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MFG 065LP
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Restocked. "A composer, writer, percussionist, singer and coordinator, Doug Hammond was born in Tampa, Florida in 1942, the city where he cut his teeth in percussive studies with Don Templeton's Tampa Metropolitan Symphony, preparing for a career in classical music that he would never enter into. Instead, Hammond began a career that would eschew typification and stylistic categories, excelling at everything from blues to bop and free jazz. Though he may be most remembered as the composer and one of the vocalists of Mingus Moves, Hammond is much more than that. His journey began as a musician. Before his high school graduation, he was playing blues music with Barney Lowis and B.B. King, who went onto get him his first gigs sitting in with Earl Hooker. By the grace of pianist and vocalist Kitty Daniels, Hammond was inducted into jazz, at first playing with Andy 'Gump' Martin and then, upon graduation, The Five Royals, Little Willie John and Sam and Dave. Splitting his time between New York City and Detroit in the 60s and 70s, Hammond lent his percussive and vocal talents to Donald Byrd, Sonny Rollins, Kenny Dorham, Charles Mingus, Sam Rivers, Etta James, Nina Simone, the Dorothy Ashby Trio and more. In 1967, he became a founding member and vice president of the Detroit Creative Musicians Association, an artist-led cooperative that presaged Tribe, Strata and Strata-East. Released in 1977, Ellipse features Hammond on percussion, drums, piano and voice along with Karen Joseph on flute and alto flute. Moving fluidly from the uptempo 'Warm Up' to the deep, dreamy 'Concentric Dream', this session runs the gamut with Hammond drawing inspiration from an 'inner-voice that has roots in Africa, which manifests itself through impressions perceived by the composer in America from his African ancestors'. A rare and underrated spiritual jazz excursion."
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LP
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MFG 066LP
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2022 restock. "Released in 1980, Hammond's third album is described by jazz critic Francis Davis (Village Voice, Atlantic Monthly) in Downbeat Magazine as 'something of an omnibus -- there's a little bit of everything here, the best of it excellent.' Expect bright original compositions filled with dancing rhythm duets, sonorous cello, modal vocalese & more. Recorded with bassist Cecil McBee, vocalists Angela Bofil and Bessie Carter, saxophonists Steve Coleman and Byard Lancaster and cellist Muneer Abdul Fataah, Hammond is an unassuming leader, acting as an imaginative drummer who allows the soloists to shine time and time again. Now considered a rare, classic spiritual jazz session of the era."
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LP
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MFG 067LP
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"Released in 1982, Spaces features alto saxophonist Steve Coleman and cellist Muneer Abdul Fataah writing with Hammond as the Doug Hammond Trio, with guests Byard Lancaster (Alto Saxophone, Flute) and Kirk Lightsey (piano). It's an album is full of strong, succinct statements that, according to Musician Magazine (Cliff Tinder, 1982), belie an abstract, soulful approach to free jazz. The exhilarating cello and angular horns show each player's experience and artistry while the heady, asymmetrical rhythmic concepts of Hammond and Steve Coleman add a playfulness to the dissonance. Creative, dynamic, modern, Tinder notes that Spaces gives any jazz master a run for their money."
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LP
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MFG 064LP
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"Manufactured Recordings reissues Songs Of India from prominent vocalist Nitai Dasgupta originally released on Vic Keary's underground label, Mushroom Records, in the early '70s. While Keary's background was in reggae, Mushroom Records dabbled in recording a bit of everything. Mostly known for hyper-rare psych, prog and acid folk, Nitai Dasgupta fits in perfectly with their British psych and prog label mates like Simon Finn, Magic Carpet, and Chillum. Nitai Dasgupta was one of the most talented Indian classical singers in Great Britain. His sweetness and flexibility created a unique style complemented by his melodious voice and composing abilities. Songs Of India pleases the lovers of Indian classical and semi-classical music while enticing pop and folk lovers. This LP even caught the ears of acclaimed electronic artist, Four Tet, who featured track 'Cham Cham Cham Cham' on his NTS Radio show. 'I inherited the Nital Dasgupta LP from my grandfather. I've no idea how he came to have it and after he died it sat on a shelf for many years before I found it and gave it a listen.' - Kieran Hebden aka Four Tet."
