Bump & the Soul Stompers: 'I Can Remember' b/w 'Standing On The Outside'
At the core of Kansas City?s vibrant classic-era soul scene was no record label or studio, but America?s Best Attractions, run by booking agent Allen Bell. America?s Best, and the exceedingly above-board Bell, kept countless local acts roadweary and comfortably paid. Bump & the Soul Stompers, ledby Jerald ?Bump? Scott, was among several Bell-related acts that bounced through enviable careers without ever having to enter a recording studio. Even so, ?Bump? Scott did lead his band into one of the region?s best-known facilities: Damon Studios (deeded to Victor Damon, inventor of thespring reverb, and not to be confused with big band great Vic Damone). Bump and company?s first single, had ever been released, ?I Can Remember? momentarily recalls The Delfonics? ?Do You Remember? before flipping its melody the other way around. On the B-side, ?Standing On The Outside? makes further appeals to the lowrider set, brakepedaling the tempo a notch or two.
Calvin Harris: 'Love's Recipe' b/w 'Wives Get Lonely Too'
Previously unreleased, this 1972 pair of Calvin Harris? masterfully crafted Earl Wiley-produced sweet soul demos might?ve stayed totally unknown, if it weren?t for Ed Cody?s devious forethought. An engineer at Chicago?s Stereosonic facility, Cody duped himself a submaster reference copy of thecomplete session. In ?73, Wiley heard ?Love Won?t Pay The Bills? on 45?credited to a group called Elevation?and instantly recognized the Cody-engineered track as his own. Nearly 40 years later, through Numero Group research into Stereosonic, Cody, and Wiley, a cache of Cody masters presented themselves for new evaluation. The alternately buoyant and sobering odes to domesticity reproduced here finally grant honey-voicedHarris and the talented Wiley their long-deserved due.
Eating Out: Burn
Eating Out is the crunchy, distorted, pop-oriented project of Nü Sensae drummer Daniel Pitout. The big distorted guitar riffs and heartfelt melodies of Pitout?s brainchild are a notable departure from Nü Sensae?s roaring assault. But Eating Out also has the proud distinction of being a Vancouver supergroup of sorts. While Pitout assumes the songwriting duties and the accompanying positions of guitarist and vocalist, fellow Sensae Brody McKnight rounds out the guitar department, White Lung vocalist Mish Way lends her bass skills, and Peace?s Geoff Dembicki fills in on drums. While vestiges of Nü Sensae?s brash tonalities, White Lung?s melodic treatment of hardcore, and Peace?s bold anglophile pop can all be heard in Eating Out, Pitout?s songs owe more to girl-grunge groups of the early nineties than to any of his co-conspirators? primary projects.
?Preparations’ is the first record to be released on Tri Angle by Fis. Based in Wellington, New Zealand, Fis has steadily been building a name for himself on the underground as a producer to keep an eye on. Having already put out a number of very limited edition and very well received releases through a handful of drum and bass oriented labels, ?Preparations’ finds Fis at a point in his music making career where he’s ready to be introduced to a wider audience and confirm why websites like Resident Advisor have had things like this to say about him in the past; ?A producer that has suddenly appeared, rather fully-formed, doing something completely individual, sounding like absolutely no one else.’ It’s pretty difficult to explain exactly what Fis sounds like. Drawing upon a rich history of New Zealand customs and periods of heavy meditation for inspiration, Fis’s tracks have the ability to completely disorientate and absorb the listener, creating rhythms that constantly seem to be cannibalizing one another. ?Preparations’ feels forward thinking in the extreme and yet entirely elemental and strangely ancient.
For Against: For Against 3xLP Set: Echelons, December, In the Marshes
Lincoln, NE is a rather unlikely setting for a band such as For Against to have been birthed from, yet over 25 years ago they emerged with a sound unlike anything else happening this side of the UK. Garnering comparisons to early Factory Records and Joy Division, For Against formed in 1984, finally releasing their first LP, Echelons, in 1987 with Independent Project Records. The album was met with critical acclaim and the band toured behind it to much success. Their second LP, December, was released the following year to equally rave reviews and significant College Radio play. The band quickly lost momentum as key members parted ways to form other projects. As the line up shifted over the next few years, their label released a collection of decidedly more experimental demos, titled In the Marshes. Long out of print, this is the first time that you can purchase all three of the bands earliest and most defining recordings as a complete box set, not to be sold individually.
