Category Archives: Retail

(Upcoming Release) New 7″ Single from Stuart Bogie as Superhuman Happiness on 3/1

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One thing is certain, Stuart Bogie is a busy dude. Just a quick look over his bio and you see an impressive list of bands he has recorded with and performed with including steady gigs in Antibalas, Iron & Wine, TV on the Radio, plus any number of acts related to those. It’s pretty obvious that he is a very in-demand horn player in the indie music space. So, you might not think that he would have time to have his own project. But, he does. It’s called Superhuman Happiness.

Bogie started work on the first release by Superhuman Happiness on the heels of a long tour with Antibalas. A Christmas gift for his family, Fall Down Seven Times Stand Up Eight released in 2008 was a collection of songs that he had been working on for ten years.

In July, 2010 Bogie released a super-limited 7″ of “GMYL” b/w “Hounds” which sold out very quickly. “GMYL” stands for the joyous refrain “God Makes You Live” in the hooky sax driven afro-rhythmic head-bobber. The single was recorded at Dave Sitek‘s (of TV on the Radio) Williamsburg studio Stay Gold. Some of the upbeat happiness of the tracks have to do with the fact that Bogie starts the compositions with handclap exercises to establish the rhythm– no sad songs based on hand clap rhythm- right?

On March 1st the single is going to be reissued by Electric Cowbell records with new label and a colorful sleeve (one side pictured above). Electric Cowbell is a cool singles-only label located in Brooklyn. I recommend you check their site out and try to score some of their releases! Superhuman Happiness shared a now-out-of-print single with the incredible CSC Funk Band. In addition to the “GMYL” single, Electric Cowbell released a collaboration between Superhuman Happiness and Sahr Ngaujah, “Gravity” b/w “String Theory.” Sahr performed the part of Fela Kuti in the “Fela!” Broadway show that Antibalas scored and Bogie performed music for. This single is worth checking out as well.

For the record geeks: I compared both the original 7″ and the Electric Cowbell release of “GMYL” and they share the same master plates as they have the same matrix information. SHH-002A/B and U-6368IM-A/B are in the deadwax for both releases. Also scribed was “PCMJR” with a “U” in a circle. This is the marking for Mark Richardson of Prairie Cat Mastering out of Belvidere, IL.

Coming up for Bogie and Superhuman Happiness is a couple more singles to come out this spring or this summer followed by another full length that is currently in early stages of production.

Click Here for the Superhuman Happiness website.

Click Here for Stuart Bogie’s website.

Click Here for Electric Cowbell’s website.

Here is the video for “GMYL”

 

GMYL by Superhuman Happiness from Tatiana McCabe on Vimeo.

“GMYL” | Superhuman Happiness by Calabro Music Media

The Hounds | Superhuman Happiness by Calabro Music Media

B-Sides in the Bins #53 – Rubber Soul Restoration

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Over Christmas I took on a project– the restoration of a Mono Beatles Rubber Soul.

A couple of years ago, my sister-in-law Sarah gave me a stack of LP’s that she picked up at a thrift store in the Twin Cities. The stack was a colorful collection of 60’s, 70’s and 80’s pop, tropicalia, hair metal and Phil Collins. I pulled out the records that I thought I’d want to keep and got ready to carry the lot of discards to Half-Price Books. Thankfully, I looked closer at the Firefall sleeve in the pile as it had The Beatles Rubber Soul on rainbow Capitol label in it! As happy as I was to find this treasure, I was saddened that it was missing its jacket. I found a paper sleeve and put it in a crate with other records that I don’t store with my main collection.

In December I was doing some work in the room where we have our furnace and storage and happened to notice the record. I picked it up and looked closer at it and realized that it was not just a 60’s Capitol Beatles release, but it was also a MONO!

The reason why the monaural release is desirable, is that it is generally accepted in the collector’s circles that the Capitol monaural versions of the Beatles catalog are superior to the stereo releases. To explain why, there is some history to cover.

The Beatles had kind of a shaky start in the US as far as record labels were concerned. They were signed to EMI/Parlophone in the UK and when EMI’s US counterpart Capitol was initially approached to release the Beatles albums, they declined– thinking that the US teenagers were more interested in the clean-cut portrait of The Beach Boys (on Capitol) than they would be with the shaggy snapshot of the Beatles. The center of the mess was a man named Dave Dexter, Jr. who is quite possibly the most controversial person in the history of the Beatles recorded output. Dexter’s job was managing EMI’s releases in the US for Capitol and was  the guy who was in charge of screening the releases, and ultimately made decisions about everything from cover art, to production and mastering to what tracks were included on a given release.

Incidently, Dexter was also the guy who made the decision that initially squashed releasing the Beatles on Capitol. This is why the first Beatles album released in the US was handled by a typically R&B label out of Chicago called Vee-Jay (which is a whole other story). Eventually, Capitol couldn’t ignore the force of the Beatles and signed them in November, 1963.

