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viewing 1 To 11 of 11 items
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LP + 7"
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ARCLP 075LP
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"Anthology Recordings is honored to present Dreaming of You (1971-1976), the first ever collection of Karen Black's breathtaking original songs out July 16th. A prominent actor in the American New Wave, visual artist and unyielding creative spirit, Karen Black was also an accomplished musician. Produced by Cass McCombs and meticulously restored from the original tapes, Dreaming of You (1971-1976) gathers the best of Black's studio and demo recordings. The collection's fifteen tracks are a holistic depiction of Black's dreamy, introspective and earnest musical identity. Recalling the everywoman quality of Judy Collins and the quiet mystery of Billie Holiday, Black largely sings over simple acoustic guitar strumming, her voice a beacon amid tales of fantasy and heartache. Her range swings from fluttering highs to earthen lows, with a distinctiveness that evokes the enduring quality of early Asylum Records and the new classics of Angel Olsen. When she wasn't on set, she scrawled hundreds of poems and lyrics, and set them to acoustic guitar or piano. As with acting, songwriting for Black was a study in confession and in character. She often completed multiple takes of a song exploring that relationship, changing her tone, phrasing or cadence in each. RIYL: Cass McCombs, Angel Olsen, Judy Collins, Billie Holiday, Vashti Bunyan, Joni Mitchell, Judee Sill, Jackson Browne, Kris Kristofferson."
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CD
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ARCCD 064CD
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"You are alone in a hot tub on a warm summer night back in the '70s. Scarcely a week earlier she was right there with you, laughing, gazing at the stars, the FM radio playing the top pop hits as you frolicked in the gurgling water. Now she's gone. Really gone. Then a song you never heard before comes on the radio. You feel like it reaches into some place that has already been prepared in your mind. It is as if the song is reading you. The song really knows she's gone, and more. What a great hook, you think. Then you never hear it again. You remember it really captured the way you felt, it sounded sad but somehow had a healing quality. Down but not out. It seemed familiar the first time you heard it, as if it had cut to the front of the line while the other meaningful songs in your life were taking years to get there. What was that song?I have good news for you. It's on this album even if it's not on this album. What we are talking about here is a time when there was only so much room at the top and limited alternatives to mainstream radio for a song to get heard. I made up the guy in the hot tub but not the nature of the song. It doesn't matter exactly what the song is. Every song on this album is that song. They all could have been hits. Each with a different flavor, all subtly conveying universal emotions that are hard to describe but easy to feel. Little room at the top back then (another reason to be sad about the times...) but we have plenty of room in 2018. These songs come in the wake of the psychedelic sixties after the high-flying idealism had run its course and singer songwriters were ascendant. After the party, reality kicks in. You have to deal with yourself about how you deal with your friends and lovers. You can't always work it out but you can sprinkle a little sugar on your sadness with songs like these to keep you company. You can hear echoes of folk rock, soft rock, even detect some psychedelic flashbacks but the atmosphere is dominated by that human being whose voice you are hearing. He's not up on stage, he's in your mirror. Have you ever felt sad about the times you are living in? Anyone who hasn't seems to me at first lucky, but perhaps simultaneously cursed. This music reaches because it resonates with experiences in your own life that made you feel sad and alone. The artists here are dealing with difficult emotions. There's a reason smiley faces don't have ears. Sadness can be life affirming; these songs can open that door. If they couldn't they wouldn't be so enjoyable. 'Heaven is boring, hell is where the action is' someone said but if you mix the two together you might come up with some songs like these. Compiled by Mikey Young (Total Control / Eddy Suppression Ring) and Keith Abrahamsson (Founder / Head of A&R at Anthology Recordings), Sad About the Times is a set of North American '70s jammers. With a hint of (at times) West Coast jangle, these tracks traverse the border between the power pop of the times and a late-night coke jam." Features West, Hollins Ferry, Randy & The Goats, Willow, Art Lown, Jode, Norma Tanega, Perth County Conspiracy, David Chalmers, Jim Spencer, Hoover, Space Opera, Roger Rodier, Emmett Finley, Sky, The Smubbs, Oliver Klaus, Antonia Lamb, Kevin Vicalvi, Boz Metzdorf, and Dennis Stoner.
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LP
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ARCLP 054LP
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2021 restock. "Anthology Recordings is pleased to announce the reissue of the long out of print -- and never before officially issued in the US -- trilogy of albums by Catherine Ribeiro + Alpes, 1970's N°2, 1971's Âme Debout, and 1972's Paix. Anthology's presentation of these foundational LPs, arguably the group's finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the 60s and 70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro's is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It's the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro's personal archive. Limited first run of 750."