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LP
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MFG 063LP
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"Manufactured Recordings reissues Three Sitar Pieces by trained instrumentalist Pandit Kanwar Sain Trikha, originally released on Vic Keary's underground label, Mushroom Records, in the early '70s. While Vic Keary's background was in reggae, Mushroom Records dabbled in recording a bit of everything. Mostly known for hyper-rare psych, prog and acid folk, Pandit Kanwar Sain Trikha's LP fits in perfectly with their British psych and prog label mates like Simon Finn, Magic Carpet, and Chillum. Pandit Kanwar Sain Trikha, known for his fine-tuned skills on the sitar, showcases his virtuosity on Three Sitar Pieces. The exploration of his musical energy and verve is apparent in every note. Delicate, bold, sweet or even querulous various rhythmical flashes set the mood while he emanates supreme confidence and accomplishment on the sitar."
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4LP BOX
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MFG 062LP
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"An astounding, epic journey into the more obscure areas of early electronic music, Phillip Werren's Electronic Music is a wellspring of contemporary composition across four LPs. Originally released in 1971 in an edition of 100 copies, this impossibly rare piece of early Canadian electronic music has finally been reissued on vinyl in an exact replica box with a silk-screened cover. Electronic Music was recorded at Simon Fraser University (Vancouver), McGill University (Montreal) and Radio Warzawa (Poland) between 1967 and 1971. Influenced as much by serialism as by psychedelia and the occult, the album features elements of tape collage, voice, and experimental composition. Most of the recordings were performed on a Buchla System 100, one of the first modular synthesizers. An absorbing piece of the Canadian avant-garde, Electronic Music is a journey through space, sound, texture, and unbridled experimentation. Recommended for fans of artist ranging from Stockhausen, Xenakis, and Ferrari to Basil Kirchin, Conrad Schnitzler, Throbbing Gristle, and Coil --Manufactured Recordings' reissue of Electronic Music aims to shed light on this crucially overlooked composer. Limited to 500 copies worldwide."
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CD
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MFG 027CD
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"From 1975 -1979, things were going well for James A. Smith, musically speaking. He was writing prolifically, getting encouragement from his contemporaries -- namely, his friend Robyn Hitchcock of The Soft Boys -- and his band, The Containers, had recorded some promising demos and were playing regular live gigs. But, by January of 1980, The Containers disbanded suddenly, and James was on his own. 'Sod it!' he thought, and, rather than waste time lamenting the situation, he plotted a new course as a solo artist. Armed only with his guitar, a drum machine and his flatmate's girlfriend, Jill Fricker, to sing backup vocals, James forged ahead with his new project: The Beach Bullies. The Beach Bullies somehow manage to sound simultaneously classic and exceptionally ahead of their time. Fans of kindred spirits from the same era, such as The Television Personalities, Young Marble Giants, and yes, The Soft Boys, will find much to admire in The Beach Bullies. On the other hand, their alternating vocals, stripped-down aesthetic and minimal arrangements will also appeal to fans of artists who would emerge much later, such as The Vaselines, The Pastels, Shop Assistants and Small Factory. In their brief time together, The Beach Bullies recorded one full-length LP, We Rule The Universe, on Musclebound Records in 1980, along with a series of demos, and some rough mixes intended for a follow-up release that never came to fruition. These comprehensive additional recordings are all available as digital downloads with purchase of this LP. Original copies of the LP sell for more than $40 on the second-hand market, and the bonus tracks have never been released previously. The LP insert also includes previously unreleased photos of James and Jill from the time of the recordings, along with witty liner notes from James himself, giving the full scoop on how this unique record came to be in the first place. Available again for the first time since 1981 on vinyl and for the first time ever on CD."
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MFG 027LP
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LP version. "From 1975 -1979, things were going well for James A. Smith, musically speaking. He was writing prolifically, getting encouragement from his contemporaries -- namely, his friend Robyn Hitchcock of The Soft Boys -- and his band, The Containers, had recorded some promising demos and were playing regular live gigs. But, by January of 1980, The Containers disbanded suddenly, and James was on his own. 'Sod it!' he thought, and, rather than waste time lamenting the situation, he plotted a new course as a solo artist. Armed only with his guitar, a drum machine and his flatmate's girlfriend, Jill Fricker, to sing backup vocals, James forged ahead with his new project: The Beach Bullies. The Beach Bullies somehow manage to sound simultaneously classic and exceptionally ahead of their time. Fans of kindred spirits from the same era, such as The Television Personalities, Young Marble Giants, and yes, The Soft Boys, will find much to admire in The Beach Bullies. On the other hand, their alternating vocals, stripped-down aesthetic and minimal arrangements will also appeal to fans of artists who would emerge much later, such as The Vaselines, The Pastels, Shop Assistants and Small Factory. In their brief time together, The Beach Bullies recorded one full-length LP, We Rule The Universe, on Musclebound Records in 1980, along with a series of demos, and some rough mixes intended for a follow-up release that never came to fruition. These comprehensive additional recordings are all available as digital downloads with purchase of this LP. Original copies of the LP sell for more than $40 on the second-hand market, and the bonus tracks have never been released previously. The LP insert also includes previously unreleased photos of James and Jill from the time of the recordings, along with witty liner notes from James himself, giving the full scoop on how this unique record came to be in the first place. Available again for the first time since 1981 on vinyl."