Capitol and Dexter felt that the way EMI was releasing the albums in the UK was not what their customers wanted and changed almost every packaging of Beatles material up until Sgt. Pepper’s when the Beatles renewed their contract and blocked this practice. Capitol changed track lists, generated new “greatest hits” collections and the most egregious aspect of all was the remixing of the music that George Martin and his engineers so masterfully recorded at Abbey Road. EMI/Parlophone would release singles and LP’s in the UK and then tapes would be shipped to the US for packaging and release by Capitol.

When the Beatles would finally make it to compact disc in 1987, it established that the standard for their catalog would be the UK EMI/Parlophone/Apple versions. Well, and stereo for those releases that were in stereo.

Rubber Soul ends up being the poster child for Capitol’s changes to the Beatles releases with a dramatically different track listing than the UK version in sequence and in content!

The “proper” UK version of Rubber Soul tracklisting (from Wikipedia):

No. Title Length
1. “Drive My Car“ 2:25
2. “Norwegian Wood (This Bird Has Flown)“ 2:01
3. “You Won’t See Me“ 3:18
4. “Nowhere Man“ 2:40
5. “Think for Yourself” (George Harrison) 2:16
6. “The Word“ 2:41
7. “Michelle“ 2:40
Side two
No. Title Length
1. “What Goes On” (Lennon/McCartney/Starkey) 2:47
2. “Girl“ 2:30
3. “I’m Looking Through You“ 2:23
4. “In My Life“ 2:24
5. “Wait“ 2:12
6. “If I Needed Someone” (George Harrison) 2:20
7. “Run for Your Life“ 2:18

So, this brings us to my copy of Rubber Soul, which as I stated, is a Capitol mono original pressing from 1965 (Catalog number T-2442).

Side one
No. Title Length
1. “I’ve Just Seen a Face“ 2:07
2. “Norwegian Wood (This Bird Has Flown)“ 2:05
3. “You Won’t See Me“ 3:22
4. “Think for Yourself” (George Harrison) 2:19
5. “The Word“ 2:43
6. “Michelle“ 2:42
Side two
No. Title Length
1. “It’s Only Love“ 1:55
2. “Girl“ 2:33
3. “I’m Looking Through You“ 2:31
4. “In My Life“ 2:27
5. “Wait“ 2:16
6. “Run for Your Life“ 2:18

You can see from these two track listings that the UK and US releases are substantially different! According to sources, the US release was deliberately resequenced to make Rubber Soul more of a “folk rock” album in hopes of cashing in on the emerging genre which included popular releases from bands like the Byrds and Dylan which were both having an effect on the Beatles new– and I think– more mature writing style. As a result, the more upbeat, and likely representative of the “Rubber Soul” moniker– songs were removed from the track listing and would be released on the following US-only compilation Yesterday… and Today. These songs “Drive My Car” and “Nowhere Man” which are considered notable songs in the Beatles canon, as well as “What Goes On” and “If I Needed Someone.” These songs were replaced with two songs removed from the UK version of Help! (the US version of Help! was also different in the US where it served more as a soundtrack to the movie and included score music)– “I’ve Just Seen a Face” and “It’s Only Love.” The result drops the album to just under 30 minutes in total.

There is a debate that continues over whether the Capitol changes actually improve the album. One side of the argument is that it does. The replacement of the pumping piano kickoff of “Drive My Car” on the UK version with the acoustic guitar-driven immediacy of “I’ve Just Seen a Face” is a vote for a more balanced release. The counter-argument is that it varies too much from the UK release in favor of an album that seems to clumsily try to pander to the US market. For me, the differences are more of an interesting curiosity. My first exposure to Rubber Soul was with the 1987 CD releases, so my experience is a stereo UK version for all intents and purposes.
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After I stumbled across the lone sleeveless copy of Rubber Soul in my basement and realized what it was, I thought that it would be nice to find a cover for it. It was a gift, and it was in pretty good shape for a 44-year old record– some slight scuffing, but otherwise the vinyl had a really nice black luster to it. On play, it has some slight crackle, but the recording itself is loud enough to hide it.

It was as if the universe wanted this record to have a new jacket. The first search I made for a Capitol Rubber Soul jacket turned up ONE eBay auction from a seller in Arizona whose ID was “scampy”– it was for a mono, too! It was a Buy-it-Now for $39.95 plus $4 shipping. It was kind of expensive, but if the condition was good, then it would be worth it because the record plus the jacket would have a greater value than either alone. The seller and I exchanged a couple of messages and he pointed out that mono sleeves were rare and that this sleeve was in very good shape. I was sold, but I also wanted a period-correct inner paper sleeve.  On a whim, I asked him if he had a correct inner sleeve. He responded that he thought he did. He quickly responded that he had one!