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LP
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ARCLP 002LP
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"Unlike many self-created obscurities rescued from the margins, Michael Angelo (aka The Guinn Album) isn't the effort of some fanatical, ponderous bedroom wiz delivered with passion in lo-fi, but a fully-fledged pro-studio recording executed by multi-instrumentalist and full-time session man in mid-to-late '70s Kansas City, MO, Michael Angelo Nigro. An enigmatical exemplar of subterranean overachievers, Michael created the album as a labor of economy during studio off-hours when he was given free reign, and since its discovery by fringe-searchers it has been christened a heavy-hitter in the pantheon of 'out-of-time' treasures. Self-produced and nearly fully self-created (with drums handled by Frank Gautieri), Michael Angelo is a staggering, hook-filled, inner space hi-fi snapshot of dreamy folk-rock, Anglophile-pop and light psychedelia, filled with contemplative, arresting lyrical imagery and carries little to ally it to its time (spare some shimmering keyboards). Sprouting in the mid-50s, Michael's head was first turned by Joe Meek-produced 'Telstar' by the Tornados in 1962, and later listened closely when the Beatles put the whole world on its ear. Gifted his first guitar by a doting aunt at age 11, soon the prodigy gained six-string proficiency, began his first furtive attempts at songwriting, and taught himself to play bass, harmonica, and piano over the next few years. The typically teenage pursuit of fronting his own high school band followed, Norwegian Wood, and several other short-lived combos followed. Next, via an ad in a Kansas City newspaper, he happened upon the opportunity of studio work at age 20. During the next few years at Liberty Recording -- where Michael Angelo was recorded in 1976 -- and Big-K (where it was mixed in 1977) he worked steadily, and the eponymously titled debut LP was released on the Big-K subsidiary Guinn Records in 1977. With its strummy, jangly folk-rock guitar, incendiary lead lines, big, resonant piano chords and plaintive tinkling, Michael Angelo isn't just a collection of songs, but a fully-conceived, cohesive, album-length statement, which stands toe-to-toe with other 'out-of-time' heroes like Anonymous, Rick Saucedo and Bobb Trimble. There's denseness to Michael's lyrics formed by an active imagination, tapping into abstracts, the unseen, astral and spiritual ideas, fantastical and sci-fi perspectives, character studies, and the other side of life."
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2LP
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ARCLP 011LP
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2021 restock. "First ever vinyl reissue of the 1972 Tall Records Träd, Gräs och Stenar LP, Djungelns Lag, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1971/72. Features a monumental 34-minute expanded bonus track previously only available on CD, plus an entirely unreleased track. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves. Includes download code with added unreleased material."
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2LP
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ARCLP 012LP
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2021 restock. "Mors Mors LP is the first ever vinyl reissue of the 1973 Tall Records Träd, Gräs och Stenar LP, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1972. This offering features a staggering 26+-minute bonus track previously only available on CD, plus an entirely unreleased track. Includes an extended version of one of the original album tracks. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves. Mors Mors LP includes download code with added unreleased material."
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3CD
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ARCCD 013CD
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2016 release. "Discs 1 & 2 feature expanded editions of the legendary live albums from 1972 and 1973, Djungelns Lag & Mors Mors, while disc 3 contains previously unreleased 1972 live material, one track of which is exclusive to this CD (not on vinyl)."
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2LP
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ARCLP 025LP
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Double LP version. Gatefold sleeve. "Deep, diverse, and unheralded, the Philadelphia ambient electronic music scene of the 1980s is explored with The Nightcrawlers' The Biophonic Boombox Recordings, an expansive archival collection documenting the hard-knuckled kosmische synthesizer trio's home recordings self-released and distributed over 35 cassettes between 1980 and 1991. Featuring the farthest reaching spacescapes of those cassette releases -- improvised straight into the mic of a JVC Biphonic Boombox -- none of these performances have been released beyond the original format, and essentially went out of print when Nightcrawler Peter D. Gulch got tired of dubbing them to blank tapes to mail-order through his Synkronos label and sell at live shows. Restored and recalibrated from the original cassettes, The Nightcrawlers' music has never sounded better or so readily accessible."
