When The Shaggs’ Philosophy Of The World came out in 1969, some people couldn’t or wouldn’t understand it. But many musicians, including Frank Zappa and Kurt Cobain, cited the Shaggs as a major influence. Heck, Zappa exclaimed they were “better than the Beatles!” NRBQ’s Terry Adams and Keith Spring were such fans, and after reissuing Philosophy in 1980 on their own Red Rooster label, Adams began work on a collection of recordings the Wiggin sisters had made in the years following their debut. The result was Shaggs’ Own Thing – a beguiling follow-up that reveals a more developed and mature sound while still retaining all of their homespun uniqueness.

“The songs were better and they were recorded better, so it naturally made a better album,” Dot Wiggin said shortly after the original release of Shaggs’ Own Thing in 1982. It’s a “natural, organic extension” of the utterly original sound that The Shaggs had created, intentionally or not, with Philosophy Of The World, as John DeAngelis writes in the new liner notes. While Dot Wiggins originals like “You’re Somethin’ Special To Me” and “My Cutie,” and covers of classic songs like “Yesterday Once More” reveal a maturity not displayed on the debut, the two versions of “Shaggs’ Own Thing” and the revisiting of “My Pal Foot Foot” show that The Shaggs lost none of their pure and honest charm over the years.

Remastered from the original tapes with liner notes by John DeAngelis, this reissue includes the bonus track “Love at First Sight,” first issued on the 1988 Red Rooster/Rounder Shaggs CD and appears on LP for the first time, plus three additional tracks on CD: “Sweet Maria” and “The Missouri Waltz,” first released by Light In The Attic as a limited-edition Record Store Day 45 in 2016, and the previously unreleased cover of the classic surf instrumental “Wipe Out.”

FORMAT INFORMATION

Ltd LP Info: LP bonus track “Love At First Sight” first time on vinyl.

CD Info: CD includes 4 bonus tracks, 3 of which appear on the format for the first time.

Flaming Pie is the tenth solo studio album by Paul McCartney, first released in 1997.

Having been heavily involved in The Beatles’ Anthology project, Paul had time to reflect on the standards he and his bandmates had set during their career, and applied these to what would become his first album in four years. Made in a much more spontaneous style, with songs recorded here and there, mostly on holiday, it’s an album that luxuriates in its own sense of fun.

Featuring producers George Martin and Jeff Lynne, as well as musicians including Steve Miller, Ringo Starr and his own son, James McCartney, Flaming Pie would go on to become one of Paul’s most acclaimed albums. Sales were brisk, with the album only kept from the Number 1 slot on both sides of the Atlantic by the cultural phenomenon that was the Spice Girls’ Spice album.

FORMAT INFORMATION

3xLtd LP Info: Half-speed master of the remastered main album tracks cut over 2LPs for the first time.
Plus 1LP of the Demos and Home Recordings.

2xLP Info: Half-speed master of the remastered main album tracks cut over 2LPs for the first time.

The psychedelia of Purple Desert Rain God is playful and innovative in a way that brings early Pink Floyd to mind, where classic blues elements were mixed with tape loops and tremolo/feedback guitars. But more than 50 years has passed since Barret’s trip through universe was caught on tape and the comparison stops there: Purple Desert Rain God is a new take on acid rock!

Purple Desert Rain God is nature music and transcendental dance music and they overlap between genuine psychedelia and electronic music with filter sweeps on guitars and drums. Sudden bursts of drum fills brakes the monotonous groove and amplifies the feeling of lost control and the band often balances on what is considered a beat that is on time. However, they keep momentum and hammers the pulse on your eardrums, into your mind.

To add some more mystery the band gives this explanation to their name: "Deep in the purple desert is a pervasive need for a logical universe that makes sense. But the Rain God is always one step beyond logic."

STAFF COMMENTS

Barry says: Hoga Nord move back towards their psychy roots with this dense, euphoric slab of distorted grooves and swirling ambience from Purple Desert Rain God. Delayed guitar loops and heady lysergic percussion form together into a GOOD trip.