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“I found the correct one, it lists albums up through the #2355. It is in real nice shape except a small split at the bottom that is hardly noticeable, it also has the pitch to upgrade your old albums to the new stereo discs that was only put on the mono ones. I will include it at no charge.”

Wow! That was a lucky coincidence! He quickly shipped the package to me and I had it in my hands within the week– it was in amazing shape with very little ringwear. I was able to assemble the record, sleeve and jacket to a set that I was very happy with!
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It is noted in the Wiki article on Rubber Soul, that the sleeve colors in the US were a variation on the UK sleeves due to some color saturation differences, resulting in the title logo being more of a brown or gold than the UK orange logo. I like the color of the sleeve I got a lot– maybe more than an orange one.

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According to the Spitzer book on the Beatles on Capitol, the “5” in the lower right indicates that the record sleeve was printed by Modern Album in Terre Haute, IN.

Overall, this was a very satisfying project for me. Maybe the word “restoration” overstates the effort, but that is what is really is, I think. I have a small vinyl Beatles collection that was started for me by my aunts back in the early 80’s– on purple Capitol label but didn’t include Rubber Soul, so this sits proudly next to those releases, but a mono Yesterday… and Today I picked up on Black Friday last year.

B-Sides in the Bins #52 – Half-Price Books Cedar Rapids 1/22/11

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I was out running a bunch of errands today and ended up at Half-Price Books. When I arrived I didn’t find anything in the used vinyl bins that I absolutely needed– they had a couple of new Donna’s LP’s which was interesting, but I’m not familiar with their music enough for me to jump in. I was just about out the door when Claire– the girl who is the most knowledgeable about the vinyl– happened to be bringing a pile of newly-priced records to the bins to put away. Thankfully I stayed! I found the King Crimson LP from the pile she brought over and the Queen LP– she brought some other interesting pieces, but most of them were in pretty ratty condition– the first Doors record (stereo), a 13, The Who’s Tommy on Decca, Katy Lied by Steely Dan. She said that she had a Dark Side of the Moon behind the counter she was going to put out and asked if I wanted to see it. I don’t really need another Dark Side, but I know enough people who need one that I always look.

I didn’t end up picking up the Dark Side of the Moon, but I ended up picking up some other really great pieces!

Pink Floyd – Atom Heart Mother (LP, Harvest/Capitol SKAO 382, 1970) ($7.00) According to the matrix information this is a second issue done in Jacksonville, IL. The vinyl is in really great shape, but the cover got wet– hence the cheaper price. This is an album that I’ve never listened to– I tend to favor Wish You Were Here, Animals and Dark Side of the Moon. The “Atom Heart Mother” Suite which takes up side one is listenable, but still emblematic of the psych snobbery that I was glad they moved away from. I really like side 2 though. “Fat Old Sun” is a great song. I may keep an eye out for a new cover for this one since the vinyl is so clean.

New York Dolls (LP, Mercury SRM.1.675, 1973)($10.00) The landmark first album from New York Dolls– produced by then-guitarist for The Nazz Todd Rundgren! After watching the documentary about the reunion of the New York Dolls in 2006 called New York Doll, I had a new interest in this seminal proto-punk/glam band. The vinyl is in really great shape although it has a slight warp. The cover is clean, but has a spit at the bottom. The inner sleeve is intact and features a pencil sketch of a girl bent at the waist in a skirt with her behind pointing at the viewer. The album is great! I’m really happy to have this in my collection. A note: Ryan Adams quotes the opening of “Looking For A Kiss” on “Beautiful Sorta”: “When I say L-U-V, you best believe me L-U-V.” Apparently the New York Dolls are quoting The Shangri-La’s, but I’m sure Adams is quoting the Dolls.

King Crimson – Red (LP, Atlantic SD 18110, 1974)($2.98) This is my absolutely favorite King Crimson album. My foray into King Crimson started with the 1980’s releases Beat, Three of a Perfect Pair and Discipline that featured Adrian Belew on guitars and vocals based on a co-worker’s advice. I started digging into the catalog of King Crimson, and the next albums would be Lark’s Tongues in Aspic, Starless and Bible Black, and Red. Red is the final release from the King Crimson lineup that would include Bill Bruford (from Yes) and John Wetton (from Asia). According to the Wiki article on the album, Red was released after the band was disbanded by leader Robert Fripp. The album ends up being a compilation of the band’s studio work as well as their live improvisational abilities. The title track and “One More Red Nightmare” are both really heavy tracks especially for 1973-1974 and are cited as influential by many musicians (surprisingly including Kurt Cobain). The track “Providence” is an edit of an extended live improvisation. The copy at HPB had a water-damaged cover that was separating, but the vinyl was in really good condition, so I picked it up. I think it sounds very good.

