Available October 26, 2010 on Chimera Music.

 

Acoustic Sessions is the debut from The Ghost of a Saber Tooth Tiger (Sean Lennon & Charlotte Kemp Muhl) on their own homegrown label Chimera Music. Like Chimera itself – a mythical two-headed creature – The G.O.A.S.T.T. work from one heart despite having two separate minds. Acoustic Sessions shows their love of quirky and whimsical ‘60s folk pop, reminiscent at times of Syd Barrett, Incredible String Band and Simon & Garfunkel. G.O.A.S.T.T. weaves narratives around a metaphysical geography of their own devising, finding a surrealist beauty in the mundane. Like Dali’s imaginary landscapes, G.O.A.S.T.T.’s world is a beguiling Wonderland and one stunning debut.

 

 

"As you might guess from the band's name, The Ghost of a Saber Tooth Tiger makes songs that are ornate, fanciful, tuneful, and unusual." - WNYC

 

The pair are featured in the upcoming November issue of Vanity Fair, where they also did exclusive vedio interview for the magazine's website.

 

 

Available October 26, 2010 on ROIR Records.

No one would argue that the Bad Brains is one of the most important American punk bands of all time. Their influence is deep and wide ranging: Minor Threat, Red Hot Chili Peppers, Beastie Boys, Lil Jon, Living Colour, Matisyahu, Mos Def, 311, hundreds of hardcore bands and any young punk musician. The anchor of this dynamic, powerful, innovative and soulful foursome is bassist Darryl Jenifer.

“[Darryl]’s the musician who most influenced my playing. Though stuff I play now is in a different vein, if you listen to our hardcore tracks, I think you can hear his influence. On the knowledge tip, definitely go and see the Bad Brains every time they play. I’ve seen them like 50 times. I climb up on something where I can get a good view of Jenifer’s hands, and just jones. He’s an unbelievable bassist.”
- Adam Yauch of Beastie Boys

Not only is Darryl considered one of the pre-eminent bassist of his era, he’s also an award winning producer. Having produced two albums for famed Canadian reggae band Bedouin Soundclash, Darryl was honored with the prestigious Juno award in 2004 for his production work on “Sounding Mosaic”. He has also produced The Idlers, Stiffed, Morgan Harris, as well as tracks for Sublime, and many of the tracks for his own band the Bad Brains. Darryl maintains a studio in Woodstock, NY.

Darryl Jenifer returns to ROIR, home to the Bad Brains’ legendary debut album, to release his solo debut.

“In Search of Black Judas” blasts off with hardcore riffs and monstrous grooves, delivered with classic Bad Brains fire and fury and the quickness to shift into downtempo reggae passages. It’s a heady and intoxicating mix of sounds that continues a quest for innovation and soulful vibes, anchored by Jenifer’s rock steady lines.

From the stripped down rub-a-dub of “Babylon Leave Me Alone” to the dark and ominous “Trinity Rub”, an excursion into post-punk-dub akin to PIL or The Ruts, Jenifer’s inventive bass builds a rock-steady foundation on each track. “Black Slavery Dayz Mosh” is a charging reggae groove featuring Bad Brain’s vocalist HR’s twisted and treated vocals. With intricate, spacious and detailed production “In Search of Black Judas” is an aural pleasure and long awaited addition to an already grand legacy.

“Critics call Darryl Jenifer a bassist of uncanny virtuosity. His precision, speed and interplay between drums and guitar are a fundamental Bad Brains attribute.” - Ampeg

“Jenifer’s playing has helped define the sound of the Bad Brains and as such has also helped define the low-end we hear in hardcore punk today.”

