, and that theme was basically 2016-2017! Each month, as we wrote the songs, I'd just be singing about what I was going through at the tme. A struggling relatonship, a break up and the subsequent reforming of said relatonship, along with the death of my frst dog. It's actually a prety personal album.' says Alastair Thomas.
Commitng to releasing a new song and music video every month is all about stcking to tmelines otherwise they would have lost all momentum, says SHORTSTRAW. While writng the songs each month, some came more easily than others. A few of them came from old ideas reimagined: Ignorance is Bliss was born out of idea of Alastair that is almost 10 years old, whereas Our Simple Minds and The Less We're Together came about in less than an hour.'
Compared to their previous albums, THOSE MEDDLING KIDS feel more free and bold, the songs are all vastly diferent and diverse and in some cases, they change tempos and even in the case of Rich Richards, are three diferent songs in one. The band cared less about what people may have expected, and were more content to do what they think is great and excitng.
They tried something new on almost every song and played with tme signatures, genres, producton elements and collaboratons.
The result: THOSE MEDDLING KIDS, a music collectve.

First ever vinyl reissue of the fifth album by the Turkish legend.

Hasret', based on poems by Nazim Hikmet, was originally released in 1980, while Cem was living in Germany. A good example of Anatolian Pop / Rock, featuring great songs & production (lots of analogue synths) and the incredible, powerful voice of Cem.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES 4 PAGE BOOKLET
- INCLUDING THE HITS MY HAPPY ENDING' AND DON'T TELL ME'
- FIRST TIME ON VINYL!

Under My Skin is the second studio album by Avril Lavigne,
released in 2004. The album debuted at number-one on the Billboard 200 albums chart and has sold over 14 million copies worldwide

The sound of Under My Skin is a bit more aggressive, darker and heavier than her previous album Let Go (MOVLP1771) and was well received by fans and critics.

The album contains 4 successful hit singles, Don't Tell Me', My Happy Ending', Nobody's Home' and He Wasn't'.

"Jam Room" is the second in a series of three Clutch picture disc releases in 2017.

This is the fourth full-length album by Clutch, originally released in 1999. More than any of their other missives prior to this, "Jam Room" exemplifies Clutch's vector into uncharted terrain, both musically and lyrically!

Live At The Googolplex is the first in a series of three Clutch picture disc releases in 2017!

Recorded in Chicago, IL (tracks 1-4, 12 & 13), Montreal, Quebec (tracks 5, 6, 10 & 11), Kansas City, KS (tracks 7-9) and Columbus, OH (tracks 14 & 15)

Recorded on the tour dates of February 19 & 21, March 1 & 2 in 2002 on the System Of A Down US tour.

"Pitchfork & Lost Needles" is the third and final in a series of three Clutch picture disc releases in 2017.

This is an essential piece of the Clutch canon combining the early EP's "Pitchfork" and "Passive Restraints" with additional demo tracks from "Transnational Speedway League" and "Robot Hive/Exodus".

After the phenomenal reaction to his solo track 'Wall of Glass' and the emotional scenes that accompanied his first solo shows, Liam Gallagher can now announce that his eagerly anticipated debut album 'As You Were' will be released on October 6th on Warner Bros. Records.

I didn't want to be reinventing anything or going off on a space jazz odyssey,' says Liam. It's the Lennon 'Cold Turkey' vibe, The Stones, the classics. But done my way, now.'

The album's cover features an iconic new portrait of Liam which was taken by the influential photographer, fashion designer and creative director Hedi Slimane.

Widely considered to be one of the best albums of the 90s, 1992's Automatic For The People features R.E.M.'s iconic hit singles Nightswimming,' Man on the Moon' and Everybody Hurts.'

Commemorating the album's 25th Anniversary, this remastered Deluxe edition boxset features previously unreleased material, including 20 never-before-heard demos, and the previously unreleased tracks Mike's Pop Song' and Devil Rides Backwards.' A Blu-ray disc offers the full album (with bonus track Photograph' featuring Natalie Merchant) mixed in Dolby Atmos, plus a high-resolution master of the album, music videos, and the original 1992 EPK. Also included is Live At The 40 Watt Club 11/19/92 - a live set performed in R.E.M.'s hometown of Athens, GA.

