Triple vinyl LP pressing. Special Indie Edition Blue and Regular Edition Black. Digitally remastered and expanded 20th Anniversary edition. Rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage… OKNOTOK features the original OK Computer twelve track album, eight B-sides, and the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man Of War.” The original studio recordings of these three previously unreleased and long sought after OK Computer era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes. OK Computer was originally released on various dates ranging from May to July 1997. Produced by the band and Nigel Godrich, the album is widely cited as one of the greatest works of Radiohead’s-or any artist’s-catalogue and was the first Radiohead record to reach #1 in the UK and to be be nominated for the Album of the Year Grammy. The album features singles “Paranoid Android,” “Karma Police,” “Lucky” and “No Surprises.” In 2015, The National Recording Registry selected OK Computer to be preserved in the Library of Congress as a recording that has proven “culturally, historically, or aesthetically significant.”
The inimitable Beth Ditto harkens back to her Southern roots on Fake Sugar, her first solo record after The Gossip disbanded. That doesn’t mean Ditto’s mean gone full-on country, though – the queer feminist icon instead taps into gospel, soul, and even a bit of country rock. That these genres influenced the operatic singer’s musical vocabulary is no surprise, of course, to longtime fans, but don’t expect the raucous dancepunk. The first single “Fire” premiered as BBC radio 1’s “hottest record in the world”. This is her solo debut album after being with The Gossip.
Limited colored vinyl LP pressing. 2017 album from the Californian psych rockers. Triptides as the tides of the ocean draw their power from the moon above, the music of Triptides is fueled by the mind-bending inspiration and wide-ranging creative talents of Glenn Brigman (vocals and guitar), Josh Menashe (guitar and vocals), Dylan Sizemore (bass guitar) and Shaugnessy Starr (drums). The trip began in the bohemian basements of Bloomington, Indiana in 2010, where Glenn and Josh shared ideas and influences before evolving to craft a complex yet cohesive range of lush, “psychedelic beach-pop” sounds. Two EPs and four LPs later, Triptides are now an essential element of the Los An-geles psych scene. Inspired by the spirit of ’60s and ’70s West Coast pop and psychedelia, as well as legendary albums ranging from The Piper at the Gates of Dawn to The Notorious Byrd Brothers. “This artefact is something especially nice to have and hold and sit alongside The Young Sinclairs, Silver Factory and Allah-Las in your collection. They deserve far more attention than has come along so far” -Shindig. “The soundtrack that will illuminate the summer.” – Nouvel Obs. “The romance that is beginning with Triptides will last more than this summer.” – Rock & Folk.
After 7 years of touring and recording, I found myself becoming self conscious about my position in life as a “famous” person, or at least my version of whatever that is. My dreams had become my reality, yet I was somehow unable to accept this new environment. I couldn’t help but fall into what might be described as an identity crisis. A feedback loop of fearful thoughts left me feeling confused. I felt as though I no longer knew what it was that I actually wanted and needed in and out of life, and at times I felt unable to even tell what was real.
By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward. The artists that were influencing what I was making included everyone from Travis Scott to Daft Punk, Frank Ocean to Oneohtrix Point Never, Kashif and Gigi Masin. I recognized that the common thread between these artists was their attention to a feeling of space, or lack thereof. I decided that I wanted to make a Pop record with these ideas in mind. That idea for a record is what eventually became Boo Boo. Toro y Moi
Vinyl LP pressing. Following on from the Pasteur Lappe compilation African Funk Experimentals LP, we are really pleased to be re-visiting Pasteur with a repress of his second album from 1979, Na Man Pass Man. The story begins in the ’60s with a charming 19 year old Nicolas “Pasteur” Lappe becoming a sensation on Radio Adele in Douala, Cameroun. His second album Na Man Pass Man is made in 1979 with the backing band and production collective called the Zulu Gang, which include Douglas Mbida (who went on to release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The album is full of diverse sounds; from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin’ soul. At it’s core though is the custom “Sekele” groove… a movement to encompass the dance, grooves and vibes from his native Douala. The album opens with Africa Seven favorite “Na Real Sekele Fo’ Ya” which takes stabby moog bass synth to a whole new level of grooviness. “Follow Me To My Dreams” takes proceedings on a reggae tip as the Zulu Gang show us just how reggae they can go. It’s sleezy Rhodes and sax led jazz funk of “Mbale”. Followed by “Missosi” a cautionary tale from our hero. Side B opens with another slice of slick African Reggae with “Babette D’O (Rastawoman)” – the Caribbean chops of Jacob Desvariaux getting a full exercise here. It’s then “Back To Funky” with some dance funk. It features Maryse Lappe guesting on vocals too. The “Lead” track from the album “ABC” is next with it’s stomping afro, pop funk delightfulness. A 12″ version was actually released in 1979 with a fine painting of our hero on the front cover. We close off the LP with the title track “Na Man Pass Man (Na Iron de Cut)”. This features Pasteur singing and professing his tale of the trials of Africans and African Music over a rolling bass guitar groove. The nostalgic poet, with Africa at his essence Pasteur Lappe, we salute you.