“Jenifer moves seamlessly between thrashy punk ragers and deep spiritual dub tracks. No matter what his chosen style is, one thing remains certain: he’s holding the chaos together while pushing it forward.” -Verbicide

Out Now On Young God Records

After years of pursuing Angels of Light and recording and producing a diverse roster of artists for his Young God label, Michael Gira has decided to reconvene his legendary group Swans. As he says: “THIS IS NOT A REUNION. It’s not some dumb-ass nostalgia act. It is not repeating the past. After 5 Angels Of Light albums, I needed a way to move FORWARD, in a new direction, and it just so happens that revivifying the idea of Swans is allowing me to do that. “

This highly anticipated album is as powerful and diverse as anything Gira’s done, in Swans or otherwise. It opens with the epic, soul-crushing (bone crushing?) No Words/No Thoughts, but quickly veers to more pastoral terrain, then on to ever-ascending mono-tonal grooves, a filmic-folk idyll featuring Devendra Banhart on lead vocal that abruptly shifts to cataclysm, then on to more airplane-taking-off ascensions, art songs, and more lethal sonic pummeling. In short, this is the new SWANS album, a significant advance from where Swans left off and as challenging and emotionally demanding as ever.

Increasing frustrated by the (self imposed) constraints he’d set for himself in Angels of Light, Gira decided that the direction he wanted his music to take would be more appropriate under the moniker of the group he started in 1982 and retired in 1997. Though the new album retains an attention to detail in orchestration, and an underlying sense of melody on many of the songs, there’s a deliberate shift towards sonic intensity, relentless, maniacal rhythms and alternately abrasive and soaring waves of electric guitar, qualities those familiar with the always-shifting sonic approach of Swans over the (now first) 15 years of its’ existence will recognize. This record immediately feels like Swans but is also obviously unique and moving into new territory.  

Here’s what Gira says about the moment he decided to reconvene Swans: 

“There was a point a few years ago during a particular show when I was on tour with Angels of Light, with Akron/Family serving as the backing band. It was during the song The Provider. Seth’s guitar was sustaining one open chord (very loudly), rising to a peak, then crashing down again in a rhythm that could have been the equivalent of a deep and soulful act of copulation. The whole band swayed with this arc. Really was like riding waves of sound.  I thought right then, “You know, Michael, Swans wasn’t so bad after all...” - ha ha!  It brought back – in a flood – memories, or maybe not memories, more a tangible re-emersion in the sensation of Swans music rushing through my body in waves, lifting me up towards what, I can only assume, will be my only experience of heaven. It’s difficult – and probably pointless – to try to describe this experience. It’s ecstatic, I suppose – a force of simultaneous self negation and rebirth. Really, I probably only experienced this a handful of times to such an extreme extent during the entire 15 year history of Swans. All the elements have to align perfectly, and you can’t force it, though you might constantly strive for it. I don’t mean to be too lofty here, but it’s a fact. I’m talking about my own experience of the music (though I’d hope people in the audiences along the way might have experienced a similar episode). When I ask myself if I believe in God, I start to say NO, but then I remember that sensation, and I’m not so sure. So I want more of that, before my body breaks down to such an extent that it won’t be possible any more. So I’m doing it. “

The recording of this record was made possible by the sale of a limited edition of 1000, handmade CD/DVD package exclusively at younggodrecords.com. The music CD consisted of Gira’s acoustic demos of several songs under consideration for the new Swans album and the DVD was 2 live shows of Gira solo. Gira hand printed the edition - named I Am Not Insane -  (with wood block), hand colored each one individually, and assembled the 1000 copies himself. The expectation was that it would take 3 or 4 months to sell out through the limited venue of the YGR website. It sold out in 2 weeks.

The core group constituting Swans for this phase is:

Michael Gira / guitar / voice / mendicant friar act  (original swans);

Norman Westberg – guitar  (original swans);

  

Christoph Hahn – guitar  (mid period swans and most angels);

Phil Puleo – drums, percussion, dulcimer etc (final swans tour and most angels);


Chris Pravdica – bass and gadgets  (flux information sciences / services/ gunga din);



Thor Harris -  drums, percussion, vibes, dulcimer, curios, keys (angels, now also with Shearwater)…

Since the musicians live in different places on the planet, the idea of rehearsal for the recordings was both impractical and expensive. They had all heard the material in demo form, so were basically familiar with the material. In order to both allow time to work out the songs as a band with a distinct personality, and to ensure freshness in the performance, they recorded the basic tracks for one song per day over a period of 12 – 14 hours each day.
Once they’d reached a peak, having hashed the songs over (and over) and reconfigured them from their original demo form into something unique to the group, the engineer hit record. Basic overdubs were done at the end of the same day.

