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Love/Hendrix Acetate

Thrilled to get this one, lost my copy a while back.....Love from the "Four Sail" era with guest Jimi Hendrix in
the studio (See "False Start" album for "Official" version of "Everlasting First"......Love is one of my favorite bands, and any rarities are welcome......thanks to Fabio for this true gem!

BLUE THUMB ACETATE-01 Everlasting First (Take 16)/02 Easy Rider (Take 1)/03 Easy Rider (Take 2)/04 Loon

Great share Fabio


Classic Fire

Fabio, today submits "Could You Understand Me", a 1973 classic from Fire from Yugoslavia......long a favorite of mine, again perhaps my favorite "unknown" ear/genre of rock, the "pre-stoner"/heavy psych of 1968-73 or so.......this is a 4.5 star classic, fans of most all rock should love this one.

Could You Understand Me
Dedicated To Love
Memory Of You
Jeden Divan Dan (A Wonderfull Day)
Hey You
Where Are You


"Forever Changes" Mono Mixes!

"Forever Changes" by Love is alot of people's favorite album, my own included.....thusly, I am THRILLED that Fabio has sent the album in mono mixes that I have never heard!  If you are not familiar with this incredible album, I'd probably not start with mono, but I bet It's spectacular, like all mixes of the album are......

01. Alone Again Or
02. A House Is Not a Motel
03. And More Again
04. The Daily Planet
05. Old Man
06. The Red Telephone
07. Maybe the People Would Be the Times or Between Clark and Hilldale
08. Live And Let Live
09. The Good Humor Man He Sees Everything Like This
10. Bummer in the Summer
11. You Set the Scene 

All tracks Mono
All of these mixes are officially unavailable on CD.

Here's another rarity in the series "essential in mono but not available on cd". 

Long-rumored to be a folddown, the mono version of this landmark album is somewhat overlooked, not least
because of its limited availability. As with the 2nd Doors album, it is difficult to determine whether there 
are real mixing differences between the USA stereo and mono LP's. I have taken the trouble to study the 
differences between a folded-down stereo recording and the USA mono version of this album ardently, using a 
stereo and a mono rip recorded on the same setup from original USA top copies. However, I could not detect 
any mixing differences on this one (contrary to Strange Days).

Still, there was one other difference: the mono had noticeable better fidelity on all tracks than the folddown.
Not just more high-end details but slightly better resolution so to speak. In fact, the differences varied; 
in a few instances the mono sounded considerately better than my folded Allentown stereo copy (Tr. 6 + 7), 
while the difference was less dramatic on other cuts (Tr. 1, 8). My theory is that the mono tape may have been
separately recorded simultaneously during the stereo mixing but from a summed one-channel output. Then again, 
some tracks might well be folds from the stereo, while others could indeed be dedicated mono mixes. So here
it is, for what it is worth. 

Elektra U.S.A. had this particular title pressed in 1967 in mono and stereo by three different plants: 
Allentown (this copy), Columbia Terra Haute and Monarch. Each plant was sent a master lacquer to cut from 
(rather than a copy of the mastertape) which was uncommon in those days. Thus Elektra ensured that all 
pressings had similar high sound quality. However, there is a distinction between Allentown and 
Monarch pressings when it comes to vinyl quality: Allentown & Columbia copies are usually quieter because 
they used a higher quality vinyl mixture and are therefore preferable when it comes to this album. 

Those who are familiar with original USA pressing pressing will know how hard it is to find a copy that plays 
without excessive surface noise. Even with top copies, the delicate intro to “Alone again, or” is always marred 
by some crackling and/or ticks. This is not necessarily because the vinyl was of poor quality, but because the 
recording itself had to be mastered very softly (due to its dynamic range). The copy used here is in great copy
and luckily did not need a whole lot of digital cleaning up.


Brian Jonestown Massacre Tribute

Again from The Blog That Celebrates Itself, a tribute to a band that has been a fave around here for a while,
The Brian Jonestown Massacre......nobody here I ever heard of, that is what makes it great........this series is beyond awesome.

01 THE CULT OF DOM KELLER-Dropping Bombs On the White House/02 THE SORRY SHOP-Wisdom/03 Sprained Cookies-Anemone/04 AS AMIGAS DE PLASTICO-The Devil May Care/05 3AM-Bring Me the Head of Paul McCartney


Bad Brains

One of the great hardcore punk albums of the early 1980's, came from Washington DC's Bad Brains......it
would be worth it simply for "Pay to Cum", but that's about a tenth of it......their dense, hardpunk/reggae was unique and great. This is their best album, I have them all I think, ask if you have a special request for one/more.


1."Sailin' On"1:55
2."Don't Need It"1:07
4."The Regulator"1:08
5."Banned in D.C."2:12
6."Jah Calling" (live in studio)2:31
8."Leaving Babylon"4:10

9."Fearless Vampire Killers"1:07
11."Big Take Over"2:57
12."Pay to Cum(live in studio)1:25
13."Right Brigade"2:27
14."I Luv I Jah" (live in studio)6:22
15."Intro"/16. "Outro"

NOTE: There has been an important addendum placed with the "Older UK Band" post......might want to check it out while you can!

Holy Machine

Way cool dreamy shoegaze from Kentucky's Holy Machine.....the album "Fraction" is a good listen, also included here is the "No Man's Land Anthem", and a cover of The Church's "Under the Milky Way"......really enjoyed "Fraction", a really good disc.

NO MANS LAND ANTHEM-01 No Man's Land Anthem/02 A Danger!/03 Colorblind

FRACTION-01 Interview/02 Travellers/03 The Sailor's Fate/04 Symphony of Your Demise/05 No Man's Land Anthem (New Version)/06 By the Sea/07 Every Word Synthesize/08 Never Turn Your Back/09 Adonal

BONUS TRACK-Under the Milky Way


Temptations Wings

Cigarettes After Sex

El Paso Texas brings us Cigarettes After Sex, specializing in super slo-mo ambient pop......some good keyboard playing and some kind of strange vocals from founder Greg Gonzalez.

01 K/02 Each Time You Fall In Love/03 Sunsetz/04 Apocalypse/05 Flash/06 Sweet/07 Opera House/08 Truly/09 John Wayne/10 Young and Dumb


The Douglas Fir

"California Memory" from The Douglas Fir is a quite good collection of solid indie-alt-rock.....not
spectacular but very enjoyable, some fine songwriting.


  1. Brand New Dress
2. California Memory
3. How Soon Should I Let You Go
4. Daylight
5. Mervue
6. I Know That You Don't
7. Distant Headlights
8. Excuse Me
9. Lucy
10. In Case of Emergency
11. At the Moment I'm Torn
12. Alamo Square Hill

Ulrika Spacek

"Modern English Decoration" is album #2 from UK shoegaze/dream-poppers Ulrika Spacek.....here is a good (somewhat long) review of the album:

“A living room doesn’t give much natural reverb, and it’s not in our interest to artificially construct it”

Ulrika Spacek return on June 2nd with the release of their second album, Modern English Decoration. Much like their debut album released in early 2016, the band chose to record, produce and mix the entirety of the record in their shared house – a former art gallery called ‘KEN’, so named because of a cryptic inscription found above the front door. Not just a studio and home, KEN is essentially the band’s hub, a space in which the surrounding ephemera of videos, artwork and even band photos are all created.

The relatively short amount of time between their first and second albums is testament to the band’s self-contained creative environment and the productivity it encourages. There’s a tendency to label this degree of self-reliant creativity ‘DIY’ - and the band do certainly feel emboldened by that ethos - yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band’s overall vision rather than the value system of an often haphazard and accidental DIY culture. “We enjoy listening to music through the album format and want our records to reflect that”, says Rhys Edwards (guitars, vocals, synthesiser). “Though we may explore this in the future, our records are not 'jam' records. We’re fans of collage based art, and create music in the same way“

Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning but no little fanfare, and was accompanied by a year long, near-monthly club night called Oysterland that the band both curated and performed at. Less than 18 months later, the follow up arrives eerily fully formed, somewhat inevitably according to Edwards: "We started making this record as soon as we finished our first. Like our debut, we started with Track One on the album and went from there. Making a batch of songs then ordering them after they’re all finished isn't something we have much interest in.". Shirking the temptations to write ten three-minute singles, a more open and expansive style is preferred. Writing and arranging as they go, the intention is to let the material find its own place in the set, all the while retaining a sense of direction that avoids the pitfalls of self-indulgence.

Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio. "This record was made in various rooms in our house, predominantly in the living room. Every part of the album reflects this, from the title to the setting of the lyrics. Doing everything ourselves is not just necessary: it’s important to us, as it allows us to truly create our own world”. While there’s an element of domesticity to the album’s creation, the themes that drive the songs are anything but, reflecting an all-too-common sense of mid-twenties alienation and anxiety, alongside the comforts/burdens of self-awareness.

Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia. But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.

MODERN ENGLISH DECORATION-01 Mimi Pretend/02 Silvertonic/03 Dead Museum/04 Ziggy/05 Everything All the Time/06 Modern English Decoration/07 Full of Men/08 Saw a Habit Forming/09 Victorian Acid/10 Protestant Work Slump


The Wicked Ones

Fabio sends this Bandcamp link for The Wicked Ones, some way cool retro-psych from Mexico......a really cool EP, on which they cover Jefferson Airplane's "Somebody to Love" and turn in a good one with "from Lust Till Dawn"......really liked this one!

WICKED ONES-01 Rising Sun/02 From Lust to Dawn/03 Somebody to Love/04 Hypnotized/05 Morning Star


Sea Pinks

Some good jangly power pop from Belfast.......very pleasant, radio-ready in my opinion.


Watercourse is the new LP from Sea Pinks, Belfast’s finest purveyors of bittersweet guitar pop since 2010. Their sixth album sees them picking up where 2016’s acclaimed Soft Days left off, refining and elaborating on the dream/power pop dynamic of that album, while still managing to sound as fresh as a band making their debut. Each song is a pure outsider pop gem, with effervescent choruses, buoyant drums and a distinctive woozy guitar style, all wrapped in a mischievous sense of humour. 

The now well established line up of Neil Brogan on guitar and vocals, Steven Henry on bass and Davey Agnew on drums convened at Belfast’s Start Together studios with engineer Ben McAuley in summer 2016 with the initial plan of making an EP. “We’re a singles band hellbent on making albums,” says Neil. “We went in for a couple of days. Then it was a couple more and a couple more, and by autumn we had about 16 songs recorded, which we eventually pared down to ten”. Two-thirds of the record was mixed by the band with Ben McAuley, the remaining songs went to Collin Dupuis (whose credits include Angel Olsen’s My Woman) which helped to bring out some light and shade. 

Throughout Watercourse there’s a definite sense of homecoming, with plenty of twists and turns on the way. This is borne out in the contrasting sides of the LP, as the band’s signature dream pop jangle on side one gives way to a harder edged, more brittle punk-inspired power pop on side two. As Neil explains; “The songs on side one are all about movement. They are dreamy and more upbeat. Side two is more about being static, whether it’s a fixed place or a moment in time. They are more urgent sounding and a little more bittersweet.” 

With ten songs in thirty-three minutes, the result is tight, fast paced and emotionally charged. From the vibrant optimism of the title track, through the fatalistic defiance of single “Into Nowhere”, deep sea reveries on “I Don’t Know What I Would Do…” and anthemic contempt on “How Long Must I Be Denied”, to the more reflective uncertainty of “Shock of The New” and the wry euphoria of closer “Pining Away”, the band wends it way, shape shifting as they go. “I do think we are still improving as a band, and this is the best record we’ve made as a three piece,” says Neil. “It may surprise a few people, maybe not. We’re often typecast as being a particular thing, be it surf or jangle-pop or whatever, which can be reductive. The songs are the thing with us.”

WATERCOURSE-01 Watercourse/02 Places She Goes/03 Into Nowhere/04 I Don't Know What I Would Do (Without You)/05 Gonalong/06 How Long Must I Be Denied/07 Playin For Pride/08 Shock of the New/09 Water Spirit/10 Pining Away



Up for some instrumental space/doom? Then Canada's Monobrow is for you.......I've said before that instro hard rock can be dicey sometimes IMO, but this one passed the carpet bomb test.

THE NACARAT-01 The First Vague Rumblings of Impending Revolution/02 Capes and Monocles/03 We Can Make It Look Like an Accident/04 Twin Shieks/05 The Decline of the West and Other Small Problems



Here's a gem from 2014, Overlake's "Sighs" album.......nice indy-alt rock, somewhere between the dreamy
sound and more standard mainstream pop.......a good effort.

SIGHS-01 First/02 Disappearing/03 Not Enough/04 Back to the Water/05 Fell Too Fay/06 Your KS/07 We'll Never Sleep/08 Is This Something


Noticed I was also sent their new release, "Fall"......spacier and harder rocking than the previous effort, here's a review of the album:

Shoegaze is alive and well and living in Jersey City, New Jersey, where it has adopted the name Overlake. On the group's second full-length album, 2017's Fall, Overlake have taken the usual tropes of classic shoegaze -- the big, billowy guitar figures, the murmur-y vocals, the thick undertow of bass, and the languid but crashing rhythms -- and transformed them into something that sounds fresh, engaging, and honestly exciting. With a band like this, good tunes usually make all the difference, and Fall shows that Overlake has them to spare. The songcraft on this album isn't complicated, but the band know how to put together melodies and hooks that are spare yet effective, and they execute them with an energetic cool that's subtly powerful and muscular without crushing the frameworks of their songs. Guitarist and vocalist Tom Barrett may seem like the star of this show, and he certainly takes up the most space in the arrangements with his intelligent use of delay and the whammy bar. But the rhythmic punctuation of drummer Nick D'Amore is excellent, as he uses his toms to add texture and tunefulness while keeping time, and bassist Lysa Opfer is inconspicuous but superb, laying down a foundation that holds her bandmates in place but also keeps the melodies astutely buoyant. Overlakedon't sound as if they've reinvented the wheel on this album -- it's not hard to pick out their influences after a spin or two. But at the same time, they're not without imagination and a creative point of view, and on Fall they take the generic boundaries of shoegaze and run with them, ending up with something strong, smart, and occasionally quite beautiful for their troubles. Fall is big music with an intimate heart, and Overlake will give you the contemplative ride you've been looking for with this splendid album.

FALL-01 Unnamed November/02 Winter Is Why/03 You Don't Know Everything/04 You Can Never Tell/05 Gardeners Bell/06 And Again/07 Pines On a Beach/08 Goodbye

I prefer "Fall" to the 2014 release, JMO........


Psychic Teens

An EP from Philadelphia post-punkers Psychic Teens......this is quite good, not at all what I was expecting, some unusual song structures, some solid guitar, distorted vocals.......five good tracks here, recommended.

HEX-01 Hex/02 Out 2C/03 Sicko/04 Emily/05 Dust

Look forward to more from these guys.......



How about another post-punk EP, this time a demo 12" from Austin Texas' Institute....I am unfamiliar with them, but listening now, pretty energetic post-punk, reminds one of the classic post-punk sound, sneering vocals and all

DEMO-01 Putrid/02 Dead Sea/03 Bureaucrat/ 04 Diamonds and Pearls/05 Weak Times/06 Narrow and Straight


Great send from Studkid!

A good submission, Studkid sends the link for the entire 14 volume Manchester Punk Festival......not sure who appears here, but 14 discs of free punk can't be bad......anyone have time to construct a track list for these?


LOVE to get stuff like this, thanks a million Studkid!

Mt. Wolf

"Aetherlight" is the latest from UK electro-indie pop band Mt. Wolf.....here is a good and thorough
review, I liked what I've heard of this one.


In 2014, English electro/indie pop quartet Mt. Wolf faced an identity of sorts crisis when vocalist Kate Sproule—who appeared on 2012’s Life Size Ghosts and 2013’s Hypolight—departed to focus on a solo career. Initially, the remaining members (drummer Al Mitchell, guitarist Stevie McMinn, and singer/producer Sebastian “Bassi” Fox) called it quits as well, but eventually felt that the need to soldier on “like a sublime three-headed phoenix rising from the ashes,” resulting in two celebrated EPs: 2015’s Red and last year’s Hex. Now they’ve returned with Aetherlight, a mesmerizing LP that demonstrates just how strong Fox is as a lead singer, as well as how haunting and beautiful Mt. Wolf remains as a trio.
The brief “Intro” implies the affective atmospheres to come, as delicate chimes bounce around ominous drones and moody guitar notes. It’s a short but impactful emotional journey that serves as a treasured appetizer to “Heavenbound,” the album’s first proper song. It maintains a similar vibe as its predecessor while acquainting listeners with Fox’s low romantic murmurs and poetic sentiments (“I will see you again / When the pendulum ends / My old friend”). In a way, he sounds like a heartbroken lounge singer who exudes classy wisdom rather than cheesy histrionics. The arrangement becomes equally operatic at times, with acoustic guitar strums and subtle strings adding lusciousness to his dense chorus. Halfway through, an electric beat adds variety to Mitchell’s refined percussion, and overall it’s a fine example of how Mt. Wolf fuses approaches to yield gorgeous results.
Although a couple other tracks—“Dorji” and “The Electric”—walk a similar path, most of the other songs offer something quite different. For instance, “Soteria” is a sparse and ethereal soundscape in which Fox uses his falsetto range to generate mournful reflections and echoes over light acoustic guitar chords and syncopation; “Hamburg” takes the electronic influence even further, evoking artists such as Neverending White Lights and Barbarossa; and “Bohemia” is an overwhelmingly serene and profound near-instrumental whose central orchestration and backing chants would fit perfectly during the catastrophic finale of a film or TV drama. The standout piece of this style is “Hex,” a devastating collage of strings, arpeggios, and high-pitched laments that will shatter and stay with you (especially its hook: “It will be hard to break for me / It will be hard to break for you”). It’s just about as exquisite and artful a display of lost love as I’ve ever heard.
Towards the end of Aetherlight, “Anacrusis” adds a rock edge to the mix, while “Tucana” mixes an acoustic ballad with a hip-hop beat. Oddly enough, the instrumental “Starliner II” (the spiritual successor to Life Size Ghosts’ third entry) captures the aggressive percussion and touching textural tinkerings of Pineapple Thief suites like “What Have We Sown?” and “8 Years Later.” Cleverly, closer “Exit (with Burgs)” basically adds a bit of prophetic narration to “Intro,” conveying a strong sense of spiritual growth and conceptual continuity. It’s the final notch on a lengthy belt of reasons why Aetherlight is a brilliant return for Mt. Wolf. Don’t miss it.

AETHERLIGHT-01 Intro/02 Heavenbound/03 Soteria/04 Hamburg/05 Bohemia/06 Kenobi/07 Dorji/08 Hex/09 Anacrusis/10 Tucana/11 Starliner II/12 The Electric/13 Exit (With Burgs)



Some very good Russian shoegaze, "Happiness is Now" from Herlights.......very tight musically, but with all the noisy/sloppy goodness of shoegaze rock at the same time. Very good one, find time for this one.

HAPPINESS IS NOW-01 New Life/02 Road to the Stars/03 Monotony/04 Mineola/05 Alice/06 Dance of Autumn/07 Frontispiece/08 Morning Song/09 Happy Birthday



A Classic......Fabio sends this one along and asks my opinion of it, it's been a fave for a while, as you know I love that early 70's hard/heavy psych/rock.......this one, "Overdrive", turned up in 1971, and it's a rocker for certain.......here are a few words of review:

Heavy psych from Iowa, this was their only album, original privately pressed in only 50 copies – thank god for the reissue labels! Incredibly raw, drugged-out dualing-guitar attacks of fuzzy hard blues rock, buried under the warm din of self-production in a basement studio. Recommended for channeling your inner sweaty speed-freak biker.

1 Plea From The Soul
2 Uncle Jerry
3 Whiskey Took My Woman
4 Rock And Roll Man
5 Red Thumb
6 Overdrive