Queen – A Night At The Opera (LP, Elektra 7E-1053, 1975)($5.00) When the HPB lady put this out, I knew I had to buy this as it is an album that is very influential in my wife Sherry’s life. Rock music was not allowed at her strict Baptist household, so she would get her dose of Rock music from her best friend when she visited. Queen was the first rock music she was exposed to and continues to be a favorite of hers to this day. I was familiar with a few of the songs on Opera, but had never listened to the whole thing before. It’s a classic for good reason– a really balanced album with writing done by the whole band. My second vinyl LP from Queen and a good start to a collection.

Jefferson Airplane – Surrealistic Pillow (LP, RCA AYL1-3738, 1967)($5.00) This is a “Best Buy Series” budget release of the album done sometime in the early 1980’s. The Best Buy Series are generally derided by most collectors and in almost every case RCA chose to make dramatic changes to the packaging and in some cases the track listings to achieve this budget line. In the case of this particular release, there is an ugly “Best Buy Series” logo on the cover art, but it is the normal track listing. Surrealistic Pillow was the Airplane’s second album, but their best known as it has three of their biggest hits on it: “Somebody To Love,” “White Rabbit,” and “Today.” Growing up, we had a cassette of The Worst of Jefferson Airplane the 1971 compilation that had four tracks from Surrealistic Pillow, so I was very familiar with this album as I listened to that a lot. Dave Donovan, who taught Spanish at my high school let me borrow his LP of Surrealistic Pillow as well as his copy of The Beatles White Album, which I thought was pretty cool at the time. There is a lot of debate about the various pressings of Surrealistic Pillow online, but from what I can tell almost every stereo pressing is considered to be thin-sounding, and I would judge this particular pressing the same. Interestingly, the matrix information on my pressing has “AYL1 3738 A 29” stamped on side A, and “AFL1 -3766B-2” scratched out and “AYL1 3738B” hand written on side 2. AFL1 3766 is the late 70’s (maybe 1978?) reissue catalog number. This correction on side 2 would indicate that the plates for this pressing were probably cut from the master tapes used for the late 70’s pressing. It doesn’t make it particularly notable, but provides an interesting view into how labels deal with cutting plates.

All-in-all a really good trip to Half Price Books! Since I spent over $25, they gave me an HPB calendar with the 5% coupons, and they used the first coupon on this order so I actually paid less than the prices listed above. On my way home I called my friend Andrew and told him about the Dark Side of the Moon I saw. He called and had them hold it– it was $7!

(Upcoming Release) Dawes + Deer Tick + Delta Spirit = Middle Brother – Debuting 3/1/2011 (videos)

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McCauley, Goldsmith and Vasquez as Middle Brother

I started hearing about a supergroup of Taylor Goldsmith of Dawes, John McCauley III of Deer Tick and Matt Vasquez of Delta Spirit when they performed at “MG+V” at SXSW this year in March. Both Dawes and Delta Spirit played Daytrotter Barnstormer tours (Dawes in October 2009 and July 4th 2010; Delta Spirit in April/May 2010). The guys hit a studio in Nashville last fall to lay down the tracks with Griffin Goldsmith (brother of Taylor, also of Dawes) on drums. The results of those sessions are going to be released in March 2011 under the moniker “Middle Brother” on Partisan Records.

In an interview with Mary Lucia on the Current in Minneapolis, Taylor said that the sophomore release from Dawes is already recorded and ready for release May of 2011. The delay of the release is so that they can release the album for Middle Brother ahead of it. All three bands (Dawes, Deer Tick and Delta Spirit) will go on tour in support of the Middle Brother release and everyone is going to play in each other’s sets. This sounds like one of those tours that people will talk about for years, frankly.

The pre-order for the album is up already and has CD ($12),  vinyl ($15) and a limited-to-500 vinyl + 10″ bundle with tracks recorded at the sessions that didn’t make it to the album proper ($25). The vinyl releases also have mp3 and lossless downloads available with them.

Click Here to pre-order Middle Brother.

Tracklisting for Middle Brother

1. Daydreaming
2. Blue Eyes
3. Thanks For Nothing
4. Middle Brother
5. Theater
6. Portland
7. Wilderness
8. Me Me Me
9. Someday
10. Blood and Guts
11. Mom and Dad
12. Million Dollar Bill

IFC filmed their set at SXSW in March. Here is their performance of “Daydreaming” the first track on the album.

Here is a performance of “Someday” with Matt on vocals:

Here is a performance of the stomping rocker “Me Me Me”

McCauley, Vasquez & Goldsmith Perform at Ale House SXSW
Uploaded by brooklynvegan. – Music videos, artist interviews, concerts and more.

Here is one with Taylor on vocals called “Thanks for Nothing”

Thanks to the always-awesome Brooklyn Vegan for the links to these songs.