Additional subsequent overdubs were done later and guests included: Bill Rieflin (long-time Swans and Angels of Light contributor and currently drummer for REM and Robyn Hitchcock). Bill played piano, synthesizer, organ, acoustic and electric guitar, drums/percussion and more; Grasshopper (Mercury Rev) – Mr. Grass played a swarm of mandolins; Devendra Banhart - Devendra sang the lead vocal – accompanied by Gira’s 3 ½ year old daughter Saoirse – to the song You Fucking People Make Me Sick.

Swans will begin touring late September and will continue touring in 2 to 3 week stints for the next 18 months.

The art for the album is by Beatrice Pediconi www.beatricepediconi.com

THE ROOTS OF CHICHA 2: ELECTRIC CUMBIAS FROM THE LOWER DEPTHS OF PERU

Album out October 12, 2010, on Barbes Records

Cultural phenomena streak through popular consciousness like meteorites. There’s a significant, even life-changing, impact made somewhere, but for many it’s only a moment that flickers by, soon to be swallowed back into the cosmos. Chicha might have been like that. Instead, a once-obscure music that enjoyed a fanatic embrace in the Peruvian slums of the 1970s has become a full-fledged global occasion – thanks to the stunning success of a 2007 CD called The Roots of Chicha.

The album, released by the Brooklyn-based Barbès Records, was a passionate act of cultural appreciation: a heartstrong effort to turn the world on its ear with something it had never expected to hear. It took listeners back to the late 1960’s, when a number of Peruvian guitarists from Lima and the Amazon created a new electric hybrid which  mixed cumbia, surf, Cuban guaracha, rock, Peruvian folklore, and psychedelic touches. This new wave of Peruvian cumbia came to be known as chicha. Scorned by the the middle-class and the official tastemakers, chicha remained mostly associated with the slums of Lima, where the ever-growing population of Andean migrants embraced the music and its players as their own.

When Olivier Conan released the first volume of Roots of Chicha in September 2007, he couldn’t have foreseen the kind of impact it would have. The musician, who co-owns the club Barbès in Brooklyn and owns the label of the same name, had fallen in love with the music on a trip to Peru in the summer of 2006. Back in New York, he started his own band, Chicha Libre, as an attempt to share his enthusiasm. Then he released a compilation of some of the best chicha tracks from the ‘70s. The music quickly found an audience in the US and in Europe. Musicians and DJs embraced it as a lost link between rock and Latin cultures. Accolades flowed from the New York Times, NPR, Le Monde, El Comercio and the BBC. One of its songs was covered by the band Franz Ferdinand, actor Elijah Wood praised it profusely in an interview to Paste magazine. Chilean rock group Los Tres gave a copy of the record to then-president Bachelet, which somehow became national news.

And now, there’s more.

Roots of Chicha 2 showcases 11 bands and 16 tracks recorded from 1968 to 1981. This is music at once familiar and exotic -  rooted in the changing sounds fostered by the worldwide musical revolution that took place in the late 60’s - yet the music remains oddly timeless. The new collection is not a sequel. It’s an attempt to rectify some of the biases and inaccuracies of the first volume. Here, the selections focus more on the urban aspect of the music and less on the Amazonian side. It highlights some lesser-known bands, and broadens its scope to include some of the early Cuban-influenced groups that would play such a crucial role in the elaboration of the chicha sound. And it introduces some of the later bands, such as Los Shapis, who played in the more Andean style that would eventually define chicha. More roots. More chicha.