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LP
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ARCLP 044LP
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Restocked. "Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades! Pharoah, (born Farrell Sanders of Little Rock, Arkansas on October 13, 1940,) was not only in John Coltrane's Band from 1965 - 1967, and featured as a Tenor Saxophonist on his Impulse! albums Ascension, Live At The Village Vanguard Again!, Kulu Sé Mama, Meditations, and Om, but had his own distinct concept and direction that you can hear on those recordings. Where John Coltrane is the Father of this Music, Pharoah is John's Brother, his bright, younger contemporary who was ready to express prolifically. His was a sound of entrancement, deep emotion, lyrical chanting, layered mosaic rhythmic grooves, poly-melodic heart cries, ensemble percussion, Love, surrender, upliftment, communication with his ancestors, contemporaries and those yet to arrive, and hope for awakening and peace within Humanity. Of Pharoahs 11 albums on Impulse! as a leader, the ones in front of you are Tauhid (#1 from 1967), Jewels Of Thought (#3 from 1969) and Summun Bukmun Umyun - Deaf Dumb Blind (#4 from 1970). It was John Coltrane's influence on Music and the Recording Industry that opened the door for Pharoah Sanders, and through that door Pharoah would fly, soar and inspire! During this time he was also featured on Alice Coltrane's Impulse! releases Ptah, The El Daoud playing Tenor Saxophone, Alto Flute and Bells and on her most beloved recording Journey In Satchidananda playing Soprano Saxophone and Percussion. The significance of Pharoah Sanders today is for you to discover. He is among my greatest inspirations of all time and always will be! He is a man of few words, and when you see him play now, it's more about being in his presence than expecting him to play lots of flashy runs. From his first note you know it's him and that you're in for profound integrity and deeply soulful energy. He always dresses in bold, bright hues, sometimes patterns, sometimes wearing shades, always a fez or hat of some sort. He stood out in GQ Style's 2016 feature 'These 10 Living Legends of Jazz Prove Nobody Can Out-Dress the OGs' -- the relevance is there. So strong! The last time I saw Pharoah in Los Angeles at Catalina's I was happy to connect with my friend Knxwledge. He was there with Rapper Earl Sweatshirt and Producer Alchemist. I sat with a table of 18-year-old prodigies including pianist Jamael Dean . . . Recommendation: Put all of these records on repeat for days and days, let them transmute your life, then tell your friends, family and everyone you come into contact with about Pharoah Sanders!'
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LP
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ARCLP 043LP
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"Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades! Pharoah, (born Farrell Sanders of Little Rock, Arkansas on October 13, 1940,) was not only in John Coltrane's Band from 1965 - 1967, and featured as a Tenor Saxophonist on his Impulse! albums Ascension, Live At The Village Vanguard Again!, Kulu Sé Mama, Meditations, and Om, but had his own distinct concept and direction that you can hear on those recordings. Where John Coltrane is the Father of this Music, Pharoah is John's Brother, his bright, younger contemporary who was ready to express prolifically. His was a sound of entrancement, deep emotion, lyrical chanting, layered mosaic rhythmic grooves, poly-melodic heart cries, ensemble percussion, Love, surrender, upliftment, communication with his ancestors, contemporaries and those yet to arrive, and hope for awakening and peace within Humanity. Of Pharoahs 11 albums on Impulse! as a leader, the ones in front of you are Tauhid (#1 from 1967), Jewels Of Thought (#3 from 1969) and Summun Bukmun Umyun - Deaf Dumb Blind (#4 from 1970). It was John Coltrane's influence on Music and the Recording Industry that opened the door for Pharoah Sanders, and through that door Pharoah would fly, soar and inspire! During this time he was also featured on Alice Coltrane's Impulse! releases Ptah, The El Daoud playing Tenor Saxophone, Alto Flute and Bells and on her most beloved recording Journey In Satchidananda playing Soprano Saxophone and Percussion. The significance of Pharoah Sanders today is for you to discover. He is among my greatest inspirations of all time and always will be! He is a man of few words, and when you see him play now, it's more about being in his presence than expecting him to play lots of flashy runs. From his first note you know it's him and that you're in for profound integrity and deeply soulful energy. He always dresses in bold, bright hues, sometimes patterns, sometimes wearing shades, always a fez or hat of some sort. He stood out in GQ Style's 2016 feature 'These 10 Living Legends of Jazz Prove Nobody Can Out-Dress the OGs' -- the relevance is there. So strong! The last time I saw Pharoah in Los Angeles at Catalina's I was happy to connect with my friend Knxwledge. He was there with Rapper Earl Sweatshirt and Producer Alchemist. I sat with a table of 18-year-old prodigies including pianist Jamael Dean . . . Recommendation: Put all of these records on repeat for days and days, let them transmute your life, then tell your friends, family and everyone you come into contact with about Pharoah Sanders!'
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CD
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ARCCD 057CD
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"Paul Major -- pioneering record dealer and frontman of the band Endless Boogie -- has spent over a half-century immersed in the weirdest albums cast aside by the music industry, honing a world-renowned knowledge of the most unique, rare, and uncannily strange tunes of the rock and roll era. Feel the Music Vol. 1 compiles the fruits of his hard-won expertise, presenting cuts chosen by Paul from the far reaches of psychedelia, lounge, and loner folk: twelve utterly singular takes on musical expression, yielding a somehow cohesive and sublime whole. Paul is a longtime champion of 'Real People' musicians, one-of-a-kind artists operating wholly outside the industry, and this compilation gives us ample evidence of these distinct forms of genius. Though it moves through genres as diverse as the broken-down blues rock of Ray Harlowe & Gyp Fox, the ethereal psych-folk of Justyn Rees, the earnest schmaltz of balladeers Sebastian, and Darius, and the unclassifiable eeriness of Jerry Solomon, Feel the Music is permeated by a genuine feeling of no-holds-barred creativity and an unbridled love of musical expression. Listeners attuning themselves to these twelve parallel universe radio hits will undoubtedly come away feeling the same."
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