Limited 180gm teal colored vinyl LP pressing, includes digital download. Vault Vol. 2 is a collection of rare, previously unreleased songs that up until now have never been heard by anyone except STRFKR. The band only exists today because of these recordings. Some of these songs were written for STRFKR albums, some were written before or inbetween, but they all played a role and influenced what was released under that name.
Limited edition colored vinyl LP pressing housed in a gatefold sleeve. The Melvins have announced their first double album, A Walk With Love and Death, set for release via Ipecac Recordings. The dual albums find the trio of Buzz Osborne, Dale Crover, and Steve McDonald showcasing two distinct sides to the band’s music: Death, a proper Melvins’ release, and Love, the score to the Jesse Nieminen directed, self-produced short also titled A Walk With Love and Death. – The albums, which include guests Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes/Crystal Fairy) and Anna Waronker (That Dog), were self-produced with engineer Toshi Kosai.
Black Lips – Satan’s graffiti or God’s art? – Atlanta’s valiant punks Black Lips have announced that their first album in three years, Satan’s graffiti or God’s art?, is set for release May 5 via Vice Records. Produced by Sean Lennon at his studio compound in upstate New York throughout 2016, the album is the group’s most musically evolved to date, while still staying true to their original blistering take on fuzzy, dirty rock n’ roll. On their 8th full length, “Satan’s graffiti or God’s art?”, Black Lips were joined by Saul Adamczewski of Fat White Family and Sean Lennon in helping co-produce, and the final product is urgent and thoughtful, reflecting the growth the Black Lips have experienced since bursting onto the scene (once or twice quite literally on fire) but also true to their original blistering, careening take on rock n’ roll: fuzzy, dirty, and rife with three and four part harmonies.
Vinyl LP pressing, includes digital download. Juke Joint At The Edge Of The World is a record that reflects the freedom my bandmates and I have found playing together in the last few years. Some of the places we play are like the old juke joints where people dance and shout – from these people and places we’ve found the energy we need to be free to shake the music up. Now, when we improvise we know it’s going to take us to a new and better musical place. Time listening and working together has given us that. The result is that this record has more of a “live in the studio” feel to it. It’s also rooted more in the soul and R&B dance music I grew up listening to and playing. Less thinking and more playing. Less analyzing and more fun. When I wrote these new songs, I inhabited various characters and let them speak from their worlds about delusions and fantasy (“Plan B”), poverty, humor and strength (“Pot Holes on Main Street”), memories of my youth and class/race segregation (“Garbage Man”). I dreamed the song “Mali Katra” (what language is that?) after seeing a large group of vultures roosting on a cell tower on one of my walks. This got me thinking about the spirits and powers that roam the world and run in the background of our lives. The artwork for the cover reminds me of the absurdity and wildness of all that. I thought about calling the record Rex Comes Home. Anyway, I wouldn’t take that call from that particular cell tower.
Limited red vinyl LP pressing. Special remaster of Anti-Flag’s politically charged 1996 debut album features blistering hardcore punk rock anthems such as “You’ve Got To Die For The Government,” “Red, White And Brainwashed,” “Police State In The USA” and more. Anti-Flag are an American punk band from Pittsburgh, Pennsylvania, United States. The band is well known for political activism, focusing on anti-war activism, anti-imperialism, class struggle, human rights, and various sociopolitical sentiments. The line-up includes singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band. Anti-Flag is known also for their advocacy of progressive political action groups such as Greenpeace and Amnesty International.
Vinyl LP pressing. Digitally remastered edition of this compilation of Gil Scott-Heron’s best-known works for the Flying Dutchman label. Originally released to capitalize on the success of Scott-Heron’s then-current hit ‘The Bottle’ and his subsequent signing to Arista, this 1974 compilation has since become the definitive distillation of his early work. Contained within the original 11-track selection were the title track, ‘Whitey On The Moon’, ‘Home Is Where The Hatred Is’ plus eight more. Replicating the original 11-track running order and packaged in a heavy duty sleeve, the vinyl reissue features the original LP’s inner gatefold artwork on the inner bag.
Limited 180gm orange vinyl LP pressing in a heavy duty sleeve with comprehensive notes and rare photos on the inner bag. This follow-up to our recent Love Hit Me! Decca Beat Girls and Scratch My Back! Pye Beat Girls releases comprises superior 60s she-pop from the EMI group of record labels – Parlophone, Columbia and HMV – headquartered in Marylebone in the heart of London’s West End. Most of the female acts signed by EMI were teenagers completely tuned in to the current pop trends. Scottish duo the McKinleys, R&B club habituée Julie Driscoll, talent show winner Billie Davis and Midlands pub singer Beverley Jones took original material from London’s Tin Pan Alley and American covers and gave them an abrasive, vigorous kick that made for fabulous 45s. They may not have had quite the Polish of their US counterparts, but the rough ‘n’ ready sound of the Marylebone Beat Girl was precisely her appeal. Among the many highlights are ‘Dancing Yet’, a Dobie Gray-style discotheque number by Liza & the Jet Set; ‘Like The Big Man Said’ by Toni Daly, a cover of Italian star Caterina Caselli’s ‘L’uomo D’oro’ with edgy English lyrics by Peter Callander; and Billie Davis’ groovy gender-switched update of Chuck Willis’ R&B nugget ‘Whatcha’ Gonna Do’.