The Death Of A King already highlighted by NME as 'the best album of their career', this record (which was recorded in Thailand) takes the band in a more experimental, psychedelic direction

Low in High School is Morrissey's first studio album since 2014 and was recorded at La Fabrique Studios in France and in Rome at Ennio Morricone's Forum Studios. The record is produced by Joe Chiccarelli (who has worked with Frank Zappa, The Strokes, Beck and The White Stripes to name a few). Morrissey's talent for combining political statements and beautiful melodies is more prevalent than ever on Low in High-School, capturing the zeitgeist of an ever-changing world

Violet coloured double vinyl reissue.

Second National Anthem single from emerging four piece. Follow up to 'Dreaming' which caught the attention of a host of BBC Radio 1 DJs including Dan P Carter, Clara Amfo, Huw Stephens, Phil Taggart and Annie Mac - who made the band one of her "New Names'. "The utterly furious 'Radio Punk' feels like their true arrival. Judging by this outing, it looks like Bad Nerves' flame will burn brightly for a long time to come" - NME

Special album celebrating Cristina Donà's 20-year career The songs of the 1997 debut album "Tregua", completely redesigned and revised together with new generation artists. During the long journey made by Cristina in these 20 years, artists who met, appreciated and found in their first commercial disc, Tregua (and in its later works) a landmark for developing their own artistic identity. With some of them Cristina put her hands on her original songs to give them a new breath and a different light with interesting arrangements and voice contributions. The result is this special album as a celebration of its 20 years. An instructive and rejuvenating experience: for Donà who confronts you with new horizons, for the artists with whom you shared this project that you have been trained with and for those who will listen to the new versions of a record that has been considered at times as one of the best albums in circulation and awarded as Best Debut Album.

Visions Of A Life is the follow up to Wolf Alice's 2015 Gold-selling debut album My Love Is Cool. It is fundamentally a personal album, and one of great growth for Wolf Alice. The album is incredibly broad in range, refusing to be defined by one idea. From the uncompromising 'Yuk Foo' to the infectious 'Beautifully Unconventional' and 'Don't Delete The Kisses', a dizzyingly romantic track which shows their progression and maturity as songwriters. Visions Of A Life is not an album of cliches. It is packed with surprises for those who think they know Wolf Alice. A darker, bolder, more diverse release from the biggest breakthrough independent band of recent years

4 track E.P 12" from London Collective. From the label that brought you Superorganism, Babeheaven and Jerkcurb. "dark pop and ambient dance fit for the morning after ... Portishead as imagined by Clams Casino' Loud And Quiet "the music they make is magical" Noisey

Detroit's Bonny Doon recline deep in the kind of alternative folk music that gives off its own warmth, wise enough to sit back with some guitars and watch the world crumble.' - Pitchfork
Bonny Doon's mastery of restraint and melodically vulnerable songwriting comes into its own on their self-titled debut full length. Previous homespun EP releases introduced a band residing in an unusual territory between songcraft and atmosphere. This record ventures further down that path, but comes together with a disarming timelessness, making even the stranger moments feel familiar. Its essence is floating, folk-ish rock that summons the tossed-off grandeur of early Smog or the Silver Jews boombox tapes, and the dead-eyed poignancy of Neil Young's gloriously unhinged Ditch Trilogy. In Detroit, they have become a beloved experience, with three years of live sets that teeter between a gentle intimacy and almost transcendent looseness. And though it took three years, the band has finally succeeded in capturing the complete spirit of Bonny Doon, creating a breathing web of sound that feels equally sublime and accidental.

Songwriters Bill Lennox and Bobby Colombo had been collaborating together low-key for a year and a half when they invited drummer Jake Kmiecik and bassist Joshua Brooks, both just 20 at the time, over to their studio space to flesh out some songs in early 2014. All four were active in Detroit's fertile punk scene, playing at the time in Tyvek, Growwing Pains, and PRC. The familiar approaches of punk did not feel right however, and the songs initially felt stiff and lifeless. It wasn't until the four tried to play as quietly as possible, with songs shambling along like a car with wobbly wheels, that the band was born. Deconstructing their sound allowed the music to unravel into something open-ended and beautiful, making space for Lennox's effortless and subtly smart lyricism. Natural progressions were embraced and Bonny Doon began playing shows around Detroit in the same loose and flowing manner as their sound was evolving.

When the time came to work on a full length, the same ethos of fluidity was applied. The band began tracking on a reel-to-reel tape machine with longtime friend and collaborator Fred Thomas (Polyvinyl Records, Saturday Looks Good To Me) at his studio in Ann Arbor, then spent months meticulously stitching together a finished work at their practice space in Detroit's Russell Industrial Center and residences throughout the city. The end result is a glistening, sun-dazzled patchwork of deftly arranged pop melodicism, Echoplex-bathed country heartbreak, and fragments of wandering, blurry jams tying together the labored songs and less calculated strands. A drunk-dial melts into the existential glow of a neon sign on 'I See You' and the sun setting on expectations feels more like a coastline daydream woven through the flanged guitar leads of 'Relieved'. A sense of geographical longing shows up often, as with the long-distance melancholy of "What Time Is It In Portland", one of Colombo's two vocal contributions, and one of the best examples of Bonny Doon's ability to cloak crushingly sad sentiments with deceptively nonchalant hooks.

Though mostly lifelong Detroiters, Bonny Doon represent a nearly direct counterpoint to the common narratives of the city they're rooted in. Musically, they live completely outside of the accepted lineage of hard-knock punk or garage rock, and aesthetically, they reject the tired and often problematic imagery of post-industrial ruin, romanticized emptiness, and tragically shallow hope porn that gets used to sell the Detroit brand. Bonny Doon instead opts for defiantly chill ways of being; visual motifs celebrating beach life, ice cream and simplistic joys. The real irony comes in complex layers, however, as they hide their saddest sentiments under the most stoned, seemingly spontaneous jams. And while there is sometimes darkness under a hazy veneer, the album is guided by an overarching sense that feeling is winning out over logic and things are coming together imperfectly, partially, and exactly as they should.

Goner Records is proud to present the second album from Melbourne, Australia's EDDY CURRENT SUPPRESSION RING. Primary Colours was released to rave reviews and sold out shows Down Under, with the first week sales putting the record at number six on the Australian national charts. Guitarist Eddy Current says, 'musically, to me it sounds a bit more '82ish than the '76ish sound of our first LP, slightly less frantic and maybe a bit more palatable.'

Fantastic Australian garage-punk band continues its quick rise on this hastily made but powerfully packed new album.' - Pitchfork

When Eddy Current Suppression Ring formed in Melbourne, Australia, in 2003, bandmates Eddy Current, Rob Solid, Danny Current, and Brendan Suppression thought they would play a few shows and perhaps record a 7-inch or two. One of their first gigs, in fact, was an employee Christmas party at the record pressing plant where they worked.
Six years later, the band has racked up accolades from the likes of SPIN Magazine, London's Guardian newspaper, and the Australian Independent Record Labels Association. In March of 2009, they were awarded the $30,000 Australian Music Prize for their second album, Primary Colours.

Eddy Current's third full-length, Rush to Relax, is already one of the most anticipated releases of 2010. Cut last August in a six-hour session at Melbourne's Revolver Rehearsal Studios, the album combines stripped-down post-punk sensibilities with the sheer exhilaration of a four-man musical unit that has created its own language, and will never run out of new things to say.

While Primary Colours drew on what Guardian music critic Tom Hughes described as "fast 'n' fuzzy garage rock," Rush to Relax employs a pop ethos more common to the mid-'80s Dunedin Sound of New Zealand's Flying Nun label, with cascading guitar riffs and precise rhythms shadowing the introspective lyrics from black-gloved frontman Brendan Suppression. The geographical tug is most prevalent on "Anxiety," the new album's lead single, which is a guitar-driven homage to The Clean's whimsical, scene-launching debut "Tally-Ho," twisted via Eddy Current's inimitable style.

The frantic pace of "Anxiety" is somewhat of an anomaly for Rush to Relax, a shape-shifter of an album that has already garnered comparisons to Television's 1977 landmark debut Marquee Moon. Like that classic group, Eddy Current Suppression Ring harnesses tension and propulsion to blast past the barriers of everyday tedium.

"The Australian quartet works with the basics to produce a simple, hooky garage punk racket, yet delivers a surprisingly multi-layered mixture when everything is said and done." - Dusted

'A document of four dudes having a good time over the course of six years-- teases out the Australian punk-loving rock band's trajectory through B-sides and singles.' - Pitchfork
They've drawn comparisons to Wire, Can, The Fall, Fugazi and The Stooges. They have a singer who wears black gloves to overcome stage fright. They won the $30,000 Australian Music Prize for their 2008 album Primary Colours—then recorded the next one themselves in a few hours in their practice space and spent the dough on a photo shoot for the album cover. They do not care about you and your expectations. You could call them 'fiercely independent' but they don't seem fierce at all. Quietly, and definitely on their own terms, Eddy Current Suppression Ring has become a force in underground music.

Now, after three albums, it's time for a compilation of singles tracks, demos and other stuff they had lying round. Turns out there was lots to choose from—and even after trimming, they ended up with a double album. Goner Records is happy to provide So Many Things.

A split single featuring Washington, D.C.'s Escape-Ism and Light Beams. The digital
download in- cludes an extra track by each band.

Escape-ism is called "the found-sound-dream-drama," "the grieving widow of rock 'n' roll" , the "press play and run away group", the strrrripped down sound machine starring Ian Svenonius, star of Chain & the Gang, singer in The Make Up, author of 'Supernatural Strategies for Making a Rock 'n' Roll Group.' Its a single occupancy combo, a one banana bunch, the gestural rock 'n' roll provocation which combines cave person poetry with beats and melody translated incorrectly from hieroglyphs found in arch-pharaoh Cheops' triangle shaped record collection. Escape-ism is a bid at inciting long- ing for a past behind an IRON CURTAIN, and hope for a future in flames. Escape-ism -- hear it, fear it, cheer it.'

Light Beams began in 2015 when Justin Moyer (Puff Pieces) -- influenced by 80s-era freestyle music and Sheila E. -- started playing sampler and timbales with Sam Lavine, the longtime drummer of D.C. hip-hop mainstays the Cornel West Theory. With the addition of bassist Arthur Noll the result- ing polyrhythmic melange, sometimes called "zap-tone" or "block rock," reinvents late-20th century dance-pop using the tools of the 21st.

Debut album from Oakland, California's post punk band The World, double sax, bongos, guitars and drums.

The World are a five people from Oakland, California who write rambunctious dance music with a post punk tool kit and an insightful yet short attention span. Their songs typically clock in around two minutes long and are a wild head-rush of Amber Sermeno's funk-minded bass lines and shuddering dubbed-out guitar courtesy of Andy Jordan. Amber also sings alongside Elyse Schrock, who anchors their propulsive songs with some supremely robust drumming. The steady beat is bolstered further by Alexa Pantalone's expansive bongo rhythms and flurrying saxophone melodies. Stanley Martinez is the final member of the band, doubling the sax quota and contributing to the complex interplay of instruments that make The World's music so immediate, compelling and groove conscious.

The World sound like the future erupting out of all your favourite DIY punk 7's simultaneously. There's the infectious momentum of Essential Logic driving things ever forward, the arty minimalism of Lilliput underscoring the band's lyrical subject matter. Whilst the instinctual songwriting of Swell Maps pervades alongside the manic humour and inclusiveness of Splodge. The World use all these lightning rods as jumping on points to hurtle us all into a new dimension very much of their own making. This upsurge of energy and vision has now been skillfully captured on the band's debut LP 'First World Record, out this October 6th on Upset The Rhythm.

'First World Record' follows on from their well-received debut 7' EP 'Managerial Material' which was also recently released by Upset The Rhythm. 'First World Record' was recorded by Brett Eastman (a member of Andy Human And The Reptoids, along with Andy Jordan). Brett also helped mix the album with the band before being mastered by Mikey Young. 'Hot Shopper' is the exhilarating opener from the album. 'You've got the whole world in your hands, check those coupons!' urge the band amid the insistent pulse, whirl and bop of the band's inimitable sound. Sticking with matters of temperature, 'Some Like It Hot' follows with icy stammering guitar and a soaring spree of saxophone. 'Old hygge creatures in the ice age, iguanas in a cot, what else do you expect when you boil that pot' they question throughout this rock-solid dancefloor quake of a track.

Throughout their debut album The World never lose the thread of their argument, which mainly lines up the many unthinking elements of modern life in its cross hairs. 'Namaste' calls out the 'culture muck' of short-sighted faddish behavior, whilst others disappear 'never to return' on the 'La La Coach'. However, The World never become didactic, there's always a surreal dark sense of humour running through their songs, touching on the everyday absurdity of existing after meaning. This perhaps is best delivered up on the album's closing track and lament 'I Fell in Love with a Slumlord'. Drums tumble and jog along with the jubilant sax work whilst the band profess their secret love for the aforementioned property owner. 'He sneaks around in desert camos, what's he up to Nobody knows. But how I wish he'd go and spy on me!' they ruefully confess. In this current climate of cool-trading, cheese omelets and ghost town guilt we only have The World to rely on as our true guides to a better place, a better world. Now let's go there!