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MFG 052LP
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"It's difficult to miss James A Smith, he's about 6'7" for one thing. His music is packed with hooks and one-liners that are hard to forget. Thirty-eight years after the songs on this album were recorded, they are being released into a world that is finally ready to receive them. When he moved to London in 1977, you would often see James at the Marquee club, especially if Wire were playing, or at the Roundhouse for Elvis Costello, Split Enz, or the Buzzcocks. A couple of years later you might have caught him on stage during The Containers brief period of gigging. He was back in 1980, solo mostly, but called The Beach Bullies; maybe you saw him at the Hope & Anchor... or even supporting an early incarnation of the Thompson Twins. Like so many keen young musicians, he really worked at it. He tried longer and harder than many, but the breaks didn't come, apart from one solitary flirtation with vinyl. The 1980 release, We Rule The Universe, by The Beach Bullies, delightfully augmented by singer Jill Fricker, was released thanks to Armageddon Records. His astringent wit-inflected songs were stripped back to their minimal core. A simple drum machine, an electric guitar, no frills -- not even any bass! It picked up a couple of encouraging reviews, found a tiny audience of fans, and then went to sleep for a long, long time. It wasn't always like that. The Containers had played many of the same songs, but their versions had the swagger of a gang instead of pared down charm, along with distinctive dual male/female lead vocals, a full rhythm section, and the encouragement (and even participation) of Robyn Hitchcock in his full Soft Boys majesty. They had the good fortune to record the demos that make up the bulk of this album at Spaceward Studios, in the center of Cambridge, an innovative sixteen track that hosted Gary Numan, the Raincoats, and the Soft Boys at around the same time. What came out of the sessions was greater than the sum of the parts, on both their visits to the Victoria Street basement. For several decades the tapes either were missing or on unplayable formats, but a couple of years ago copies of the sessions showed up on cassettes carefully preserved by bass player Adrian 'Hots' Foster. A quick scrub up, and one session was on YouTube. The boss of Captured Tracks heard the session, and very soon James A Smith's musical renaissance, and recognition for The Containers' and The Beach Bullies was on its way!"
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CD
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MFG 047CD
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"A regular fixture on New York's downtown scene in the late 70's, Come On released just two singles in their short but fruitful existence -- the self-released 'Don't Walk On The Kitchen Floor/ A Kitchen In The Clouds' single in 1978 and the mysterious 'Housewives Play Tennis / Howard After 6' single in 1980 (the band was unaware it had ever been released until a copy showed up on eBay 20 years later). Typical of the time, Come On was comprised of a ragtag group of artists and scenesters -- seasoned musician George Elliott (guitar), conceptual guru Ralf Mann (bass), illustrator Page Wood (drums), teenager Elena Glasberg (guitar) who would study for class between gigs, and Jamie Kaufman (vocals) who had never sung before (or since) fronting Come On. With a unified egalitarian look of white button down shirts and black pants and Kaufman's arresting stage presence the band embodied what they called 'Nervous Rock Music.' Stripped down and tense, Come On's brand of minimalist rock teemed with agitation, sexual frustration, and a wry, dark humor. Compiling the band's two singles, unreleased tracks, live material from the late 70's, and including a 20-page booklet full of archival images and liner notes by noted biographer Chris O'Leary, Come On is recommended for fans of early Talking Heads, DNA, Pere Ubu, and Half Japanese."
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MFG 047LP
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LP version. "A regular fixture on New York's downtown scene in the late 70's, Come On released just two singles in their short but fruitful existence -- the self-released 'Don't Walk On The Kitchen Floor/ A Kitchen In The Clouds' single in 1978 and the mysterious 'Housewives Play Tennis / Howard After 6' single in 1980 (the band was unaware it had ever been released until a copy showed up on eBay 20 years later). Typical of the time, Come On was comprised of a ragtag group of artists and scenesters -- seasoned musician George Elliott (guitar), conceptual guru Ralf Mann (bass), illustrator Page Wood (drums), teenager Elena Glasberg (guitar) who would study for class between gigs, and Jamie Kaufman (vocals) who had never sung before (or since) fronting Come On. With a unified egalitarian look of white button down shirts and black pants and Kaufman's arresting stage presence the band embodied what they called 'Nervous Rock Music.' Stripped down and tense, Come On's brand of minimalist rock teemed with agitation, sexual frustration, and a wry, dark humor. Compiling the band's two singles, unreleased tracks, live material from the late 70's, and including a 20-page booklet full of archival images and liner notes by noted biographer Chris O'Leary, Come On is recommended for fans of early Talking Heads, DNA, Pere Ubu, and Half Japanese."
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2LP
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MFG 054LP
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Double LP version. "Manufactured Recordings presents its latest Shoegaze Archive installment: an expanded reissue of Alison's Halo's Eyedazzler -- a retrospective of the band's recordings originally compiled in 1998. Available for the first time on vinyl, this criminally overlooked Tempe, AZ outfit is one of the premiere American shoegaze bands. Find the full story of Alison's Halo below, written by Jack Rabid, editor/publisher of The Big Takeover: 'They came out of Phoenix two decades ago, when Americans beyond Anglophilic centers finally noticed an incredible, dreamy 'shoegaze' explosion bubbling in Britain. Led by spouses Adam and Catherine Cooper, Alison's Halo trafficked in similarly spectacular, effects-laden, ethereal guitar majesties, but were distinguished by Catherine's lovely vocals (like Cocteau Twins' Liz Fraser, Slowdive's Rachel Goswell, and Mazzy Star's Hope Sandoval), as shimmering as their six-string mélanges. Sadly, the foursome only released one 7" single in 1995, on Bruce Licher's hallowed Independent Project Records, and a 1998 retrospective. But thanks to starring appearances in two legendary Phoenix Beautiful Noise festivals, 1995 and 1996 (flying in from New York, I loved Alison's, IPR's Half String, For Against, and Licher's Scenic, Apples in Stereo, etc.), Internet buzz, and now this timely Manufactured Recordings reissue, they're not forgotten -- unlike many hyped groups.'--Jack Rabid"
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CD
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MFG 054CD
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"Manufactured Recordings presents its latest Shoegaze Archive installment: an expanded reissue of Alison's Halo's Eyedazzler -- a retrospective of the band's recordings originally compiled in 1998. Available for the first time on vinyl, this criminally overlooked Tempe, AZ outfit is one of the premiere American shoegaze bands. Find the full story of Alison's Halo below, written by Jack Rabid, editor/publisher of The Big Takeover: 'They came out of Phoenix two decades ago, when Americans beyond Anglophilic centers finally noticed an incredible, dreamy 'shoegaze' explosion bubbling in Britain. Led by spouses Adam and Catherine Cooper, Alison's Halo trafficked in similarly spectacular, effects-laden, ethereal guitar majesties, but were distinguished by Catherine's lovely vocals (like Cocteau Twins' Liz Fraser, Slowdive's Rachel Goswell, and Mazzy Star's Hope Sandoval), as shimmering as their six-string mélanges. Sadly, the foursome only released one 7" single in 1995, on Bruce Licher's hallowed Independent Project Records, and a 1998 retrospective. But thanks to starring appearances in two legendary Phoenix Beautiful Noise festivals, 1995 and 1996 (flying in from New York, I loved Alison's, IPR's Half String, For Against, and Licher's Scenic, Apples in Stereo, etc.), Internet buzz, and now this timely Manufactured Recordings reissue, they're not forgotten -- unlike many hyped groups.'--Jack Rabid"
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Cassette
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MFG 053CS
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Cassette version. "Mee-Eaux was the debut release from 90's second wave shoegaze band Bethany Curve. The band takes their name from a street sign near the cliffs of the Monterey Bay in Santa Cruz where they formed in 1994, just as the first generation British shoegaze bands like Slowdive, My Bloody Valentine, and Lush began to dissolve. Mee-Eaux, originally self-released on cassette only, was a 45 minute, 10 track introduction to Bethany Curve's dark space-rock approach to the droning, melancholic, distorted, and ethereal tones that had come to be associated with the shoegaze sound. The band's motto, Atmosphere | Arrangement | Sound | Layering | Noise, is a perfect reflection of Bethany Curve's compositional and performative approach to their debut effort, and remained so through the release of three more LPs: Skies a Crossed Sky (1996), Gold (1998), and You Brought Us Here (2001) on Unit Circle, and their final release, the Flaxen EP (2003), released on Kitchen Whore Records."