Hiss Golden Messenger Transforms Country Hai Tracks on Vinyl as “Root Work”

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When I heard that the next Hiss Golden Messenger release was going to be made available on vinyl I was pretty excited to hear it. I was a little disappointed that it wasn’t going to be new HGM songs but an EP to be titled Root Work based on a live radio session in August recorded by Irene Trudel on WFMU. I’d had the tracks that would make up Country Hai East Cotton since 2007 and the album proper came out last year. I was getting pretty hungry for some new material from MC and company!

In appreciation for the general love that playbsides.com gives Hiss Golden Messenger, MC Taylor sent me the mp3’s of Root Work to peruse in April.  “At first, I wasn’t sure about commercially releasing this material as it appears on Country Hai,” he said in a later e-mail, ” but it sounds so good– through no fault of mine, really– that I thought it would make a really nice  limited-edition vinyl release. That particular lineup of the band was special, in that we only played together three times (this  recording was the second time), and it all came together.”

The lineup for Root Work is Slim Diamond (MC Taylor) on vocals and guitar, on bass and lapsteel is regular HGM member Scott Hirsch, Yair Evnine on guitar, Terry Lonergan on percussion, Robert Stillman on piano and Fender Rhodes, and Crowmeat Bob on horns.

The resulting six-track recording is less a re-hashing of Country Hai East Cotton than it is a re-imagining of the source. I think this is partially a product of the chemistry of the musicians as well as MC and Scott benefiting from a perspective two years after the original album was recorded. The fresh perspective seems to allow the band to exercise some light improvisation.

“John Has Gone to the Light” goes from an almost five-minute track to an almost nine minute song. The band spends more time riding the loping dub beat before succumbing to the double reggae-time chorus.

“Lion/Lamb” actually gets edited from the epic Traffic-ish “Lion” on Country Hai down to a just over three-minute stripped down folky strumming guitar and mandolin.

“Resurrection Blues” was a cursing post-death two-beat march on Country Hai. On Root Work it becomes a bluesy sax-driven gospel swagger. The call-and-response makes me think that the Blind Boys of Alabama should cover this version!

“O Nathaniel” is stripped and slowed down to reveal the rich palate of the vocal melody at the sacrifice of the more pronounced double-time Fleetwood Mac glissando payoff at the chorus on. But, on the Root Work version of this song we get a really great guitar solo as the song wraps up that would make Lindsey Buckingham take a second notice.

“Isobel” doesn’t vary much from the original version, but it is clear that MC is comfortable hanging on notes in his vocal making the whole song a more relaxed and bluesy experience. The new mix of instruments and in particular the piano riffing is a welcome development to the song.

“From a Lincoln Continental (Boogie Interpolated)” I thought this Tim Rose cover from Country Hai ended up sounding a bit like a “Digging In The Dirt”- period Peter Gabriel due to the clockwork approach to the instrumentation. On Root Work “Boogie” gets a welcome extended swampy blues workout. The song ends up sounding a lot more like the original Tim Rose version this way.

I caught up with MC last week and the pre-sale is up on the Heaven & Earth Magic Company website. Heaven & Earth Magic Company is the record label MC and Scott Hirsch started for their projects. Their first release was Country Hai East Cotton. The vinyl release of Root Work is a frighteningly limited one-hundred records– each numbered with covers designed by Brendan Greaves and hand screened by MC! The record is $15 (around $20 shipped) and comes with a digital download from bandcamp so you can get 320Kbps mp3’s or FLACs (or just about anything else actually). This is a steal, frankly. If you’re not into the vinyl thing, you can just order the download for a very reasonable $6 or you can pick individual tracks for $1 apiece.

The debate over the versions of the songs between Country Hai East Cotton and Root Work is akin to debating the merits of red versus white wine. Either is appropriate depending on when you’re drinking. I’m looking forward to drinking in the subtle tannins and liquorice notes of the vinyl pressing of Root Work.

Click Here to listen to tracks from Hiss Golden Messenger’s Root Work and to order digital download or vinyl pressing with digital download.

Free Download: For The Budos Band The Third Time is a (Snake) Charm

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Last week the mighty instrumental afro-funk band The Budos Band— which bills itself as the “Staten Island’s Undesputed Champions of Afro-Soul” announced the release and details of their new album The Budos Band III. To be released on August 10th on the formidable Daptone Records label the record is the band’s first release since 2009’s The Budos Band EP and the first full length since 2007’s The Budos Band II.

Coincidentally,  I was in Boston this week for work and managed to sneak in a run to Newbury Comics. I was hoping to pick up the new Suckers vinyl, but it has been delayed. Instead I ended up picking up a couple of records I’ve had on my Amazon Wish List for a while– The Budos Band and The Budos Band EP. I still need The Budos Band II. I’ve been a fan of The Budos Band since I did a review of the Scion Daptone Records compilation.

The Budos Band is a band with a distinctive sound– influenced by African– specifically Ethiopian– music coupled with organ and guitars lead melodically by a muscular horn section. The Budos Band shares guitarist Brenneck with the other signature Daptone house band– The Dap-Kings. Other Dap-Kings Neal Sugarman and Binky Griptite were on-board for the first Budos Band album.  It’s clear that the cross-pollination has helped establish them.

The first Budos Band Record featured a volcano in full eruption with the lava coming right for the viewer presumably representing “The Volcano Song.” The second Budos Band featured a scorpion ready to sting, representing the “Scorpion” album track. Continuing the “dangerous” cover art of the Budos Band records, III has a cobra on the cover– likely representing the “Black Venom” track– but I think may also be a sly reference to the expression “The Third Time is a Charm” where the charm would be for that cobra.

“Heading into the studio for Budos III, I really thought we were going to make the first psychedelic, doom-rock record ever recorded at Daptone,” said front man and baritone saxophonist Jared Tankel, “but somehow it ended up sounding like a Budos record.” I’ve had the opportunity to listen to the album and the familiar formula of the Budos Band is continued but I do get the sense of some underlying darkness.

I like the whole album– the songs on III fit comfortably next to the rest of their catalog in my opinion. Early standout tracks for me are “Unbroken, Unshaven” (this has to be a reference to the fact that the band used to be called Los Barbudos or “The Bearded Ones”) with its clean strumming leading the song, “Nature’s Wrath” has a great loping circular beat but has the BEST FLUTE SOLO this side of Ray Thomas’ solos in The Moody Blues! In my mind, Mother Nature is PISSED about the BP oil leak and this song is the warning before she tears us a new one! One nice bonus to this album is “Reppirt Yad” which wraps the album up. For Record Store Day this year, Daptone put out a split 7″ of Sharon Jones and the Dap-Kings and The Budos Band. The Budos Band track was an interpretation of The Beatles “Day Tripper.” They seem to have disguised the song with a backwards title for III.

To get a free download of “Unbroken, Unshaven” click on this link to sign up for a Daptone Records e-mail list (that they admit you can unsubscribe from). I’ve been on the Daptone e-mail list for a couple of years now and they aren’t abusive and it’s a good way to stay on top of news from this fantastic label.

The band is off on an extensive tour in support of III and hopefully they bring their snake charming show to a venue near you!

The Budos Band III Tracklisting:

  1. Rite of the Ancients
  2. Black Venom
  3. River Serpentine
  4. Unbroken, Unshaven
  5. Nature’s Wrath
  6. Golden Dunes
  7. Budos Dirge
  8. Raja Haje
  9. Crimson Skies
  10. Mark of the Unnamed
  11. Reppirt Yad

Tour Dates :
Sat June 5 Montclair, NJ Wellmont Theatre (w. Les Claypool)
Fri June 11 New York, NY Rocks Off Concert Cruise
Sat June 26 Vancouver, VC Vancouver Jazz Festival @ Commodore Ballroom
Sun June 27 Calgary, AB Calgary Jazz Festival @ The Whiskey
Tue June 29 Saskatoon, SK Saskatchewan Jazz Festival @ Lydia’s Pub
Wed June 30 Winnipeg, MAN Jazz Winnipeg Festival @ Pyramid Cabaret
Sat July 10 Chicago, IL Chicago Folk & Roots Festival @ Welles Park
Sun July 11 Bloomington, IN Bluebird
Mon July 12 Chicago, IL Millennium Park
Tue July 13 Ann Arbor, MI Blind Pig
Thu July 15 Quebec City, QC Quebec City International Summer Festival
Fri July 16 Ottawa, ON Cisco Ottawa Bluesfest
Sat July 17 Toronto, ON Lee’s Palace
Wed July 21 Philadelphia, PA Johnny Brenda’s
Thu July 22 Harrisburg, PA The Abbey Bar at ABC
Fri July 23 Floyd, VA Floydfest
Sat July 24 Washington, DC Black Cat
Sat Aug 7 Brooklyn, NY Celebrate Brooklyn! @ Prospect Park Bandshell
Thu Aug 12 Los Angeles, CA Levitt Pavilion
Fri Aug 13 Pasadena, CA Levitt Pavilion
Sat Aug 14 San Luis Obispo, CA Downtown Brew
Sun Aug 15 San Francisco, CA Outside Lands @ Golden Gate Park
Tue Aug 17 Phoenix, AZ Sail In
Thu Aug 19 Santa Fe, NM Santa Fe Brew Co
Sun Aug 22 Dallas, TX Granada
Tue Aug 24 Oklahoma City, OK Conservatory
Wed Aug 25 Kansas City, MO Record Bar
Fri Aug 27 Denver, CO Larimer Lounge
Sat Aug 28 Boulder, CO Fox Theater
Tue Aug 31 Salt Lake City, UT State Room
Wed Sept 1 Boise, ID The Grove Plaza
Thu Sept 2 Eugene, OR W.O.W. Hall
Fri Sept 3 Portland, OR Dante’s
Sat Sept 4 Seattle, WA Bumbershoot

Click Here to visit the Wikipedia page on The Budos Band.

Click Here to visit the Budos Band website.

Click Here to visit the Budos Band MySpace page.

Click Here to visit Obscure Sound page on The Budos Band which has some mp3’s.

Click Here to visit The Spinner.com Interface session with video of The Budos Band.


Tortoise Beacons Bonus Track “Ice Ice Gravy” – Why Waste Time? Import Information

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Yesterday Thrill Jockey announced that they are making the Tortoise track “Ice Ice Gravy” available for download for $1.00 from Fina– their online download service. To date, “Ice Ice Gravy” was only available in the U.S. as part of the iTunes version of Beacons of Ancestorship. Outside the U.S. it is available as a bonus track on the Japanese pressing of Beacons of Ancestorship as well as what appears to be a Japanese tour EP release in May titled Why Waste Time?

According to Dan Bitney in this interview with popmatters.com he track “Ice Ice Gravy” is a 13-minute pastiche of some improvisational work Tortoise did to get  inspiration while starting the recordings for what would become Beacons. From the interview at popmatters:

“It was more like experimenting,” he explains, “And we really didn’t get anything out of it. We were doing a lot of improv, just kind of set up a roomful of stuff. It wasn’t focused at all. We weren’t necessarily bringing in song ideas, we were just doing what I would describe as improv experiments. So we started out doing something like that and then we’d say, ‘Oh gee, what the hell are we doing? Is this going to work?’”

According to the article, some of these sessions are in “Ice Ice Gravy.” Ultimately, these sessions were scrapped in favor of the songs that would become Beacons. But, don’t dismiss “Ice Ice Gravy” as a mere toss-away track. It is an interesting view into the creative process that Tortoise works to make their albums.

While I was looking for the interview with Bitney where he talked about “Ice Ice Gravy” I stumbled upon a new Tortoise release titled Why Waste Time?! This is a Japan-only EP released on Commmons Records, which is a label started by Ryuichi Sakamoto. Judging by the little bit of English on the website it appears that Commmons has a relationship with Thrill Jockey to do the Japanese releases of their catalog.

Why Waste Time? contributes the cover art to the download of “Ice Ice Gravy” shown above and is a pretty cool release as it has three tracks not on the U.S. Beacons release (including “Ice Ice Gravy”), one of the Remixes from the recent Beacons Remixes 12″ and has some video content as well! Here is the tracklist:

1. Ruba’iyat
2. Passerine
3. Gigantes Version – Mark Ernestus
4. Ice Ice Gravy

CD Extra Video Content:

1. Charteroak Foundation (Live in Japan, 2009)
2. Seneca (Live in Japan, 2009)
3. Prepare Your Coffin (Music Video)

Updated! Thrill Jockey is carrying the CD for Why Waste Time? for $17! Click Here to order.

Click Here to listen to and purchase “Ice Ice Gravy” for $1.00.
Click Here to see the Why Waste Time? page at Commmons

Rolling Stones – Exile On Main Street Reissue Variations

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Looking through the Sunday fliers in the paper this morning I noticed that Target is going to have an exclusive CD available on Tuesday May 18th in conjunction with the widely-anticipated reissue of the Rolling Stones landmark 1972 album Exile on Main Street. In true fan-exploitative fashion there will be many versions of this release to choose from. Since I was looking into this, I thought I’d help break this down for the casual shopper.

Exile on Main Street in the new century is largely regarded as  influential in popular music as Sgt. Pepper’s or Pet Sounds. I think that the Rock/Country/Soul/Blues fusion on Exile singlehandedly created what would be known as “Americana” or “Alt.Country. According to Wikipedia, Exile quickly hit #1 on the UK Top 50 and the US Billboard charts, and charted into the Top 10 in the Hot 100 with “Tumbling Dice” and tracks like “Happy” and “Loving Cup” are regarded as standards.

I picked up a used copy of Exile on CD used many years ago. The version I have is the CBS CD pressing from the 80’s (CGK 40489) which proudly announces “2 RECORD SET ON 1 COMPACT DISC.” When the Rolling Stones Records catalog went to Virgin Records they did a remaster of Exile along with the rest of the catalog which was released in July 1994 based on Amazon’s information and came in packaging that looked like the original LP. When I heard that a reissue and remaster was forthcoming, I was interested in replacing my CBS copy. The sheer number of options is surprising, but likely caters to anyone’s needs.

Exile on Main Street (1 CD “Original Recording Remastered”) This is the one that should tide over most Rolling Stones fans. This is the original 18-track album remastered and– according to Amazon.com– is in a special jewel case which will allow it to fit in the “Remasters Box” which was missing Exile. Should be $9.99 this week.

Exile on Main Street Deluxe Edition (2 CD “Deluxe Edition, Extra Tracks, Original Recording Remastered”) This release expands the 1 CD version to include a second 10-track CD of previously-unreleased tracks that were recorded around the same time as the music on Exile. Should be $19.99 this week. Note: If you buy the Deluxe Edition from Best Buy you will get a bonus interview CD.

Exile on Main Street Super Deluxe Edition (2 CD, 1 DVD, 2LP, Hard Cover Book, Original Recording Remastered) This release expands the 2 CD Deluxe Edition to include two LP’s and a 30-minute DVD which has a documentary on Exile which includes footage from “lost” documentary Cocksucker Blues and Ladies and Gentlemen… The Rolling Stones and Stones in Exile. The Ladies and Gentlemen film was a film which “toured” movie theaters in 1974. The film was based on the Exile tour. Also included is a 50-page hardcover book. A really nice package for certain. Should be around $179.98 list price, with Amazon listing it at $139.

Exile on Main Street 2 LP (2 LP, Original Recording Remastered) This is the 2 180g vinyl LP edition of Exile on Main Street in a double-gatefold sleeve. These are the same LP’s included in the Super Deluxe Edition. Should be $34.99 or less.

Exile on Main Street Rarities Edition (1 CD Target and iTunes Exclusive) This is a Target and iTunes exclusive release. This is effectively the second CD in the Deluxe and Super Deluxe editions. Ten tracks recorded during the same time as the Exile on Main Street songs. These songs have been produced and mixed by The Glimmer Twins and Don Was especially for the Exile reissues. The Sunday Target flier says that the Rarities Edition will be available for $9.99. Target also is offering a “Limited Edition Exile on Main Street Rarities Fan Pack” which bundles the Rarities Edition with a cool teeshirt and guitar pick– all for $19.99.

The cool thing about the Target Rarities Edition is that I can pick this single disc up and buy the LP edition and I get a kind of blend of the Deluxe and Super Deluxe editions. I get the main album on LP’s and the bonus tracks on a CD.

Whichever version of Exile on Main Street you choose, it is an essential album for anyone’s collection.

Members of Tortoise, Isotope 217 & Causa Sui to Release Chicago Odense Ensemble

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AdLuna Records is a label I’ve been following for a little while due to their ties with Thrill Jockey artists. AdLuna is a boutique-ish label out of France which has a penchant for free jazz and funk (well, and one folk release). They released their first three releases in 2008. Due to the low volume of releases from the label, they are able to focus on the packaging of the releases. All three CD releases are in a unique 5.5″ x 7.75″ book style cover– printed on high-quality card stock with a matte finish. In the case of Rob Mazurek’s Abstractions on Robert D’Arbrissel (AR001CD) release, there was a 10-page full-color booklet included in the cover. In the case of Doug Scharin’s project Activities of Dust, whose sidemen included Jeff Parker (Tortoise), Bill Laswell and Bernie Worrell, in addition to the CD of their release A New Mind (AR003CDDVD), a DVD titled “Return to the Original Matrix” which was produced by Doug Scharin.

Last week AdLuna announced that their next release would be an album from Chicago Odense Ensemble. Chicago Odense Ensemble is a group made up of Rob Mazurek (Chicago Underground, Isotope 217, Exploding Star Orchestra), Jeff Parker (Tortoise, Isotope 217, Exploding Star Orchestra), Dan Bitney (Tortoise, Isotope 217), Matt Lux (Isotope 217, Exploding Star Orchestra), Brian Keigher (aka DJ Warp), Jonas Munk (Causa Sui, Manual) and Jakob Skott (Causa Sui). Evidently derives its name from the fact that Mazurek, Parker, Bitney, Lux and Keigher all call Chicago home and Causa Sui members Skott and Munk are from Odense, Denmark.

I was not aware of Causa Sui until I heard about this release so I checked them out. They are spacy-stoner rockish instrumental group. Kind of Doors-meets-Hawkwind, I suppose. I’ve been listening to it quite a bit in the last week, and the influence of Causa Sui should make for a really great release! From the press release is a quote from Jonas Munk, “The closest reference for this kind of music is probably early-1970’s proto-fusion jazz that strived for a similar synthesis of jazz improvisation, psychedelic rock, Eastern and African sounds and the use of the studio as a musical tool instead of merely a recording facility.”

The release, which doesn’t have a date yet, will come out in CD and 2 180g LP versions as well as digital download. AdLuna sent me some pictures of the proposed packaging which they are still formalizing. I also included the pretty cool teaser trailer for the release.

Stay tuned for more details as they come.

Click Here for AdLuna Records which will release Chicago Odense Ensemble this year.

Click Here for Chicago Odense Ensemble’s MySpace Page.