'Trax Test' is the first ever survey of Italy's pioneering, visionary and influential label and mail art collective Trax, which ran from 1981 - 1987 as a network for the creation of collaborative projects. The collective included a pre-NWW Colin Potter and some of the earliest work from Masami Akita aka Merzbow, but also had deep connections with the art world; a few trax members went on to become famous designers and artists - Ettore Sottsass of hugely influential Memphis Group even guests on vocals on the last track of the compilation. The whole selection here is rare as heck and sorely in-demand by collectors, much of it now making its vinyl premiere some 30 odd years after the fact.
With credit due to compilers Vittore Baroni of Trax and Ecstatic's avowed wave fiend, Alessio Natalizia (Not Waving) - who was also behind the 'Mutazione (Italian Electronic & New Wave Underground 1980-1988)' compilation - 'Trax Test' is a portal to the international scene which laid the grassroots for a proliferation of electronic music over the proceeding decades - a pioneering part of the infrastructure for independent music distribution which could be said to pre-echo the myriad social networks and platforms which exist for sharing music today.
As Frans De Waard astutely points out in the 16-page booklet, there were no 'templates' for this thing back then - as opposed to the forms of Soundcloud, Spotify or YouTube nowadays - meaning artists did everything DIY: from cutting, pasting and xeroxing their artwork to xperimenting with recording techniques and disseminating their work; all resulting a wonderfully daring and freeform mosaic of ideas which valued the virtues of ostensibly 'unfinished' or open-ended work, when compared with more expensive, 'proper' studio output.
Traces of disco, cosmic krautrock, jazz, electro-pop and industrial noise are all tessellated across the compilation's 25 tracks, with a number of artists and the same equipment - cheap drum machines, synths, FX and tape - cropping up in various, mutant formations.
In terms of obscurity, quality and variation, this set is right up there with the best compilations from Vinyl-on-Demand (an early supporter of this project), Light Sounds Dark (although Ecstatic guys did it legit, lol), or Minimal Wave, and likewise probably saves you the few months wages it would take to track down all the originals. Fucking bravo, we say!









REDNIGHT (EXCERPT)

Melancholy and darkness, and dissonant, uncomfortable music, resonates with us, for whatever reason,' says singer and spokesman Craig Johnson. The new record is more melancholy than dissonant. I feel we're just opening up a bit more on this record.'

A sliver of strings, a squeal of feedback, pulsing drums, sheets of steely guitar and sonorous bass, and a rough, declamatory voice - from these primary components, Leeds quintet AUTOBAHN unfurl their second album, The Moral Crossing, which adds more finesse, dynamic and colour to the commitment and energy shown on their 2014 debut Dissemble - an album that Louder Than War described as, driving, powerful and passionate... tapping into addictive darkness of our past and reminding us that that we cannot escape its attractive desolation.'

While Dissemble was made by imagining what the late, great producer Martin Hannett would do, The Moral Crossing is the sound of what AUTOBAHN would do. To capture the new sonic details of the band, lead singer and principal songwriter Craig Johnson, guitarists Michael Pedel and Gavin Cobb, bassist Daniel Sleight and drummer Liam Hilton decided to give up their practice room that doubled as a hardcore/punk venue (which influenced their original sound, as did a love of The Birthday Party) and build their own studio space.

They found a former double-glazing firm, under a disused bridge, in Holbeck (Leeds' red light district), and despite having no experience of such a job, they undertook this feat. It took a year from ripping out the existing contents to finishing the album - which was then mixed in New York by Ben Greenberg, known for his work with the Sacred Bones label.

On top, Johnson taught himself how to make a record after the studio was built. I was down there nearly every night,' Johnson recalls. It was pretty horrible at times, but worth the pain to have control over everything. We've had the chance to create the sound we want, at times it's more melancholic, and romantic.'

Part of the shift comes from Johnson's newly honed melodies such as 'Vessel' and 'Torment', part from a greater use of electronics, such as the synthesiser underpinning a haunting 'Future', evoking neon-lit rainy-nocturnal rides through a cityscape, likewise the album's title track, which is one song to benefit from the judicious addition of violin and cello. !'d been listening to classical music, and I'd seen the Warsaw Philharmonic Orchestra doing Beethoven's Ninth, which was mint, but I felt out of place, that people were looking down at me,' Johnson recalls. So, it's good to bring some of that to the record. A couple of tracks, 'Torment' was one, we ended up replacing the guitars with strings - whatever was best for the song. Like the French female voice in 'Torment' too, it just felt right.'


This time around, AUTOBAHN decided to create their fearsome depth charges by building the tracks as they went along rather than working on completed songs. As a name, AUTOBAHN has been a bit misleading, as they sound quintessentially Leeds, not Munich or Dusseldorf, but Johnson chose the name because he loved the repetition of rhythm. With Hilton - surely one of the best young drummers alive - driving, Johnson requested they all, imagine they were all different part of a machine: a steam engine, say. Again, it just felt right. And then we put it all together. The lyrics came right at the end.'

Johnson's lyrics on The Moral Crossing combine to form a whole: the theme of a birth, but that person had no choice in the decision. And then it's about the different outcomes that could happen. Which could be glorious or torturous.'

The words and songtitles suggest more torture than glory - for example, A selfless crucifixion / You've nailed in the hard sell' in the manic 'Obituary': Pain out of control' in 'Torment': With your withered hand / Drag me deeper into the fallen ground' in the escalating drama of 'Fallen' - a word, alongside fall', that crops up in several songs. Though Johnson points out that another line from Fallen', Give a break to that child in the noose' is an example of AUTOBAHN's, dark northern humour' (another example was the billboard ad for Dissemble: a hearse, parked outside a funeral parlour, with the band's name in flowers, next to a group of kids holding balloons...)

And though Johnson admits to sudden negative episodes (documented by 'Low/High', another slowburner that eventually bursts into flames), they don't last long. Actually, as a band, we're more optimists. I don't find talking about this stuff as 'dark', but it's stuff people don't usually want to talk about - execution, rising from the dead, depression, feeling utterly lost and unsure where to go. To understand the moral crossing, to go one way or the other, and how it can change your life. For me, saying this stuff out loud give the feeling that there's a future.'

On 'Low/High', Johnson sings, You're floating higher now / No more discontent' and in the part-spoken word litany that is 'Creation', I want to be there for you / I want to rise on through.' To reinforce the optimistic feeling, gospel singers from the local church sing on both tracks. I wouldn't call it 'holy' but some of the lyrics they were singing were about going to a higher place, even if the whole lyric might contradict that,' says Johnson.

AUTOBAHN have checked their own moral compass, and chosen the hard way - not just building their own studio, but to keep confronting the dark stuff. But their music is infused with the joy of exorcising the darkness: to be there, and rise on through. There is a future, and AUTOBAHN and The Moral Crossing are very much part of it.

Martin Aston, August 2017

- 180 GRAMS AUDIOPHILE VINYL
- INCLUDES INSERT
- 50TH ANNIVERSARY EDITION OF THE LEGENDARY DEBUT ALBUM
- INCLUDING 7 BONUS TRACKS
- FEATURING RY COODER AND TAJ MAHAL
- LIMITED EDITION OF 1.500 COPIES ON MILKY WHITE VINYL

Captain Beefheart's debut album, originally released in 1967, is the most accessible and pop-inflected from his entire catalogue. Still, Safe As Milk is a very strong and heavily blues-influenced work but it also hints on many of the features that would later become the trademarks of Captain Beefheart.

A nice fact is that not only did a 20-year old Ry Cooder play bass & guitar on Abba Zaba' and Grown So Ugly', he also arranged the latter as well as Sure 'Nuff 'N Yes I Do'. Also, Cooder's role in the recording process was 'to translate the Captain's wilder notions to the rest of the band and generally acts as musical director'. With him as a supervisor, the sessions proceeded more or less smoothly and Safe As Milk was recorded within a month.

Fun fact, the album appears in the 2000 film High Fidelity as an album that the character Barry, played by Jack Black, continually refuses to sell to a customer, whom he deems unsuitable to own it.

The 7 bonus tracks are taken from the sessions for the unreleased 'Brown Wrapper' follow-up album. These tracks had been recorded around November 1967, two months after the release of Safe as Milk's and were from the same sessions that yielded the songs on Mirror Man Sessions (MOVLP260). The 50th Anniversary edition of Safe As Milk is pressed on Milky White vinyl. Only 1.500 individually numbered copies are available.