Shindig! is an eclectic cornucopia overflowing with obscure TV and film, psychedelia, folk, garage rock, folk rock, progressive rock, funk and soul. Contributions from its team of international expert writers ensure that new and intriguing tales about influential artists fill every issue. Shindig has established itself as a cutting edge forum and critique of the glories of 60s and 70s music, film and culture.

US issue of 2019’s "Doğu Çiçekleri” – This record is produced with financial support from the Swedish Arts Council .

Appeals to both psych and prog listeners, folk or jazz aficionados and as well the gourmet hip hop connoisseurs.

A vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments merged with arrangements and melodies that stretches from popular to folk music.

This is the first stop on Sven Wunder’s musical journey. Wunder takes the listener somewhere around the easternmost part of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora through sound. The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus, hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a both modern and classic idiom. The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space and points towards the future. 

Second release on Piano Piano from Sven Wunder.
Appeals to both psych and prog listeners, folk or jazz aficionados and as well the gourmet hip hop connoisseurs.

By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on European works. The result is a surface that creates an illusion by sound. The infusion of Min’yō with jazz rock, this hazy scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and space.

The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer, Wurlitzer electric piano and electric bass.

This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation to generate new ways of looking at the world, here and now.

This record is produced with financial support from the Swedish Arts Council.

On the Corner Records was awarded ‘Label of the Year’ at the Worldwide Awards 2018. OtC is a story of artists and scenes that goes way beyond being a record label. DJ and label owner Pete On the Corner has created a home for innovative, bordercrossing, genre-pushing artists. The OtC vision is to bring music to the world that is knocking at the ‘Door To The Cosmos’. The label is an inimitable mixture of Miles Davis ‘call it what you want’ attitude, Sun Ra’s Afro Futurism and the ecstatic soul lifting influence of black music on electronic dance music.

On ‘Door To The Cosmos – Dancefloor Sampler’ Pete has curated a volume of cuts from present and future label family. This first in the series, is not just knocking at the door but giving it a kick! It’s club music referencing the source, be it Detroit, or UK bass culture combined with future sounds rising from cosmopolitan hotbeds of sonic heat. On this maxi EP Venezuela meets India via New York, the street sound of Dar Es Salaam, Tanzania pulses through UK Jungle. Undergrounds pushing the dance, breaking borders and genre alike. Rhythms from the ancestors channelled for future times.

Opener Dengue Dengue Dengue ‘Yodeller’ is finally on wax having been a rare as hens teeth dubplate. From psychedelic cumbia to dub, salsa to footwork, tribal to techno, The Tropical duo from Perú explore analog and digital rhythms, to create their unique sound. New label family, The Diabolical Liberties are stalwart scenesters Alex Patchwork and Earl Zinger. ‘River of Sound’ tears through the jungle so jump in for a swim. Uffe is also making his OtC debut. He’s been firing out killer tracks on Oye, Berlin. Pete OtC chasing him down as he was Prolifically dropping jazzed-up and gnarly house after returning to his native Denmark. Black Classical is back after a regenerative hiatus: the mysterious web otherlings reputation underpinned by his 12 hour ‘spiritual jazz’ mix tape that has been living its own life online and across the radio waves over the last decade. ‘Medassi’ is an elixir of deep house. On the flip, another fresh-faced recruit to the OtC family. Familiar to Shine’s network from Clive’s recent debut release, ‘Moon Buggy’ makes it clear he wasn’t only paying attention to OtC’s numbers. MC Palakata aka Mosam is a dancer with a Singeli flow, from the streets of Dar Es Salaam. During an OtC recording session at Nafasi Studio in Dar, Tom Blip worked with Palakata and created this heat. Set alight with Swahili, ‘Singeli Jungles’ is wild. Following on from Planet Battagon’s sold-out debut EP of ‘driod jazz’, the Admiral has sent this hard- swinging, future thumper to OtC. Tugg Luke Endeavour kicks it to the cosmic dancefloor. ‘Mudras’ by Sunken Cages remixed here by New Yorks MPeach, brings more, new OtC family straight to wax. The remix adds ‘Latinx del Futuro, where hi-energy dance meets low-end bass, adding a lilt of the rhythms from her native Venezuela.