Donnie & Joe Emerson - (2012) Dreamin' Wild CD

  Light In The Attic ‎– 082 

Pacific Northwest isolation mixed with wide-eyed ambition, a strong sense of family and the gift of music proved to be quite the combination for teenage brothers Donnie and Joe Emerson. Originally released in 1979, Dreamin’ Wild is the sonic vision of the talented Emerson boys, recorded in a family built home studio in rural Washington State. Situated in the unlikely blink-and-you-missed-it town of Fruitland and far removed from the late 1970s punk movement and the larger disco boom, Donnie and Joe tilled their own musical soil, channeling bedroom pop jams, raw funk, and yacht rock.
Spurred on their high school’s music program, Donnie and Joe received a further push from their lifelong farmer father, who drew up a contract stating that he’d support his sons lofty ambitions with their very own recording studio as long as they focused on original material, sage advice for a man with zero experience in the music business. After taking out a second mortgage to help cover costs, Don Sr. also built his children a 300-capacity concert hall (dubbed Camp Jammin’) replete with ticket booth, stage, and fully functioning snack bar. The only problem was that the projected audience never quite materialized, despite a prime time TV profile entitled “The Rock And Roll Farmers” from nearby Spokane, Washington. Even the Emerson brother’s school pals were nonplussed at their privately pressed long player; hand distributed to local music stores, but not as far as Seattle, five hours away from their rural home. Somewhat rejected by the muted response, but never surrendering, both Donnie and Joe continued down a musical path and are still active as performers today.
This rare slice of bedroom-funk gets the usual Light In The Attic treatment with newly remastered audio, detailed liner notes, and expanded original album art with loads of photos from the Emerson’s collection. 

VA - (2014) Native North America (Vol. 1) Aboriginal Folk, Rock And Country 1966-1985 2xCD

 Light In The Attic ‎– 103

Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey.

Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony.

The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin “Sipreano” Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface.

With cooperation and guidance from the artists, producers, family members, and behind the scenes players, Native North America (Vol. 1) sheds real light on the painful struggles and deep traditions of the greater Indigenous community and the significance of its music. The songs speak of joy and spirituality, but also tell of real tragedy and strife, like that of Algonquin/Mohawk artist Willy Mitchell, whose music career was sparked by a bullet to the head from the gun of a trigger-happy police officer, or those of Inuk singer-songwriter Willie Thrasher, who was robbed of his family and traditional Inuit culture by the residential school system.

Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. Dedicated to legendary Métis singer-songwriter and poet Willie Dunn, featured on the anthology but who sadly passed away during its making, Native North America (Vol. 1) is only the beginning. A companion set featuring a crucial selection of folk, rock, and country from the United States’ Lower 48 and Mexico is currently in production.

Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985 — FULL TRACK LIST:

1. Willie Dunn – “I Pity the Country”
2. John Angaiak – “I’ll Rock You to the Rhythm of the Ocean”
3. Sugluk – “Fall Away”
4. Sikumiut – “Sikumiut”
5. Willie Thrasher – “Spirit Child”
6. Willy Mitchell – “Call of the Moose”
7. Lloyd Cheechoo – “James Bay”
8. Alexis Utatnaq – “Maqaivvigivalauqtavut”
9. Brian Davey – “Dreams of Ways”
10. Morley Loon – “N’Doheeno”
11. Peter Frank – “Little Feather”
12. Ernest Monias – “Tormented Soul”
13. Eric Landry – “Out of the Blue”
14. David Campbell – “Sky-Man and the Moon”
15. Willie Dunn – “Son of the Sun”
16. Shingoose (poetry by Duke Redbird) – “Silver River”
17. Willy Mitchell and Desert River Band – “Kill’n Your Mind”
18. Philippe McKenzie – “Mistashipu”
19. Willie Thrasher – “Old Man Carver”
20. Lloyd Cheechoo – “Winds of Change”
21. The Chieftones (Canada’s All Indian Band) – “I Shouldn’t Have Did What I Done”
22. Sugluk – “I Didn’t Know”
23. Lawrence Martin – “I Got My Music”
24. Gordon Dick – “Siwash Rock”
25. Willy Mitchell and Desert River Band – “Birchbark Letter”
26. William Tagoona – “Anaanaga”
27. Leland Bell – “Messenger”
28. Saddle Lake Drifting Cowboys – “Modern Rock”
29. Willie Thrasher – “We Got to Take You Higher”
30. Sikumiut – “Utirumavunga”
31. Sugluk – “Ajuinnarasuarsunga”
32. John Angaiak – “Hey, Hey, Hey, Brother”
33. Groupe Folklorique Montagnais – “Tshekuan Mak Tshetutamak”
34. Willie Dunn (featuring Jerry Saddleback) – “Peruvian Dream (Part 2)”

National Wake - (2013) Walk In Africa 1979-81 CD

Light In The Attic ‎– 105

The South Africa of the late 1970s was neither the right place nor time to launch a mixed-race punk band. Yet, following the student-inspired Soweto Uprising of 1976, it was also exactly the right conditions to foster a band like National Wake, one formed in an underground commune, and one whose very name exists in protest at the divisive, racist apartheid regime. Never before collected together, Light In The Attic is set to release National Wake’s full body of work as Walk In Africa 1979-81.

Featured heavily in the recent documentary Punk In Africa , National Wake played punk, reggae and tropical funk, equally at home in the city’s rock underground and the township nightclub circuit. Ivan Kadey started the band with two brothers, Gary and Punka Khoza. The three were from different worlds – while Ivan was an outsider, a Jewish orphan born in the traditional Johannesburg immigrant neighborhood, Gary, Punka and their family were forcibly moved to the troubled township of Soweto under the apartheid regime. Later joined by guitarist Steve Moni, the whole band grew up against a backdrop of township unrest, social upheaval and suburban tedium that characterized apartheid-era South Africa.

National Wake released just one album, in 1981. It sold approximately 700 copies before being withdrawn under government pressure. The band subsequently disintegrated, but their influence could be traced in the racially mixed post-punk underground centered around Rockey Street in Johannesburg throughout the 1980s, their legacy transmitted through fanzines and underground cassette trading.

Sadly, Gary and Punka Khoza both passed away in their 40s. Kadey now works as an architect in Los Angeles, but his attention eventually turned back to the band as their legacy grew in the digital era, with the emergence of specialized music websites and Punk In Africa leading to their rediscovery. Czech State Radio memorably described the band as “perhaps the most dissident music scene of the 20th century: a multi-racial punk band in a fascist police state.”

In 2011, Kadey re-released the band’s self-titled album on CD in South Africa, but spoke about having more than 20 tracks that had never seen the light of day – until now. “All of these recordings put together they speak of the whole evolution of the band,” he has said. “From a sort of naive, almost belief that we could miraculously change everything to realizing what a struggle it was, and what the country was going through and what it would go through.”

VA - (2017) Even A Tree Can Shed Tears: Japanese Folk & Rock 1969-1973

 Light In The Attic ‎– 156

There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols.

Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.

In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene.

Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

Nearly 50 years on, this “New Music” is born a new.

Track Listing
----------------
[01/19] Curry Rice (Kenji Endo) (3:02) 320 kbps 7.06 MB
[02/19] Sotto Futari De (Kazuhiko Yamahira & The Sherman) (2:52) 320 kbps 6.68 MB
[03/19] Anata Kara Toku E (Sachiko Kanenobu) (3:30) 320 kbps 8.12 MB
[04/19] Rokudenashi (Fluid) (2:52) 320 kbps 6.69 MB
[05/19] Arthur Hakase No Jinriki Hikouki (Kazuhiko Kato) (5:46) 320 kbps 13.33 MB
[06/19] Natsu Nandesu (Happy End) (3:15) 320 kbps 7.56 MB
[07/19] Man-in No Ki (Takashi Nishioka) (4:07) 320 kbps 9.56 MB
[08/19] Yoru Wo Kugurinukeru Made (Masato Minami) (3:27) 320 kbps 8.03 MB
[09/19] Konna Fu Ni Sugite Iku No Nara (Maki Awakawa) (3:57) 320 kbps 9.16 MB
[10/19] Mizu Tamari (Fumio Nunoya) (2:28) 320 kbps 5.79 MB
[11/19] Boku Wa Chotto (Haruomi Hosono) (3:56) 320 kbps 9.11 MB
[12/19] Aoi Natsu (Takuro Yoshida) (3:05) 320 kbps 7.19 MB
[13/19] Takeda No Komori Uta (Akai Tori) (3:09) 320 kbps 7.32 MB
[14/19] Marianne (Gu) (6:28) 320 kbps 14.93 MB
[15/19] Ware Ware Wa (Tetsuo Saito) (5:44) 320 kbps 13.24 MB
[16/19] Sugishi Hi Wo Mitsumete (Gypsy Blood ) (3:56) 320 kbps 9.14 MB
[17/19] Hei No Ue De (Hachimitsu Pie) (6:29) 320 kbps 14.97 MB
[18/19] Zeni No Kouryouryoku Ni Tsuite (Ryo Kagawa) (4:01) 320 kbps 9.33 MB
[19/19] Otokorashiitte Wakaru Kai (The Dylan II) (4:41) 320 kbps 10.83 MB

Total number of files: 19
Total size of files: 178.14 MB
Total playing time: 76:45

VA - (2014) Wheedle's Groove Volume II: Seattle Funk, Modern Soul And Boogie 1972-1987 CD

Light In The Attic ‎– 108 

In 2004, the first volume of Wheedle’s Groove shone a light on the formerly unheralded soul scene in 1960s and ‘70s Seattle, followed by a new album in 2008, and then an award winning feature-length documentary film. The on-going Wheedle’s Groove series continues to present a vast chapter of the city’s musical heritage that has little to do with long-haired rock dudes with guitars. No – in the world of Wheedle’s Groove, platform shoes and pimp hats were the order of the day.

But unlike Volume I, Seattle’s soul scene did not stop in 1975. A new volume, Wheedle’s Groove Vol. II, documents the period from 1972 to 1987, when funk was superseded by disco and modern soul. Heading into the ‘80s, artists in the Emerald City caught wind of the hip-hop and electro scenes that were growing in bigger cities across America, and gave the music their own distinct spin.

As the years unfurl in the tracks of Wheedle’s Groove Volume II, so does the recent history of American music, the songs tracing technological changes and social change, and music’s move from the club to disco as live bands moved aside for DJs. Witness Septimus, on the cusp of both, blending a live drummer with a Roland drum machine and cutting ‘Here I Go Again’ on a disco-friendly 12” single.

Separated from the major centers of soul music, Seattle was a scene that developed out of the gaze of the mainstream music industry, but one that moved just as fast. As John Studamire of the band Priceless remembers, “A lot of the groups around town would have to incorporate that disco sound or you’d sound totally dated.”

Seattle’s size and location had a great effect on its sound. Artists on the scene were accustomed to playing small, discreetly segregated club shows and pressing short runs of 45s for local radio stations. Touring happened mostly on a regional scale and artists popped up in a variety of different bands. Fans of Volume I will recognize some familiar names here: Robbie Hill’s Family Affair turn in the soul-jazz gem ‘Don’t Give Up’ and Cold, Bold & Together present the undeniable vocal beauty of ’Let’s Backtrack.’

Compiled and sequenced by Seattle’s DJ Supreme La Rock, this 18-track compilation will also introduce you to the long-forgotten blue-eyed soul boy Don Brown (‘Don’t Lose Your Love’) and frustrated talents Push, overlooked for record deals on account of singer “Big Joe” Erickson’s larger-than-life heft (‘You Turn Me On’). There’s Frederick Robinson III and his gospel-funk protest tune ‘Love One Another’, Tony Benton of Teleclere being Seattle’s answer to Prince (‘Steal Your Love’) and Seattle Mariners baseball star Lenny Randle recording a tribute to their infamous stadium

Track Listing
----------------
[17/18] I Don't Wanna Lose Your Love (Bernadette Bascom) (3:18) 320 kbps 7.72 MB
[14/18] Let's Backtrack (Cold/Bold) (3:20) 320 kbps 7.79 MB
[04/18] Your Love Is Fine (Lovin' Fine) (Deuce) (4:03) 320 kbps 9.44 MB
[03/18] Don't Lose Your Love (Don Brown) (3:58) 320 kbps 9.24 MB
[01/18] Get Off The Phone (Epicentre) (3:11) 320 kbps 7.47 MB
[16/18] Love One Another (Frederick Robinson III) (3:37) 320 kbps 8.47 MB
[09/18] Kingdome (Lenny Randle feat. Rashawna) (4:13) 320 kbps 9.83 MB
[10/18] Trouble In Mind (Malik Din) (2:57) 320 kbps 6.91 MB
[02/18] Love In Your Life (Priceless) (3:35) 320 kbps 8.38 MB
[08/18] Look At Me (Priceless) (4:26) 320 kbps 10.32 MB
[05/18] You Turn Me On (Portland Session Mix) (Push) (4:01) 320 kbps 9.35 MB
[18/18] Don't Give Up (Robbie Hills Family Affair) (7:15) 320 kbps 16.78 MB
[11/18] I'm Through With You (Romel Westwood) (3:53) 320 kbps 9.06 MB
[06/18] I Wonder Love (Seattle Pure Dynamite) (5:09) 320 kbps 11.96 MB
[07/18] Here I Go Again (Septimus) (5:19) 320 kbps 12.33 MB
[13/18] Darlin Oh Darlin (Steppen Stones) (3:42) 320 kbps 8.63 MB
[12/18] Steal Your Love (Teleclere) (3:42) 320 kbps 8.66 MB
[15/18] Holding On (Unfinished Business) (3:15) 320 kbps 7.62 MB

Total number of files: 18
Total size of files: 170.05 MB
Total playing time: 72:54

VA - (2004) Wheedle's Groove Seattle's Finest in Funk & Soul 1965-75

Light In The Attic ‎– 009

It’s one of those things where you kind of had to be there, to get the full effect of what Seattle was like in the late ‘60s and early ’70s. I really didn’t know what to expect, when I arrived from Buffalo, New York, in ’72, other than Seattle had a history rich in music – Jimi Hendrix, Quincy Jones, Ernestine Anderson and Ray Charles.

Back then, gas cost you twenty-seven cents a gallon to fill up your baddass ride. There was no Seahawks, no Mariners, or Microsoft or Amazon. Girls were still named Frances and Darlene, and guys were known by Freddie and Arthur. Garfield and Franklin were the leading high schools for setting Seattle’s soulful social standards. Dick’s and Dag’s were the spots for twenty-nine-cent burgers, while Helen’s Diner was (and still is) known for the best soul food on the West Coast. TJ’s and Mr. D’s were the clothing stores where most of the brothers shopped, and the CD, the Central District, was (and still is) the heart and soul of the city. The Facts and The Medium newspapers kept all abreast of what was happening in the CD, and KYAC radio tied everything together.

There was a minimum of twenty live-music clubs specializing in funk and soul, and all those joints jammed. There must have been twenty-five hard-giggin’, Superfly-like, wide-leg-polyester-pant-and-platform-shoes-wearing, wide-brim-hat-and-maxi-coat-sportin’, big-ass, highly-“sheened”-afro-stylin’, Kool & the Gang song-covering live bands playing four sets a night from 8 p.m. ‘til O-dark-thirty in the morning. And of course, the ladies were not to be outdone with their Pam Grier-Foxy Brown hoop earrings, mini-skirts and the ever popular Afro Puffs. Each night, some band, somewhere, was kickin’ it. You could find Manuel Stanton of Black and White Affair doing flips while playing bass on a Monday at the Gallery. Meanwhile, you might catch Robbie Hill, flashing like a Christmas tree in a red rhinestone-studded jumpsuit, matching red Big Apple cap and the huge hair, keeping the beat for his band Family Affair at the District Tavern. The Dave Lewis Trio, the highly stylized Overton Berry and the ultra-funky Johnny Lewis Quartet regularly played the Trojan Horse, while Cold, Bold & Together was house band at the legendary Golden Crown Up. Cookin’ Bag, with their heavy horn vibe was a major draw from Perls’ Ballroom in Bremerton to Soul Street.

The idea of Wheedle’s Groove (named after Wheedle, the worst mascot in the history of mascots ever) is quite exciting and long overdue. Each track on this compilation is an untold musical history lesson. Those of you who were around back then are likely to have a wonderful time reliving the good-old days. After all, you helped make it happen. Have fun.

Track Listing
----------------
[01/18] Bold Soul Sister, Bold Soul Brother (USDEA0400901) (Black On White Affair) (2:56) 320 kbps 6.94 MB
[02/18] Brighter Tomorrow (Soul Swingers) (2:52) 320 kbps 6.80 MB
[03/18] This Is Me (Cookin'Bag) (2:25) 320 kbps 5.74 MB
[04/18] Deep Soul Pt. 1 (Ron Buford) (2:05) 320 kbps 4.99 MB
[05/18] Hey Jude (The Overton Berry Trio) (5:35) 320 kbps 12.99 MB
[06/18] Thrift Store Find (Misterholmes & The Brotherhood) (2:40) 320 kbps 6.34 MB
[07/18] I Just Want To Be (Like Myself) (Robbie Hill's Family Affair) (3:17) 320 kbps 7.76 MB
[08/18] (Stop) Losing Your Chances (Cold'Bold&Together) (3:42) 320 kbps 8.70 MB
[09/18] Nothing In Common (Broham) (4:17) 320 kbps 10.02 MB
[10/18] Cissy Strut (The Johnny Lewis Trio) (6:35) 320 kbps 15.29 MB
[11/18] Little Love Affair (Patrinell Staten) (3:44) 320 kbps 8.75 MB
[12/18] A Bunch of Changes (Black On White Affair) (3:07) 320 kbps 7.37 MB
[13/18] Louie Louie (The Topics) (6:07) 320 kbps 14.22 MB
[14/18] Runaway Train (The Clarence Mack Express) (3:41) 320 kbps 8.65 MB
[15/18] Wheedle's Groove (Annakonda) (3:18) 320 kbps 7.76 MB
[16/18] Balek (Sharpshooters) (3:12) 320 kbps 7.54 MB
[17/18] The Song I Sing (Cookin'Bag) (2:46) 320 kbps 6.54 MB
[18/18] Somebody's Gonna Burn Ya (Cold'Bold&Together) (3:03) 320 kbps 7.19 MB

Total number of files: 18
Total size of files: 153.70 MB
Total playing time: 65:22

Zuider Zee - (2018) Zeenith CD

Light In The Attic ‎– 166 

An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity. Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery.

Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’

Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978 – “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release.

Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly.

Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn’t always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock – apart from The Allman Brothers who we all thought the world of – and as we grew into ourselves we didn’t sound anything like southern rock.”

It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week – for years.”

A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy – it’s electric and contagious and they will react to it.”

Something that still feels pertinent over 40 years since it was created.

Andrew Liles - (2015) Cover Girls CD

 Dirter Promotions ‎– 111 

This CD is a women only recording and has the following wonderful, unique, charming and beautiful women contributing their voices: Elisabeth Oswell, Katie Oswell, Gena Netherwood, Baby Dee, Jess Roberts, Cosey Fanni Tutti, Melon Liles, Lavinia Blackwall, Alex Jako, Miranda Kinkelaar and Bobbie Watson.

This album of cover versions includes songs originally by David Essex, Scraping Foetus off the Wheel, The Buggles, UFO, Einstürzende Neubauten and many more. 

Clay Christiansen - (1993) The Pipe Organ Of The Mormon Tabernacle Salt Lake City CS

 Klavier Records ‎– 7044 

Oops.

Posted this on wrong blog but too lazy to re-post over there.

No / not telling where the other one is either.

It's Private.

Big Techno Werewolves & Hans Grusel's Krankenkabinet - (2002) Feel It CD

 ToYo Records ‎– 016 

Big Techno Werewolves is a former band of Sic Alps' Mike Donovan and The Oh Sees' Petey Dammit. They play noisy garage rock, could be compared to the early Red Krayola.

Hans Grusel's Krankenkabinett is one of the noise projects of former Caroliner Rainbows member Thomas Day (also of Grux?). I think Liz Albee is in it too but I don't know that exactly.

Graham Bowers & Nurse With Wound - (2011) Rupture CD

United Dirter ‎– 093 

This CD is the first collaboration of Steven Stapleton's Nurse With Wound and composer/sculptor Graham Bowers. It is, without doubt, one of the best things we have ever released. It's an extremely unnerving, but also hauntingly moving listening experience.The work is an attempt to create a musical illustration of the "goings-on" in the brain during the last hour and three minutes of a life after suffering a major stroke. It is multi-layered and is primarily concerned with the internal chaos caused by the loss of control of thought processes, responses and consequential actions, with all types of incoherent disjointed memories and present real time events - as well as moments of lucidity, panic and fear - clashing, merging and evolving.It's essentially one long piece, but is presented in three parts:
1/ "...a life as it now is 2/...is not what it was 3/...and will never be again". It arrives packaged in a beautiful 6 panel gloss laminated digipac, featuring artwork from both Babs Santini and Graham Bowers. The edition is limited to just 1000 copies in this format.

Nurse with Wound & Graham Bowers - (2014) Excitotoxicity CD

Red Wharf ‎– 011 

Nurse With Wound - (2017) The Swinging Reflective II 2xCD

 Dirter Promotions ‎– 134 

This double CD is the follow up to 1999’s The Swinging Reflective album. It features an array of Steven Stapleton’s favourite releases that are either his remixes of other artists, collaborations or have been co-written with individuals who have worked extensively with NWW. All tracks are remastered and some have been slightly or comprehensively remixed.

Disc 1 (01:05:32)
1. Colin Potter – Rock N' Roll Station (05:45)
2. Faust – Disconnected (13:12)
3. Freida Abtan – Electric Smudge (04:09)
4. Graham Bowers – The Squarewarp Paradox (07:21)
5. David Kenny – Easy Listening Nightmares (09:19)
6. Band of Pain – Gloakid With Phendrabites (09:18)
7. Andrew Liles – Cruisin' For A Bruisin (07:05)
8. Christoph Heemann – Painting With Priests (09:23)

Disc 2 (01:02:40)
1. Aranos – Tidal Whirlpool (13:57)
2. Sunn O))) – Ash On The Trees (Slices Of Midnight) (17:15)
3. Lynn Jackson – Livin' With The Night (02:04)
4. Sand – May Rain (Chromanation) (08:34)
5. Larson & Fritz Müller – Rock Baby Rock (05:04)
6. Blind Cave Salamander – Cabbalism III (15:46)

Total length: 02:08:12

Russell Hoke - (2016) A Voice From the Lonesome Playground 2xCS

Round Bale Recordings ‎– 005 

It was in the summer of 2011 that I first stumbled across a small stash of Russell Hoke albums while combing through the tastefully stocked bins of Chicago’s Dusty Groove Records, which I later learned was one of the very few places in the world to actually carry these. Tucked in their small “Folk & Country” section sat these intriguing looking hand-assembled, hand-scrawled record jackets with titles like Haunted Brain and If I Had Been the Universe that looked positively out of place amongst the more recognizable selections within that traditional-mind- ed genre. With no knowledge of what any of these would sound like, but lured by the cheap sticker price and curious song titles, I ended up purchasing a copy of Hoke’s He Would Have Been A Fine Young Man.

When I arrived back home and put the needle to the record for the first time, I was downright mesmerized by what I heard. The album was a haunting work of psych- tinged, outsider folk that sounded like a lost late-sixties/early-seventies artifact, adding a bit of mystery and confusion to the 2011 copyright date on the jacket. This, of course, immediately sent me on the hunt for any and all of the other Hoke recordings I could get my hands on and to seek out any further information I could about this elusive artist. There was, however, scant information to be found online about Hoke at the time (and to this day, in fact), with the exception of maybe a couple of mentions of his 2009 released double album, The Magic of My Youth. Fortunately, based on a slight hunch and a blind email inquiry, I was put in touch with Hoke directly, a connection that has provided me with years’ worth of enduring songs, poetry, and camaraderie, and which brings us to the present day and this collection in hand.

The bulk of the recordings featured on this anthology date back to the 1980’s and have been circulated amongst Hoke’s friends and supporters in various minuscule editions and under various titles for decades, from the “pizza box” cassette edition of Splashing Onto You, My Children in the late 80’s up through the more recent spat of limited vinyl editions on Hoke’s private label, Unheard-of Records. This anthology draws from the entirety of his archives and these later private press editions, including three previously unreleased tracks, to circulate a collection anew for the next generation of listeners and future fans of this under-appreciated, Texas-based songwriter and poet. With 38 songs spread out over two cassettes and a 16-page booklet of lyrics, A Voice From the Lonesome Playground presents a broad overview of Hoke’s work, providing what I consider more than ample evidence of his much-deserved place in that great conversation of notable left-of-center songwriters and wordsmiths, from Dylan to Johnston to Hazlewood to Hurley. Get in on the action, friends: the Cosmic Outlaw is back!

Ahmad Zahir - (2012) Volume 3 The King of 70's Afghan Pop 2xLP

 Pharaway Sounds ‎– 004 

Double LP of amazing Afghan pop obscurities, deluxe packaging* Pharaway Sounds' last instalment of Ahmad Zahir classics presents twelve psychedelic, romantic ballads by "Kabul's answer to Neil Diamond." Against a backdrop of wah-wah guitar, spaghetti western brass, discoid synths, swaying organ and tabla rendered with FX every bit as epic as the Hindu Kush, Zahir emotes for his country against adverse political conditions. As the son of prime minister Abdul Zahir, Ahmad was exposed to a more cosmopolitan lifestyle and would eventually surpass his father's fame, penning provocative lyrics which spread political themes as far as Iran, which was concurrently becoming as conservative as Afghanistan, eventually leading to parallel fundamentalist revolutions and resulting in his shadowy death at the age of 33. These tunes are testament to a time when that region was relatively as progressive as the rest of the world, a far more modern place than it is today. 

Alireza Ghorbani - (2014) Eperdument... Chants D'Amour Persans CD

Accords Croisés ‎– 160 

With this new album "Eperdument... / Lost in love", Alireza Ghorbani draws on the roots of Persian classical music while renewing the genre.
Texts of great classical Persian poets like Rumi and contemporary authors (Mohamed Reza Shafie Kadkani, Fereydun Moshiri) set to music with original compositions by Saman Samimi.

Pete Seeger - (2000) American Folk, Game & Activity Songs For Children CD

 Smithsonian Folkways ‎– 45056

This hour-long CD combines the entirety of two children's-oriented Seeger LPs, 1953's American Folk Songs for Children and 1962's American Game and Activity Songs for Children, onto one disc. The eleven songs on American Folk Songs for Children were specifically selected from an identically titled book anthology of folk songs for children collected by Seeger's stepmother, Ruth Crawford Seeger. Pete Seeger renders them plainly and simply, singing and playing and banjo, on a program designed especially (but not solely) for children between three and seven years of age. "Jim Crack Corn," "Frog Went A-Courting," and "She'll Be Coming 'Round the Mountain" are some of the better-known tunes on the record, but not all of them are as overly familiar. American Game and Activity Songs for Children focuses especially on songs associated with activities and dancing, sometimes sung a cappella, sometimes sung with accompaniment from Seeger's banjo. "Skip to My Lou," "Ring Around the Rosy," "Here We Go Round the Mulberry Bush," and "Yankee Doodle" are some of the more well-known songs here -- at this point, they're probably more over-familiar than they were when the album was first released -- but there are less overdone ones here too, including the spiritual "Liza Jane."

Harry Smith - (1997) Anthology of American Folk Music 8xCD

 Smithsonian Folkways ‎– 40090 

Originally released in 1952 as a quasi-legal set of three double LPs and reissued several times since (with varying cover art), Anthology of American Folk Music could well be the most influential document of the '50s folk revival. Many of the recordings that appeared on it had languished in obscurity for 20 years, and it proved a revelation to a new group of folkies, from Pete Seeger to John Fahey to Bob Dylan. The man that made the Anthology possible was Harry Smith, a notoriously eccentric musicologist who compiled 84 of his favorite hillbilly, gospel, blues, and Cajun performances from the late '20s and early '30s, dividing each into one of three categories: Ballads, Social Music, and Songs. Smith sequenced the three volumes with a great amount of care, placing songs on the Ballads volume in historical order (not to be confused with chronological order) so as to create an LP that traces the folk tradition, beginning with some of the earliest Childe ballads of the British Isles and ending with several story songs of the early 20th century. The cast of artists includes pioneers in several fields, from the Carter Family and Uncle Dave Macon to Blind Lemon Jefferson, Mississippi John Hurt, and the Alabama Sacred Harp Singers. Many of the most interesting selections on the Anthology, however, are taken from artists even more obscure, such as Clarence Ashley, Bascom Lamar Lunsford, and Buell Kazee. After the Anthology had been out of print for more than a decade, Smithsonian/Folkways reissued the set in a six-disc boxed set, with the original notes of Harry Smith, as well as a separate book of new reminiscences by artists influenced by the original and a wealth of material for use in CD-ROM drives.

Disc: 1
1. Henry Lee - Dick Justice
2. Fatal Flower Garden - Nelston's Hawaiians
3. House Carpenter - Clarence Ashley
4. Drunkard's Special - Coley Jones
5. Old Lady And The Devil - Bill & Belle Reed
6. The Butcher's Boy - Buell Kazee
7. The Wagoner's Lad - Buell Kazee
8. King Kong Kitchie Kitchie Ki-Me-O - Chubby Parker
9. Old Shoes And Leggins - Uncle Eck Dunford
10. Willie Moore - Richard Burnett And Leonard Rutherford
11. A Lazy Farmer Boy - Buster Carter And Preston Young
12. Peg And Awl - Carolina Tar Heels
13. Ommie Wise - G.B. Grayson
14. My Name Is John Johanna - Kelly Harrell
Disc: 2
1. Bandit Cole Younger - Edward L. Crain
2. Charles Giteau - Kelly Harrel
3. John Hardy Was A Desperate Little Man - Carter Family
4. Gonna Die With My Hammer In My Hand - Williamson Brothers And Curry
5. Stackalee - Frank Hutchison
6. White House Blues - Charlie Poole And The North Carolina Ramblers
7. Frankie - Mississippi John Hurt
8. When That Great Ship Went Down - William And Versey Smith
9. Engine 143 - Carter Family
10. Kassie Jones - Furry Lewis
11. Down On Penny's Farm - Bently Boys
12. Mississippi Boweavil Blues - Masked Marvel
13. Got The Farm Land Blues - Carolina Tar Heels
Disc: 3
1. Sail Away Lady - Uncle Bunt Stephens
2. The Wild Wagoner - Jilson Setters
3. Wake Up Jacob - Prince Albert Hunt's Texas Ramblers
4. La Danseuse - Delma Lachney And Blind Uncle Gaspard
5. Georgia Stomp - Andrew And Jim Baxter
6. Brilliancy Medley - Eck Robertson
7. Indian War Whoop - Hoyt Ming & His Pep-Steppers
8. Old Country Stomp - Henry Thomas
9. Old Dog Blue - Jim Jackson
10. Saut Crapaud - Columbus Fruge
11. Acadian One-Step - Joseph Falcon
12. Home Sweet Home - Breaux Freres
13. Newport Blues - Cincinnati Jug Band
14. Moonshiner's Dance (Part One) - Frank Cloutier And The Victoria Cafe Orchestra
Disc: 4
1. You Must Be Born Again - Rev. J.M. Gates
2. Oh Death Where Is Thy Sting - Rev. J.M. Gates
3. Rocky Road - Alabama Sacred Harp Singers
4. Present Joys - Alabama Sacred Harp Singers
5. This Song Of Love - Middle Georgia Singing Conv. No. 1
6. Judgement - Sister Mary Nelson
7. He Got Better Things For You - Memphis Sanctified Singers
8. Since I Laid My Burden Down - Elders McIntorsh & Edwards' Sanctified Singers
9. John The Baptist - Rev. Moses Mason
10. Dry Bones - Bascom Lamar Lunsford
11. John The Revelator - Blind Willie Johnson
12. Little Moses - Carter Family
13. Shine On Me - Ernest Phipps & Holiness Singers
14. Fifty Miles Of Elbow Room - Rev. F.W. McGee
15. In The Battlefield For My Lord - Rev. D.C. Rice And Congregation
Disc: 5
1. The Coo Coo Bird - Clarence Ashley
2. East Virginia - Buell Kazee
3. Minglewood Blues - Cannon's Jug Stompers
4. I Woke Up One Morning In May - Didier Hebert
5. James Alley Blues - Richard 'Rabbit' Brown
6. Sugar Baby - Dock Boggs
7. I Wish I Was A Mole In The Ground - Bascom Lamar Lunsford
8. Mountaineer's Courtship - Ernest And Hattie Stoneman
9. The Spanish Merchant's Daughter - Stoneman Family
10. Bob Lee Junior Blues - Memphis Jug Band
11. Single Girl, Married Girl - Carter Family
12. Le Vieux Soulard Et Sa Femme - Cleoma Breaux & Joseph Falcon
13. Rabbit Foot Blues - Blind Lemon Jefferson
14. Expressman Blues - Sleepy John Estes & Yank Rachell
Disc: 6
1. Poor Boy Blues - Ramblin' Thomas
2. Feather Bed - Cannon's Jug Stompers
3. Country Blues - Dock Boggs
4. 99 Year Blues - Julius Daniels
5. Prison Cell Blues - Blind Lemon Jefferson
6. See That My Grave Is Kept Clean - Blind Lemon Jefferson
7. C'est Si Triste Sans Lui - Cleoma And Ophy Breaux And Joseph Falcon
8. Way Down The Old Plank Road - Uncle Dave Macon
9. Buddy Won't You Roll Down The Line - Uncle Dave Macon
10. Spike Driver Blues - Mississippi John Hurt
11. K.C. Moan - Memphis Jug Band
12. Train On The Island - J.P. Nestor
13. The Lone Star Trail - Ken Maynard
14. Fishing Blues - Henry Thomas

Disc: 7
1. Memphis Shakedown - Memphis Jug Band
2. Dog And Gun (An Old English Ballad) - Bradley Kincaid
3. Black Jack David - The Carter Family
4. Down On The Banks Of The Ohio - Blue Sky Boys
5. Adieu False Heart - Arthur Smith Trio
6. John Henry Was A Little Boy - J.E. Mainer's Mountaineers
7. Nine Pound Hammer Is Too Heavy - Monroe Brothers
8. Southern Casey Jones - Jesse James
9. Cold Iron Bed - Jack Kelly And His South Memphis Jug Band
10. Packin' Trunk - Lead Belly
11. Baby Please Don't Go - Joe Williams' Washboard Blues Singers
12. Last Fair Deal Gone Down - Robert Johnson
13. Parchman Farm Blues - Bukka White
14. Mean Old World - Heavenly Gospel Singers
Disc: 8
1. Hello Stranger - The Carter Family
2. Stand By Me - Sister Clara Hudmon
3. West Virginia Gals - Al Hopkins and His Buckle Busters
4. How Can A Poor Man Stand Such Times And Live? - Blind Alfred Reed
5. Wreck Of The Tennessee Gravy Train - Uncle Dave Macon
6. Governor Al Smith - Uncle Dave Macon
7. Milk Cow Blues - John Estes
8. No Depression In Heaven - The Carter Family
9. I'll Be Rested (When The Roll Is Called) - Roosevelt Graves And Brother
10. He's In The Ring (Doing The Same Old Thing) - Memphis Minnie
11. The Cockeyed World - Minnie Wallace
12. Barbecue Bust - Mississippi Jook Band
13. Dans Le Grand Bois (In The Forest) - Hackberry Ramblers
14. Aces' Breakdown - The Four Aces