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CD
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MFG 053CD
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"Mee-Eaux was the debut release from 90's second wave shoegaze band Bethany Curve. The band takes their name from a street sign near the cliffs of the Monterey Bay in Santa Cruz where they formed in 1994, just as the first generation British shoegaze bands like Slowdive, My Bloody Valentine, and Lush began to dissolve. Mee-Eaux, originally self-released on cassette only, was a 45 minute, 10 track introduction to Bethany Curve's dark space-rock approach to the droning, melancholic, distorted, and ethereal tones that had come to be associated with the shoegaze sound. The band's motto, Atmosphere | Arrangement | Sound | Layering | Noise, is a perfect reflection of Bethany Curve's compositional and performative approach to their debut effort, and remained so through the release of three more LPs: Skies a Crossed Sky (1996), Gold (1998), and You Brought Us Here (2001) on Unit Circle, and their final release, the Flaxen EP (2003), released on Kitchen Whore Records."
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CD
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MFG 050CD
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"Manufactured Recordings' Shoegaze Archive presents Come Closer, We're Cool, a collection of early 90's fuzzy noise pop by KG, the longtime project of Mulhouse, France's Rémy Bux. Started in 1988 as a solo bedroom project named after the German word Kriegsgefangener (prisoner of war), Bux's early experiments involved a two-track recorder, a rigged synthesizer, and a great deal of ingenuity. Eventually procuring a four-track recorder, Bux began recording more seriously. Following a move to Strasbourg near France's German border to study musicology in 1991, Bux began playing in local bands and sending his KG demos around, which eventually brought him in contact with Lo-Fi Recordings in Paris. It wasn't until 1993 that Bux went into Strasbourg's Downtown Studio to record the first KG 7". A second single co-released by Lo-Fi and Orgasm Records featuring the same line-up was released in 1996. Come Closer, We're Cool compiles these early singles as well as tracks from a shelved release on Slumberland Records and other unreleased tracks. While similarities to Isn't Anything-era My Bloody Valentine and the Jesus & Mary Chain's Psychocandy abound, KG's approach is markedly different by blending the swirling textures of shoegaze and dream pop with the immediacy and minimalism of punk. Though KG never took off as a rock band -- Bux has turned his efforts towards making electronic music under the KG moniker at the beginning of the century, and is nowadays producing a mix of both styles -- Come Closer, We're Cool showcases one of the underrated greats of the 2nd wave of shoegaze."
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LP
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MFG 050LP
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LP version. "Manufactured Recordings' Shoegaze Archive presents Come Closer, We're Cool, a collection of early 90's fuzzy noise pop by KG, the longtime project of Mulhouse, France's Rémy Bux. Started in 1988 as a solo bedroom project named after the German word Kriegsgefangener (prisoner of war), Bux's early experiments involved a two-track recorder, a rigged synthesizer, and a great deal of ingenuity. Eventually procuring a four-track recorder, Bux began recording more seriously. Following a move to Strasbourg near France's German border to study musicology in 1991, Bux began playing in local bands and sending his KG demos around, which eventually brought him in contact with Lo-Fi Recordings in Paris. It wasn't until 1993 that Bux went into Strasbourg's Downtown Studio to record the first KG 7". A second single co-released by Lo-Fi and Orgasm Records featuring the same line-up was released in 1996. Come Closer, We're Cool compiles these early singles as well as tracks from a shelved release on Slumberland Records and other unreleased tracks. While similarities to Isn't Anything-era My Bloody Valentine and the Jesus & Mary Chain's Psychocandy abound, KG's approach is markedly different by blending the swirling textures of shoegaze and dream pop with the immediacy and minimalism of punk. Though KG never took off as a rock band -- Bux has turned his efforts towards making electronic music under the KG moniker at the beginning of the century, and is nowadays producing a mix of both styles -- Come Closer, We're Cool showcases one of the underrated greats of the 2nd wave of shoegaze."
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3CD
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MFG 043CD
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"Following the reissues of Brother Ah's three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah's unique sound and musical vision. Released a 3xCD package, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance. The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria's Vienna State Academy, he emerged in the late '50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the '60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late '60s, his interest in non-western music developed, and his '70s and '80s recordings, incorporated elements of Eastern and 'Third World' music, fusing them with jazz structures."
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5LP BOX
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MFG 043LP
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2022 restock; five LP box set version. "Following the reissues of Brother Ah's three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah's unique sound and musical vision. Released as a 5xLP box set, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance. The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria's Vienna State Academy, he emerged in the late '50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the '60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late '60s, his interest in non-western music developed, and his '70s and '80s recordings, incorporated elements of Eastern and 'Third World' music, fusing them with jazz structures."
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MFG 046LP
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"Smart Remarks began in 1980 with Todd Ellis (guitar, vocals), Chris Gordon (bass), and Ant Barbalace (drums) as an original punk/ power pop trio out of Bordentown, NJ. School friends and co-workers at the local Ocean Spray Cranberry factory, the band was influenced by early power pop bands like Paul Collins' Beat, The Records, The Knack, and especially the Staten Island, NY three-piece Dirty Looks. Smart Remarks recorded their first single Was It Something We Said? in 1982, which spawned the power pop classic 'Mary's Got Her Eye On Me.' Often the opening act for larger bands that came through town (The Replacements, The Ramones, Joan Jett, Haircut 100), the band became the favorite house band at Trenton, NJ's famous City Gardens Night Club. Smart Remarks re-entered the studio in 1984 to record the five track EP Seriously Speaking with new bassist Steve DeStefano, which would become their final recording together. Collecting Smart Remarks' entire discography and including liner notes from Randy 'Now' Ellis, the famed owner of City Gardens, Foreign Fields: 1982- 1984 is a must for fans of classic, catchy US power pop."
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LP
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MFG 045LP
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"Formed in 1980, New Jersey's the Modulators are one of the unsung greats of the American power pop scene. Initially the solo project of multi-instrumentalist Joe Riccardello with help from producer/lyricist (and Vintage Vinyl Records owner) Rob Roth, Ricardello released his first single Girl Trouble in 1980 just before bringing on friends Mark Higgins (guitar) and Mark 'Cakes' Westlake (drums) to join the band. As a fully-formed trio, the Modulators began playing out across New Jersey in the early 80's and recorded tracks for two local compilations and the band's second, enduring single She's So Cynical in 1982. Live gigs and songwriting continued, with the band often writing and recording more material than their release schedule could keep up with. Finally in 1984, the band released their first and only LP, Tomorrow's Coming on Roth's Vintage Vinyl Records. Full of timeless gems and quintessential 80's power pop anthems, the record is now regarded as a genre classic by power pop collectors. Tracks like 'Spin Me Around,' 'If You Let Her Go,' and 'Lost Without a Sound' display the Modulators' smart songwriting, catchy hooks, and effortless pop sensibility. Though the band continued to play the tri-state area until 1986 (and every now and then since), Tomorrow's Coming was the Modulator's last vinyl release. Bringing together the band's entire discography with an additional 14 unreleased songs and demo tracks and liner notes from power pop collector Steve Borchardt, Manufactured Recordings is proud to present the definitive release of this power pop classic."
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CD
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MFG 049CD
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"In the late 1960's, Neftali Santiago's family bought their first home in Willingboro, New Jersey at 22 Somerset Drive. Here he would learn to play the drums and honed his skills, which landed him a spot as the drummer and a singer/songwriter in Mandrill, one of the most diverse funk bands of all time. In 1975, Santiago took a hiatus from the band and returned home to start a new project. Though he would return to Mandrill in 1978, between the years of 1975 and 1978 Santiago recorded an album's worth of material that has largely been unreleased until now. Under the moniker Santiago, Neftali and the talented multi-arranger Joe Byrne recorded four tracks, two of which landed on the band's first single in 1975. Despite the limited success of the band's only single, Neftali's manager secured high profile tours with The Ohio Players and Gil-Scott Heron. After moving across the country, Neftali started new bands (the Santiago Band, Santiago & Friends, and Neftali's Beast) and kept recording, though nothing came of the tracks except the mysteriously bootlegged 'Bionic Funk' 45 in the late 70's. Though Neftali's solo career came to an end in 1978 when he rejoined Mandrill, he left a treasure trove of unreleased funk tracks that are sure to please fans of Parliament/Funkadelic, Boosty Collins, Sly & The Family Stone, and 70's rare groove. Manufactured Recordings is proud to present Santiago's complete recordings for the first time ever."