Vinyl LP pressing. Modernism goes vinyl! After two successful CD volumes, Kent’s look at the sort of R&B and club soul that could have been danced to by the original mods – if only they had known about it – arrives with a special vinyl edition. Gathering up favorite discoveries from the CDs, this 14-track LP is augmented by other tracks culled from the mod jazz series together with a couple of exclusives. This compilation is a selection of high spots, with something for every mod fan whatever the style. Classic club soul from Bob & Earl, Bessie Banks and Jeb Stuart jostles with jazzy R&B from Floyd White and Clarence Daniels plus some almost-funk from Chuck Higgins and Chet Ivey. Three tracks are released on vinyl for the first time whilst many others are seeing their first reissue on the format. One of these is the super rare ‘Go’ by Little Johnny Hamilton and the Creators, a band that would go on to become 1970s chart-toppers War.
Vinyl LP pressing. The Great Otis Redding Sings Soul Ballads, simply referred to as Soul Ballads or Sings Soul Ballads, is the second studio album by American soul singer-songwriter Otis Redding, released in 1965. The album was one of the first issued by Volt Records, a sub-label of Stax Records, and Redding’s first on the new label. Like Redding’s debut Pain in My Heart, Soul Ballads features both soul classics and originals written by Redding and other Stax Records recording artists. The recording sessions took place at the Stax studios in Memphis. The album features the Booker T. & the M.G.’s, the horn section Memphis Horns and the pianist Isaac Hayes, who possibly first appeared on this album, although this is disputed, as he was not credited on the liner notes.
Vinyl LP pressing. Carla Thomas was to Memphis’ Stax Records what Aretha was to Atlantic: the label’s reigning matriarch, able to wrap her glorious voice around “B-A-B-Y” and “Let Me Be Good to You,” chart-toppers from the precocious songwriting team of Isaac Hayes and David Porter, as well as R&B standards like Willie Dixon’s “Little Red Rooster.” Backed by the Stax house combo, fronted by Booker T. and Steve Cropper, Carla also shows off her storied versatility with knockout renderings of “I’m So Lonesome I Could Cry” and “I Fall to Pieces.” Carla is often referred to as the Queen of Memphis Soul. She is the daughter of Rufus Thomas.
Vinyl LP pressing. Born Under a Bad Sign is the second studio album by Albert King released in 1967. The album became “one of the most popular and influential blues albums of the late ’60s” and has been acknowledged by the Grammy Hall of Fame, the Blues Foundation Hall of Fame, and Rolling Stone magazine. Born Under a Bad Sign was the first album by Albert King for Stax Records and his second album overall. It is composed of singles released by King recorded between March 3, 1966 and June 9, 1967, with additional studio tracks. Providing accompaniment to Albert King, who sang and played lead guitar, were the Stax in-house recording session band, Booker T. and the MGs, featuring the Memphis Horns. Four of the album’s songs became modern blues classics: “Born Under a Bad Sign”, “Oh Pretty Woman”, “The Hunter”, and “Crosscut Saw.”
Double vinyl LP pressing. Ice Cream Man is the fifth studio album by New Orleans rapper Master P. It was set to be release in the summer of ’95 but it ended up being released on April 16, 1996. Ice Cream Man hit #6 on the Billboard’s R&B Albums chart and #26 on the Billboard 200. It was Master P’s and No Limit Record’s first ever RIAA platinum certified album. Master P is a hip hop recording artist, actor, businessman, investor, author, filmmaker, record producer, philanthropist, and former basketball player. He is the founder of the record label No Limit Records.
Limited red colored vinyl LP pressing. This Is the Kit, long a favorite of US musicians like The National, Sharon Van Etten, and Chris Thile, is poised to break through to a larger fanbase beyond the music intelligentsia with the warm, inviting, and beautifully human Moonshine Freeze. The band, led by Paris-by-way-of-Bristol vocalist and songwriter Kate Stables along with the core trio of Rozi Plain, Jamie Whitby-Coles, and Neil Smith, as well as a revolving cast of horn players, additional percussionists, strings, and others, worked with producer John Parish on Moonshine Freeze. Parish’s known brilliance for capturing a close-mic’ed vocal is felt here: Stables’ uniquely-textured voice is brought to the fore, and – following the tradition of exquisitely strange troubadors like Karen Dalton, Will Oldham, or Robert Wyatt – is simply arresting. Stables’ chiaroscuro lyrics, and the detailed arrangements that have earned her fans in fellow musicians and thoughtful listeners, are here in full bloom, of course. But the songs themselves encompass more space and volume than ever before, with choruses at once inexplicable as well as singalong; the odd Motown-style horn chart cropping up here and there, in unexpected, but utterly welcome, interludes; sounds that veer from delicate to dusty to swelling in a moment. With Moonshine Freeze, This Is the Kit have struck a balance between the esoteric and the accessible, and have brought together a collection of brilliant songs with tremendous potential.
And Randy Newman: