psych . krautrock . prog . rock


Genre pick of the week Cover of The Other Side Of The River by Terry Reid.
- Remastered from the original analog tapes
- Track notes by Terry Reid
- 6 never before heard Reid compositions, plus 5 very different alternate takes – all previously unreleased.

British musician Terry Reid is a relatively unsung legend. With his incredible voice (that earned him the nickname “Superlungs”), spot- on songwriting, and underrated guitar skills, Reid invented new sounds and others followed suit. His 1973 LP, River, is an under-the- radar but deeply loved album. Our special new release, The Other Side Of The River, features all previously unreleased material from the River sessions, including six never-before-heard Reid compositions and five very different alternate takes of tracks from River.

Over the decades, as River went in and out of print, there were rumors of a mythological double album’s worth of unreleased material. The rumors turned out to be true, as the entire album was recorded twice: once with British producer Eddy Offord and again with the legendary Tom Dowd. The sessions captured Reid’s free-associative mix of folk, blues, rock, jazz, bossa-nova, soul, and samba, recalling at times Tim Buckley and Van Morrison, while featuring some remarkable guests including Gilberto Gil on percussion, Ike & Tina Turner’s Ikettes on vocals, and David Lindley, of psych band Kaleidoscope, on violin.

The Other Side Of The River includes songs that even Terry had forgotten – rockers in the style of the River track “Dean,” Latin grooves with percussionist Willie Bobo, and beautifully sparse vocal material not unlike David Crosby’s If Only I Could Remember My Name and John Martyn’s Solid Air.

Reid’s vocal prowess earned him offers to front both Led Zeppelin and Deep Purple, but he turned down both opportunities to carve out a distinctive solo career. Instead, he rocked on the sidelines, ultimately touring with Cream and Fleetwood Mac, writing songs for CSNY, and opening for The Rolling Stones on their 1969 tour.

More recently, Terry’s songs have been covered by a number of younger artists including the Raconteurs, and his voice can be heard on DJ Shadow’s track “Listen”. This spring he will be touring the East Coast and U.K. Though his “superlungs” would have no doubt served Zepp well, perhaps his solo status allowed him to be more experimental and nuanced than he would’ve been able to be as a mainstream frontman, and for that we are grateful.

The Other Side Of The River stands alone as a fresh and utterly groundbreaking Terry Reid gem.


2xLP Info: Double LP housed in a Stoughton gatefold “tip-on” jacket.

Karl Bartos

15 Minutes Of Fame (2016)

    Second vinyl 7" from the re-issue of Karl Bartos' "Communication" album. Ltd to 1000.

    Originally released in 2000, the programmatic track "15 Minutes of Fame" was the first single Bartos released and was an exciting peek into the world that was his upcoming full album. Inspired by Andy Warhol’s statement, “In the future, everybody will be world famous for 15 minutes,” Bartos used this as a template to comment on the increasing rise of celebrity culture unleashed by casting shows, reality TV programs, cooking contests etc. As Warhol had predicted and Bartos also tapped into, anyone could, and was becoming, famous, whether it was through singing, dancing, cooking, losing weight or surviving in a fake jungle. Things reached a stage in which there was no difference anymore, whether it's Princess Diana or some C-list celebrity that the paparazzi is chasing, it's all about grabbing that photo. Communication takes this theme and societal observations further by focusing them through multiple aspects, of what Bartos calls our “new media reality”.

    Blues Magoos

    Mercury Singles 1966-1968

      Hailing from NYC, The Blues Magoos took the folk/blues soundtrack of their mid-sixties Greenwich Village contemporaries and forged it into a tough, garage/psych hybrid that attracted fans as quickly as it angered folk club owners, incensed by the band’s volume and unhinged stage show! Signed by Mercury Records in 1966, their inaugural single for the label, a reading of John D. Loudermilk’s “Tobacco Road,” was a churning 4 1/2 minute(!) plunge into crazed guitar/organ/drum/bass pyrotechnics with vocals careening over the top. The release hailed the arrival of a new and wholly unique voice on the rock scene.

      It was also a signpost for a new genre. One of the first albums to use “psychedelic” in the title, it arrived right on time for a generation ready to expand their consciousness with the aid of their turntables. The album’s next single, band-penned “(We Ain’t Got) Nothin’ Yet,” featured one of the all-time great riffs, an insistent bass run over which keyboards swirled and unison vocals chanted. An absolute smash, “(We Ain’t Got) Nothin’ Yet” zoomed to #5 on the national pop charts and made the band an exotic household name.

      In total, The Blues Magoos released three amazing albums and eight incredible singles on Mercury. Longtime fans, Sundazed has now gathered all sixteen A- and B-sides together on The Blues Magoos: Mercury Singles (1966-1968). Featuring the accurate, original mono single mixes from the Mercury masters, these songs have NEVER sounded better! 

      20th May, 2016 marks forty years to the day that David Bowie's first ever best-of compilation, including songs from 1969 to 1976, CHANGESONEBOWIE was released. To mark this anniversary the album has now been reissued.


      Andy says: Iconic best-of that all us oldies saw in people's record collections in the late 70's! Every song is actually an official Classic!!


      Ltd LP Info: Half of the limited vinyl will be pressed on black vinyl whilst the other half will be pressed on clear vinyl, this will not be mentioned on the sleeve so it will be completely random as to which one you receive.

      Wild Billy Childish & CTMF

      A Song For Kylie Minogue B/w True

        A-side is taken from the band's latest LP SQ 1, and is backed with an exclusive B-side 'True'. The single is already getting played on BBC6Music “On 'A Song For Kylie Minogue' Childish pays tribute to some of the rock stars who have paid tribute to him over the years (minus one or two big names). All true stories, we get an insight as to who has tried to stroke Childish.” (b.childish – march 2016) 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard formed a group called 'the Chatham Forts', and started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th.) “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times).


        Ltd 7" Info: On transparent red or transparent yellow vinyl! (each limited to 400 copies!)

        'The reason we didn't sound like the Smiths is because we wanted to sound like this' 40 years ago, Billy Childish, then a 16 year old working in Chatham dockyard, imagined a group called 'the Chatham Forts', and so started a journey through punk rock from 1977 to now. Along the way this painter/ poet has released over 140 independent LPs. (SQ 1 is something like his 150th - no one knows for sure.) As always great lines are delivered with deadpan humour: “The reason we didn't sound like the Smiths is because we wanted to sound like this” is Billy's reply to all the reviews of his band's work during the '80 and '90s - in the days when they stood all but alone as 'the kings of garage rock' (New York Times). SQ 1 could be seen as a manifesto of punk rock defiance, a celebration of musical independence or simply a true document home made rock and roll delivered as art, not commerce.

        (Few artists have demanded and exerted so much control over their output as Childish. As with his previous LPs, all designs are undertaken by the group, from song writing, recording/producing, track listing, and LP design.)


        Laura says: Wild Billy Childish, under various guises, has been ploughing his own very individual furrow through rock'n'roll for forty years. This album is prime Childish: a raw, stripped back hybrid of classic garage rock and punk that's guaranteed to bring a smile to your face.

        From the edge of Germany’s Black Forest to the English hamlets of Dorset, The Dandelion Set make psyched-out, blow-your-mind sound nuggets with the (un)self-conscious freedom of the 70′s. Drawing on library music, radiophonics and Krautrock, the band produce a heady mix of psychedelia, prog, folk and electronics with beautiful sounds created on harpsichord, 12 string and acoustic guitars, electric bass, moog, woodwinds, autoharp with fat beats and tripped-out effects.

        This incredible debut album also features vocals and sleeve notes by legendary writer + graphic novelist Alan Moore (V For Vendetta, The Watchmen, Swamp Thing, The Killing Joke). Produced by Glyn Bush (Lightning Head, Rockers Hi-Fi) and lifelong friend PK Chown the album reflects their love of a huge range of musical styles, with the emphasis on un-formularized tunes and originality over familiarity.

        Each format contains a unique combination of tracks, rarities and exclusive material. Very limited edition!! 


        Includes MP3 Download Code.

        Bob Dylan

        Modern Times - 180g Vinyl Edition

          'Modern Times' is the thirty-second studio album by American singer-songwriter Bob Dylan, originally released in 2006. Following 'Time Out Of Mind' [MOVLP1049] and 'Love And Theft' [MOVLP506], the album was Dylan's third album in a row to be met with nearly universal praise from fans and critics. It continued its predecessors' tendencies toward blues, rockabilly and pre-rock balladry, and was self-produced by Dylan under the pseudonym "Jack Frost".

          'Modern Times' became the singer-songwriter's first #1 album in the US since 1976's 'Desire' [MOVLP836]. It was also his first album to debut at the summit of the Billboard 200. At age 65, Dylan became the oldest living person at the time to have an album enter the Billboard charts at number one.


          2xLtd LP Info: 180g audiophile vinyl pressing in gatefold sleeve with printed innersleeves.

          2xLP Info: Deluxe 2-LP 180 gram vinyl.

          2xLtd CD/DVD Info: Back in stock! The DVD disc includes "Blood In My Eyes", "Things Have Changed", "Love Sick" (Grammy Performance) and "Cold Irons Bound" (Live from "Masked & Anonymous").

          Columbia Records are proud to announce the release of "Fallen Angels", produced by Dylan & Jack Frost - the thirty-seventh studio album by Bob Dylan. The album features covers of twelve classic American tunes chosen by Dylan himself, from a diverse array of writers such as Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh.Much like the album's predecessor, "Shadows in the Night", every song on the album, except for "Skylark", was once recorded by Frank Sinatra.

          Ngozi Family

          Day Of Judgement

          Proto-punk and garage Zamrock: the celebrated guitarist Paul Ngozi’s essential debut album. Featuring Chrissy Zebby Tembo. Guitarist / vocalist Paul Ngozi’s debut album – under the name Ngozi Family - is an important record: not just in the Zamrock genre, but in the global rock canon.

          'Day Of Judgement' is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo’s 'My Ancestors') that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. 'Day Of Judgement' was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH’s 'Lazy Bones'!! to Rikki Ililonga’s 'Zambia'. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family’s attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock’s most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the ’80s; an inspiration to not only aging but young Zambians - and now others, beyond Zambia’s borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world – from the Ramones to the Sex Pistols to Death. And, though it’s been over two decades since Paul Ngozi’s passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new.

          Christa Päffgen aka Nico was a femme fatale extraordinaire; a woman always searching for and always running from something. She began her career as a model and actress, but soon fell in love with music. A few months prior to her untimely passing due to a bicycle accident on the Spanish isle Ibiza in 1988, she performed her last show with mostly new and unheard tracks, plus one classic tune from her proto-gothic album “The End” (originally released in 1974). If you are familiar with her avantgarde music you may guess what awaits you here but you'll be surprised by the scope and scale of this work. She had one of the most captivating and outstanding voices in the whole music scene during her active years, with an utterly dark and manic expression even while performing her vocals absolutely flawless. Supporting her unique voice perfectly, her backing band The Faction created a thick carpet of pulsating melodies and rhythms, overwhelming their audience with a spacey feel and a morbid atmosphere. Peter Murphy of Bauhaus once called Nico's albums “The Marble Index” (1968) and “The End” (1974) the first ever true gothic records and he was right. Even twenty years after her first records Nico still had this gloomy but majestic charm and the older she got, the better and more intense her music became. With these accessible but still mind twisting songs on “Nico's Last Concert: Fata Morgana” we get a rough idea where she wanted to go. All in all this is one of those cult albums from the 80s dark psychedelic music scene, which certainly deserves to be heard by current generations for it easily stands the test of time. Just phreakin awesome.


          LP Info: First time ever on vinyl!

          Josefin Öhrn + The Liberation/ Gnoomes

          Repetitions EP

            Sweden’s Josefin Öhrn + The Liberation and Russia’s Gnoomes released two outstanding albums at the tail end of 2015, and we are pleased to be bringing you this special split EP entitled Repetitions. Josefin Öhrn + The Liberation’s side starts with a radio edit of their live favorite Green Blue Fields - a great slice of psychedelic disco pop that calls to mind a psyched out Blondie’s ‘Heart of glass’. Then for the first time on vinyl we have Lucid Sapphire – a punked up, motorik driven, rock stomper that first appeared as the bside of their digital only single Sunday Afternoon. The side is finished with a stunning cosmic-dance remix of their ‘hit’ single Take me Beyond by label mates Gnoomes . That leads us nicely into Gnoomes’s side which starts with Myriads Of Bees – a new version of the track Myriads which featured on their debut album Ngan! This new version sees the band strip the song back to a minimal kosmiche pulse with repetitive mind altering effects. Then we have for the first time on vinyl the radio edit of their ‘hit’ single Roadhouse, this is the version of the track that got them noticed by countless BBC 6 Music DJs. Then the final track of the EP sees Josefin Öhrn + The Liberation return the ‘remix’ favour pushing the original motorik groove of Roadhouse into an addictive heavy kraut groove beat, overlaying it with head spinning synths and fuzz guitar.

            Previously unreleased schizo post-punk / Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s bestkept secret session man, Alan Parker.

            From the one-man studio vault of the guitarist who adorned 'Histoire De Melody Nelson', 'The Kick Inside' AND 'Diamond Dogs' comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

            Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

            Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

            Scored by legendary KPM / De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

            First official reissue of this essential Zamrock album, painstakingly restored, remastered and pieced together from multiple copies of the incredibly rare original album. Contains extensive booklet with never before published photos, an overview of the Zamrock scene, and the history of Peace and Black Power. The Boyfriends, from Kitwe’s Chamboli Mine Township, supplied the founding members for Zamrock’s most famous band, WITCH, and kick started one of Zamrock’s best bands, Peace. Their sole Zamrock entry, 'Black Power', recorded at Malachite Film Studio circa 1973/4 and issued circa 1975, sounds like nothing else in the Zamrock canon: a lost message drifiting from the flower power era, imbued with a fiery Zambian voice. Essential garage Zamrock / soul / funk: the first official reissue of the celebrated band’s one and only album.

            “The musical style that became known as Zamrock came to embody the economic despair that followed the 1973-1974 oil crisis, which flung Zambia into recession and exacerbated a wide range of social tensions. Much of Zamrock also captured the controversy of wider politics in Africa and the world. Perhaps the finest example of this is Black Power by The Peace”. - The Guardian 

            Robert Plant & Alison Krauss

            Raising Sand

              From its embryonic, conceptual stages - well before any music materialized - the mere idea of "Raising Sand" held infinite fascination for both its creators and those around them. As word spread of an impending musical collaboration between Robert Plant and Alison Krauss, imaginations ran wild. Two artists, each at the pinnacle of their respective pantheons, Robert and Alison have seemingly little in common. But just below the surface, an elemental understanding flowed between them, waiting to be tapped. Mutual admirers for some time, Plant and Krauss first performed together at a concert celebrating the music of Leadbelly. That great man's sound - spry and playful, yet marked by an undercurrent of torment and loss - is a keyhole into the sound world unlocked on "Raising Sand". After their initial collaboration proved promising, Plant and Krauss brought producer T Bone Burnett into the fold to help them investigate a more sustained, full-scale project. Charged with selecting both supporting musicians and material that would illuminate the connection between these two unique artists, Burnett succeeded wondrously. Built on a shared core of modal blues and country soul, filtered through alternating layers of unadorned tenderness and thick, shifting textures, the sounds on "Raising Sand" extend well beyond anyone's expectations.

              Paul Simon

              Graceland - 180g Vinyl Edition

                With 'Graceland', Paul Simon hit on the idea of combining his always perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. It is true that the South African angle (including its controversial aspect during the apartheid days) was a powerful marketing tool and that the catchy music succeeded in presenting listeners with that magical combination: something they'd never heard before that nevertheless sounded familiar. As eclectic as any record Simon had made, it also delved into zydeco and conjunto-flavored rock & roll while marking a surprising new lyrical approach (presaged on some songs on 'Hearts And Bones'); for the most part, Simon abandoned a linear, narrative approach to his words, instead drawing highly poetic, abstract, and satiric portraits of modern life, often charged by striking images and turns of phrase torn from the headlines or overheard in contemporary speech. An enormously successful record, 'Graceland' became the standard against which subsequent musical experiments by major artists were measured and continues to provide rewards to its listeners and remains a pivotal listening experience for writers, artists and fans. 

                FORMAT INFORMATION

                LP Info: 180 gram audiophile vinyl. Printed inner sleeve. Remastered audio.


                SRB07SGL 7" Single Storage Carry Case (Green)

                  - Portable 7" Single Record Storage Box.
                  - Carry Handle in matching colours
                  - Protective chrome effect aluminium trim on corners and all edges of the box
                  - Hinged lid with strong closing clasp
                  - Will hold up to 80 7" singles in their sleeves 

                  * First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward
                  * 24 bit/96 kHz re-master from original analog tapes
                  * 180 gram wax
                  * Includes booklet with track notes and archival photos

                  "Vital, attacking, beautiful, composed and experimental music of great originality and urgency. True innovators and lovers of music-making." - Alexis Taylor (Hot Chip)

                  With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio - Charles Bullen, Charles Hayward and Gareth Williams - at the forefront of experimental music.

                  However, 1981's Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound.

                  Recorded in a variety of studios including the band's own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were "harvested" from TV commercials (“Sleep”), others described the curtain-twitching of surveillance society (“Triumph”), and some were screamed with raw, ragged abandon, like on “Makeshift Swahili”. “Makeshift was a big learning situation for me," says Hayward. "I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea."

                  Musical innovations abound too – drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and “Independence” reverses the melody of earlier track “Fall Of Saigon”. It's an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: "I still think of this record as a dream within a dream."

                  This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late – Williams died of cancer within a month of them meeting to rehearse.

                  Celebrating This Heat’s 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979’s This Heat, 1980’s Health and Efficiency, and 1981’s Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.

                  FORMAT INFORMATION

                  LP Info: Repress.

                  * First official vinyl re-issue in collaboration with original band members Charles Bullen and Charles Hayward
                  * 24 bit/96 kHz re-master from original analog tapes
                  * 180 gram wax.
                  * Includes booklet with track notes and archival photos

                  "This Heat sounded like the future then ... and still do now." - Dan Snaith (Caribou)

                  Isn't it so often the case that the most innovative works of art – the ones that break the ground where others follow – are the ones that seem to reach only the ears of those who take those ideas and run with them? So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found.

                  Formed in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

                  Their debut album had – for the time and for the DIY scene – an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

                  Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not.

                  Celebrating This Heat’s 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979’s This Heat, 1980’s Health and Efficiency, and 1981’s Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.

                  FORMAT INFORMATION

                  LP Info: Repress.

                  Ultimate Painting / Woods

                  Into The Darkness / Know Your Minute

                    In celebration of their 2016 tour together, Woods and Ultimate Painting team up for a limited edition 7" featuring one exclusive unreleased track from each band in what can only be described as a “double A-sider ” Ultimate Painting offer up “Into The Darkness”, a lost track from their “Green Lanes” sessions, a mellow jammer heavy on mood & thick with the spindly, intertwining guitar picking that ’s quickily becoming synonymous with the band. Woods deliver a jaunty pop hit, “Know Your Minute” that starts with an infectious bubblegum guitar stabs, launches into a devastatingly hooky chorus before descending into a delicious acid-fried psychedelic freakout.

                    This match-made-in-heaven split 7-inch is a one-time pressing on black vinyl, and is limited to 1,000 copies. Housed in a 7” pocket sleeve with artwork by Andrew Savage of Parquet Courts. This is a split release between Trouble In Mind Records & Woodsist.

                    RIYL: Amen Dunes, Fresh & Onlys, VU, Neil Young, Big Star, Grateful Dead.

                    STAFF COMMENTS

                    Andy says: Wow! No sooner have Woods delivered one of the albums of the year than they're back with this superb, brand new track. Coupled with local lad Jack Cooper's excellent Ultimate Painting and with a sleeve by Parquet Courts' Andrew Savage, this is a one off release to die for.

                    FORMAT INFORMATION

                    Ltd 7" Info: Limited to 1000 total copies WORLDWIDE.

                    A celebration of the Grateful Dead’s music, Day of the Dead was created and curated by brothers Aaron and Bryce Dessner of The National.

                    For both Aaron and Bryce, the Grateful Dead were a gateway to playing music together; the first music the brothers investigated deeply. The two recall their first-ever jam session at 14 years old with The National’s future drummer Bryan Devendorf playing the Dead’s ‘Eyes of the World’ for several hours in Bryan’s attic in suburban Ohio. The brothers were drawn not just to the Dead’s songwriting, but also to the detail, spontaneity, and depth in the instrumentation. A life-long love affair with the Dead, shared with the Devendorfs, was born in those teenage years and crested when The National were invited to play a fundraiser with Bob Weir in March 2012. The band assembled for this event learned over 25 Grateful Dead songs, and most of those players went on to form the “house band” heard on many of Day of the Dead’s tracks.

                    The compilation is a wide-ranging tribute to the songwriting and experimentalism of the Dead which took four years to record, and features over 60 artists from varied musical backgrounds, 59 tracks and is almost 6 hours long. Produced by Aaron Dessner, and co-produced by Bryce Dessner and Josh Kaufman, many of the tracks feature an all-star house band made up of Aaron, Bryce, fellow National bandmates and brothers Scott and Bryan Devendorf, Josh Kaufman, and Conrad Doucette along with Sam Cohen and Walter Martin. The record shows the broad reaching impact and legacy of the Grateful Dead, both culturally and musically.

                    Day of the Dead will be released digitally and on 5xCDs on May 20th. A limited edition vinyl boxed set will follow later in the year. All profits will help fight for AIDS / HIV and related health issues around the world through the Red Hot Organization. This is the 20th album of original music produced by Red Hot to further its mission and the follow up to 2009’s Dark Was The Night (4AD), a 32-track, multi-artist compilation also produced by Aaron and Bryce for Red Hot. Dark Was The Night has raised over $1.5 million to date for the organizations fighting AIDS to date. 

                    Various Artists

                    Wake Up You! Vol. 2 - The Rise & Fall Of Nigerian Rock Music (1972-1977)

                    2xLP /  CD comes packaged with a hard cover 100 page colour book, filled with incredible photos and words by Nigerian music historian Uchenna Ikonne ('Who Is William Onyeabor?'). 

                    The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela to stardom after conflict ended in 1970. 'Wake Up You!' tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s.

                    Presented in two volumes, each in a 100 page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne ('Who Is William Onyeabor?'), with all tracks fully licensed from the bands themselves. 

                    FORMAT INFORMATION

                    2xLtd LP Info: 2xLP box set with book.

                    Includes MP3 Download Code.

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