This collection includes such crucial chicha outfits as Grupo Celeste, which had a huge influence on the emergence of Mexican cumbia; Chacalon, the legendary “bad boy” of chicha; Ranil, the doggedly independent folk hero from Iquito; Manzanita, unheralded yet dazzling; and Los Destellos, whose seminal role in the evolution of chicha is further documented here.

The new edition is next chapter in a fascinating story. Even as a new audience for chicha has begun to develop far, far away from Peru, it’s the effect that the music has had in its contemporary homeland that has been the biggest surprise. For decades, chicha had been scorned as the trashiest expression of Lima’s slums. While the music certainly lived on with the working class, many journalists, students and musicians were becoming increasingly interested. Roots of Chicha became a perfect excuse to explore this obscured chapter of their popular culture. News that a gringo was interested in chicha found its way in many of Peru’s mainstream magazines, newspapers and TV – including canal cuatro and the very official El Comercio.

Within two years, a Peruvian cumbia revival was in full swing. Not only were old bands such as Juaneco y su combo and Los Mirlos given sudden attention, but popular Peruvian rock bands started paying homage to the music. All of a sudden, Peruvian cumbia found itself in the hip clubs of Barranco, the “bohemian” neighborhood of Lima. After 40 years, chicha was no longer invisible. Still, as if to avoid the social stigma attached to the music, people were calling it cumbia, not chicha.
Chicha still belongs to the slums.

ABOUT THE BANDS

All the bands on the second volume are distinct from volume one, with the notable exception of Los Destellos. Los Destellos’ guitarist and band leader Enrique Delgado very much created the genre and an entire generation of Peruvian musicians mined his style and ideas. It is only fitting that he should open a compilation in which he probably had an influence most of the songs.

Also represented on the album is Walter Leon’s Los Ilusionistas, whose song Colegiala went on to become the most recognizable cumbia of all times, albeit in a re-recording by a Colombian band which became Nescafé them song in the 1980’s. To this day, most Europeans were first introduced to Cumbia by hearing Nescafé TV commercials.

Grupo Celeste’s Como un Ave is one of the first cumbia tracks to introduce the somewhat harder sound that would become Chicha in the 1980’s.  Grupo Celeste went to be hugely popular in Mexico where they had a direct influence on the development of Mexican Cumbia.

Manzanita is one of the unsung heroes of Chicha. Viewed by many as a equally influential as Enrique Delgado, he never enjoyed the same level of recognition. He was a superior guitar player, composed all his own material and displayed a sensibility that wouldn’t have been out of place downtown Manhattan. He could hopscotch from virtuosic improvisation to quirky pop tunes and electric huyanos in a way that remains unequalled.

Los Shapis, whose tour bus graces the cover, are the first band to actually use the term chicha exclusively. They became one of those proverbial overnight success with their first single, El Aguajal, a cumbia cover of a folkloric Andean tune.  This marked what could be called the second period of the Chicha movement. One where reverbs and synthesizers started mimicking more closely the sound of the Andes while pushing the music in a more urban direction.

Chacalon was chicha’s working class hero. A son of the Lima slums, he was viewed as somewhat of a bad boy, he sang about hardship, family, work, suffering and drinking – all of which he was personally familiar with. Of all the chicha singers, he is probably the one lower class urban Peruvians associated with the most. 70,000 people attended his funeral.

Compay Quinto, Los Ribereños and Los Walkers all showcase the strong Afro-cuban influence which is a such a strong part of the chicha sound.

There are only two Amazonian bands on the album, both from the river town of Iquitos – once the center of the amazon’s greatest oil boom.

Los Wemblers provided Los Mirlos with a couple of their bigger hits, including Sonido Amazonico and La Danza del Petrolero, included here. There has been talk of a Los Wemblers reunion lately.