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MFG 049LP
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LP version. "In the late 1960's, Neftali Santiago's family bought their first home in Willingboro, New Jersey at 22 Somerset Drive. Here he would learn to play the drums and honed his skills, which landed him a spot as the drummer and a singer/songwriter in Mandrill, one of the most diverse funk bands of all time. In 1975, Santiago took a hiatus from the band and returned home to start a new project. Though he would return to Mandrill in 1978, between the years of 1975 and 1978 Santiago recorded an album's worth of material that has largely been unreleased until now. Under the moniker Santiago, Neftali and the talented multi-arranger Joe Byrne recorded four tracks, two of which landed on the band's first single in 1975. Despite the limited success of the band's only single, Neftali's manager secured high profile tours with The Ohio Players and Gil-Scott Heron. After moving across the country, Neftali started new bands (the Santiago Band, Santiago & Friends, and Neftali's Beast) and kept recording, though nothing came of the tracks except the mysteriously bootlegged 'Bionic Funk' 45 in the late 70's. Though Neftali's solo career came to an end in 1978 when he rejoined Mandrill, he left a treasure trove of unreleased funk tracks that are sure to please fans of Parliament/Funkadelic, Boosty Collins, Sly & The Family Stone, and 70's rare groove. Manufactured Recordings is proud to present Santiago's complete recordings for the first time ever."
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MFG 035LP
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"Born out of the instant high of first hearing the Ramones' 'Blitzkrieg Bop' and the Sex Pistols, Dan Personne and Klas Björkman threw out their hard rock records and formed a band together with creative/doer Anders Sjölander in suburban Stockholm. Taking advantage of Sweden's close proximity to London, they shuttled back and forth to explore punk and new wave and scoured Rough Trade for the latest sounds. This eventually gave birth to Hörförståelse including new members Mats Wigerdal (formerly of minimal synth legends Kitchen & the Plastic Spoons), Örjan Magnusson and Olle Öfverberg in 1980. 'Förläst Jävel' (which roughly translates as 'overeducated bastard') is one of the keystone DIY punk 45s of the era. Casual ranting over a dizzying bassline and a scrappy keyboard which sounds like it was recorded in the apartment next door, Hörförståelse channels bands like The Fall or The Desperate Bicycles but through an intangible yet somehow distinctly Swedish filter. The band moved a bunch of copies of the record through its own distribution network, which included donating 50 copies to the aforementioned Rough Trade shop in London, but as the story usually goes, the record garnered little attention even domestically. With the punk era starting to wane and Swedish labels increasingly prioritizing English-language bands, there was no one willing to take a chance on Hörförståelse. Thankfully for us, the band went into the studio again in 1982 to record 8 hitherto unreleased songs, making up the backbone of this collection."
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MFG 048CD
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"John E. Tinsley was born in 1920 in Chestnut Mountain, Virginia and later moved to Henry County in an area just outside of Martinsville. According to the liner notes of Smithsonian Folkways Compilation Virginia Traditions: West Piedmont Blues, which featured two John Tinsley recordings, Tinsley began playing guitar at the age of 15, at the behest of his neighbor. He would go on to be influenced by other Piedmont and East Coast bluesmen such as Blind Boy Fuller, Josh White and Buddy Moss. However, it wasn't until 1952 that Tinsley and friend, Fred Holland, first recorded any of Tinsley's repertoire. Bassett, Virginia's Mutual Records released 'Truble Blues' and 'Keep Your Hands Off Her' as a 78 that year. Following the poor sales of the 'Truble Blues' 78, a discouraged Tinsley briefly left the world of secular music behind, playing religious music exclusively in the mid-1950s and 60s. Yet, flash forward to 1978 to find Tinsley recording the session featured on this reissue of Country Blues Roots Revived for the primarily Bluegrass label Outlet Recordings, accompanied on most cuts by his son William on piano and J.P. Young on harmonica. This recording has not been available since the '70s and is a rarity treasured by lovers of the Piedmont blues style."
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