Raul Llerena, known as Ranil, is one of the most fiercely independent artists to come out of Peru. His fame never really left his native Iquitos, where he is, to this day, something of a folk hero. He started recording in the mid-70’s but lately has been mostly involved in running his own radio station from Belen – the poor indigenous section of Iquitos. His shows are a mix of music, folksy wisdom and social commentaries. He will be playing outside of Peru for the first time ever this summer in Berlin, with Chicha Libre as a backing band.

Together with the first volume, this installment of the Roots of Chicha should present a broader and more accurate panorama of a music that was ignored for too long.  Of course, in the course of thirty years or so, there are many more bands that could fit on two albums. Due to the intricacies of the Peruvian music business of the 1970’s, a number of tracks couldn’t be included, hopefully, this could change and more bands could be released from the gold mine that was the Peruvian chicha movement.

Nada Surf proudly announce that following their spring tour - where if i had a hi-fi will initially only be available for purchase at shows - they will release their forthcoming covers album on CD/LP and digitally June 8th via the bands own label, Mardev Records, with distribution through ADA. To give fans a preview of the new album Nada Surf are making their take on Bill Fox's "Electrocution" available for free download. Nada Surf's spring tour kicked off on March 25th with three sold-out New York shows, and concludes in late May with a performance at the 2010 Sasquatch Music Festival.

"Electrocution" is available for download at the link here.

if i had a hi-fi is full of inspired, unexpected choices: from avant-pop Kate Bush to underground power-pop classicist Dwight Twilley. There are some intriguingly obscure numbers, like Spanish band Mercromina's "Evolution" and under-documented Bill Fox's "Electrocution." The as yet little known Fox, of Cleveland cult band The Mice, inspired local groups like Guided by Voices and Death of Samantha. Doug Gillard, who was in both of them, lends his highly evolved guitar skills to "Electrocution" as well as the Twilley and Go-Betweens songs.

That was another benefit of these sessions. Says lead singer and guitarist Matthew Caws, "It was a great excuse to have friends of ours sit in on something without having to wait another two years." Guest players include Martin Wenk (Calexico), Phil Peterson (Kay Kay and the Weathered Underground), Joe McGinty (Losers Lounge, Psychedelic Furs) and Holly Miranda.

if i had a hi-fi tracklist
Electrocution (Bill Fox)
Enjoy the Silence (Depeche Mode)
Love Goes On (The Go-Betweens)
Janine (Arthur Russell)
You Were So Warm (Dwight Twilley)
Love and Anger (Kate Bush)
The Agony of Laffitte (Spoon)
Bye Bye Beauté (Coralie Clement)
Question (Moody Blues)
Bright Side (Soft Pack)
Evolution (Mercromina)
I Remembered What I Was Going to Say (The Silly Pillows)

Seminal cello-driven trio Rasputina will release their seventh album, Sister Kinderhook, on June 15, 2010. Rasputina directress, Melora Creager recorded it whilst pregnant in the Hudson Valley just last summer. She and Brian Kehew (Moog Cookbook, Fiona Apple, Air) mixed it in Los Angeles with a newborn in the studio.

This album finds Melora expressing a thematic fantasy of Colonial Federalism. Subject-wise, she also touches on feral children ("Snow-Hen of Austerlitz"), the Anti-rent Wars of 1844 ("Calico Indians"), and Early American portraiture ("The 2 Miss Leavens"), not to mention the theory that giants were indeed real, but killed each other off in a self-genocidal holocaust ("A Holocaust of Giants").

 

Sister Kinderhook is a return to Rasputina's early, more organic sound. Melora produced and engineered the thing at her homestead in the country. Hudson, NY is home to many fabulous female artists that gained notoriety in the 1990's, including Melora, Melissa Auf Der Maur and M'Shell N'Degeocello.

 

For the first time, Rasputina employs a male cellist. Daniel DeJesus came of age listening obsessively to Rasputina records, and can play and sing the entire catalog. Catie D'Amica was a local punk-rock teenager. Melora thought, "If I put her behind an eccentric kit that included a concert bass drum, a djembe and ankle bells, and if she played her simple but cool punk-rock beats, we might really have something." When the internet compared Catie to a "Native American drum machine," Melora knew that experiment was successful. In addition to voice and cello, Melora played banjo and harpsichord.

 

Melora has maintained the Rasputina group for almost 20(0) years. Genres come and go and Rasputina often gets mistakenly lumped into passing fancies, but Rasputina manages to survive and defy categorization by maintaining a child-like delight in music-making alongside a clear & true integrity.

 

Since Rasputina's last full-length recording (2007's Oh Perilous World), Melora has released a number of limited edition short-works: The Willow Tree Tryptich (3 ancient folk songs titled The Willow Tree), Ancient Cross-Dressing Songs (self-explanatory), and The Pregnant Concert (a full live show from September 2009).

 

Melora grew up in Kansas in a musical family which did play together as an ensemble, though certainly not publicly. At 18 she moved to NYC where she studied photography at Parsons School of Design. While there, she began playing the cello with drag performers and eventually the 4AD band, Ultra Vivid Scene. That exposure to the glamorous world of professional rock music led her to found Rasputina. She thought it would be easy. Touring with Nirvana taught her lessons in avoidance of immense fame, which she has successfully practised since.

 

Rasputina made 2 albums for Columbia/Sony (Thanks for the Ether, How We Quit the Forest), 2 albums for Instinct Records (Cabin Fever!, Frustration Plantation) and one previous (Oh Perilous World) on her own Filthy Bonnet Recording Co. label.

Family music pioneers Dan Zanes and Friends delve into a vital part of America’s musical heritage with their forthcoming album of timeless songs owned by Sir Paul McCartney’s MPL Music Publishing catalog. 76 Trombones, to be released November 17th 2009, features an array of new friends from Broadway, including Tony Award winners Carol Channing (Hello, Dolly!), Brian Stokes Mitchell (Kiss Me, Kate) and Matthew Broderick (The Producers), along with de’Adre Aziza (Passing Strange) and Derick K. Grant (Bring in ‘da Noise, Bring in ‘da Funk). The album will introduce a new generation of kids to classic Broadway songs that everyone knows and loves.

Zanes says, “With the exception of the Hair soundtrack, musicals were never my thing as a kid. I was too caught up in the music of Leadbelly back then. But as a parent, one afternoon at my daughter’s request, I figured out how to play “Bushel And A Peck” (from Guys and Dolls). I had a sudden realization that once you took away the hopped-up big band and the high intensity vocals it was an amazing folk song. It occurred to me that maybe a lot of these Broadway songs could be broken down to their ragged essence, reworked as 21st Century all-ages music, and presented in a manner that might make you think, ‘Hey, I can do that.’ When the people at MPL called me two years ago about a possible Broadway album I took it as a sign that the time was finally right to put on my dusty, moth-eaten tux and get loose with the songs of American musicals. For me, the songs and performances on this CD are packed with emotion and celebration. I’m grateful and still a little surprised that the people at MPL trusted us with them!”

Zanes, known for his popular 80’s college band the Del Fuegos, began his second career in family music by distributing a homemade cassette at a neighborhood park in New York City’s West Village and has since released several Parents Choice Award-winning for his best selling albums including Catch That Train!, which won the 2007 Grammy for “Best Musical Album for Children”. Music videos for Zanes’ songs have aired on The Noggin Network, Sesame Street and The Disney Channel’s “Playhouse Disney.”
About MPL

Founded by Sir Paul McCartney in 1971, MPL’s music publishing business has been marked by considered acquisitions and sensitive, honest handling of copyrights.  Among the writers for whom MPL administers are Frank Loesser, Carl Perkins, Buddy Holly, Jerry Herman, Harold Arlen, Jelly Roll Morton. The company also administers the songs from many Broadway shows including Hello, Dolly!, Annie, Grease, Peter Pan, Guys and Dolls, Hans Christian Andersen, Mame, A Chorus Line, The Music Man, La Cage Aux Folles and others.

We are excited to be able to digitally distribute a brand new label from Chris Taylor, multi-instrumentalist/producer of widely acclaimed Brooklyn band Grizzly Bear. ‘Ghost’ is the first single recorded under Taylor’s moniker, CANT, and will be available wordwide from Virtual on October 13th. Forthcoming is the debut EP from Brooklyn up and comers Acrylics (produced by Taylor), to be released October 27th.

Virtual Label are excited to welcome Destroy All Concepts to the family! Headed by the versatile, Dub Gabriel, D.A.C prides itself on a genre blending and bending aesthetic, which promotes unlikely collaborations. Thus far, the likes of Michael Stipe (R.E.M.), Yo Majesty, Dr. Israel and members of Bahaus and New York Dolls have all contributed to releases.

Watch this label to take Dub, World, Free Jazz and Electronic music too far reaches and new heights, one exploration at a time.

Sonny Landreth's 'Levee Town' album will be reissued with a bonus disc April 21st on Landfall Records.

Originally released in 2000 on Sugar Hill Records, the remastered album features guests John Hiatt, Bonnie Raitt and Michael Doucet of BeauSoliel. Levee Town contains a bonus disc with five previously unreleased tracks from the original sessions (“Pedal To Metal,” “Road A Plenty,” “Old Flame,” “Fare You Well” and a co-write with Will Jennings, “For Who We Are (The Nightbird Sings),” with guest Jennifer Warnes. The album was a tale of life in Lousiana, mixing music, myth and mojo to conjure up music that rocks hard and runs deep.

Nearly 25 years since their initial release The Dukes Of Stratosphear finally get remastered. Formed in 1985 to create an album that sounded like it was made in 1967, The Dukes Of Stratosphear were destined for either huge success or catostrophic failure. The alter ego for XTC, they used antique gear including a Mellotron and went  into Chapel Lane Studios to record what Virgin record execs insisted be a real band. 25 O'Clock Includes the Original 6 EP Tracks, 9 Demos and Extra Recordings, plus the video for Mole From The Ministry

After the runaway success of 25 O’Clock, Psonic Psunspot was the Dukes first album proper, tipping their hats to the White Album and Yellow Submarine, Smiley Smile, and the Hollies. It Includes 16 Tracks with 11 Remastered from the Original LP, Plus 5 Unreleased Demo Tracks and the Video for You’re A Good Man Albert Brown

These LIMITED EDITION reissues come in HARDBACK digibooks and feature brand new artwork. Booklets include new sleeve notes by XTC's Andy, Colin and Dave Gregory.

UK based Vinyl 180 continues to work with the hugely influential 4AD and Beggars Banquet labels. Following reissues of early albums by Cocteau Twins, Bauhaus, Gary Numan, Dead Can Dance, the latest are Standard and Limited Edition versions of The Cult’s Love album. In May will be the debut release from 1982 by the Cocteau Twins, "Garlands". Beyond that will be more from Bauhaus, The Fall, and The Birthday Party. 

All Vinyl 180 releases have been remastered from the original analogue tapes. All pressings are on 180g heavyweight vinyl and inserted into heavy duty inner bags. The sleeves are printed on high quality heavyweight board.

A strong Pressure Sounds title which has garnered recent features in the Wax Poetics digital store, the Other Music newsletter, and on iTunes.

‘Once Upon A Time At King Tubby’s’ captures from start to finish the full story of the most well known, and certainly the wittiest, of all the wars of words that the highly competitive Kingston recording scene ever produced. I Roy and Prince Jazzbo were the principal players aided and abetted along the way by an assorted bunch of onlookers and minor characters who all helped the drama to unfold. Bunny ‘Striker’ Lee was the catalyst that started this particular schism and the producer of all but one of the tracks.

“It generated some life inna the music business!” - Bunny Lee