Ghost Wave: Ages
Auckland, New Zealand based rock band whose sound finds itself somewhere between the Flying Nun bands of the ?80s, the British explosion of the ?60s and the wayfaring dubs of Lee "Scratch" Perry. ?Ages’ is the bands debut record recorded and self-produced in various studios around Auckland, New Zealand in six days.
Hella: Santa's Little Hella
The November installment of the Joyful Noise 2013 Flexi Disc Series a new unreleased recording from Hella!
The limited edition flexi-disc single features a never before heard outtake from Hella’s 2007 album “There’s No 666 in Outer Space” (Ipecac Records). As Hella fans will probably remember, 2007 was an expansive period for the band in which they explored new sounds and branched out from the stripped-down guitar/drums duo. Though no less chaotic than early Hella, “Santa’s Little Hella” contains organs & electronics coupled with Zach Hill’s insane spastic drumming.
“Santa’s Little Hella” is limited to just 1000 copies on 7” Flexi-Disc. This exclusive track will not be released digitally or in any other format.
Jorma Whittaker: Jorma
Jorma Whittaker?s first solo release since his 2001 debut on Secretly Canadian. With the help of his backup band Heavy Hometown, the Marmoset front man has produced the most accomplished, soulful, and downright menacing album of his career.
Master Plan Inc.: 'Try It (You'll Like It)' b/w 'Master Plan Intro'
This pair of Minneapolis-by-way-of-Chicago tracks masterfully capture Master Plan Inc.?s silky vocal moves and break-heavy, horn-laden funk riffs. Led out of the early ?70s by vocalist Doug Shorts?alongside guitarist Joe Stevenson, drummer Dean Knox, and bassist Eddie Manning?Master Plan Inc.?s brief 1975 furlough in Minneapolis came at an opportune moment, as rising studio wiz David ?Z? Rivkin scoured his Twin City environs for black talent. A year shy of his contract-fetching demo for local prodigy Prince Rogers Nelson, Rivkin mapped out the Sound 80 facility for Master Plan, who put down four tracks. Shorts cracked his piggy bank, paid Rivkin for the Sound 80 tapes, and brought them to Chicago, where he paired up at Stereosonic with engineer Ed Cody, for mixing and finishing touches. Plans for a pressing fell through, and Master Plan Inc. sketched out several new lineups before folding in 1980.
Mind & Matter: 1514 Oliver Avenue (Basement)
Jimmy Jam Harris was just 16 when he began writing and arranging for Minneapolis 11-piece Mind & Matter. Boasting a perfectly calibrated vocal quartet, an aggressive rhythm section, and stacks of Rhodes, Rolands, and Hammonds, the danceable act failed to win favor with frigid Midwest audiences. Tracked in 1977, this bundle of never-before-released basement demos throw Harris? beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James ?Jimmy Jam? Harris? first foray into songcraft and an organic Minneapolis-vintage alternative to a late ?70s Prince songbook gone increasingly synthetic.
Natural Child / Guantanamo Baywatch: Surf ?N? Turf
There couldn?t be a better title than Surf N Turf for a split 7? between Portland, Oregon?s Guantanamo Baywatch and Nashville, Tennessee?s Natural Child. While Guantanamo Baywatch bask in the coastal traditions of surf rock, Natural Child deliver the backwoods boogie of the landlocked Southern interior. To be fair, there?s much more to GB than vibrato-soaked Mosrite guitars. The recent Suicide Squeeze signees offset their Dick Dale-styled twang with the trashy hybrid of garage punk and surf rock spewed out by The Mummies. Sure, ?Raunch Stomp? is in step with the Ventures? tremolo-picking tradition, but a song like ?Love This Time? explains why the band spent time on the boisterous Dirtnap Records roster. Neither is Natural Child to be mistaken for mere good ol? boy sons of Skynyrd. Though they?ve certainly got a knack for a country-fried ballad (as evidenced on ?Don?t Wake The Baby?) or a sweetly stoned fuzzed-out lead on guitar, the trio are better suited for sharing a beer-soaked bar stage with fellow Nashevillians JEFF the Brotherhood and Heavy Cream than headlining the mainstage at the state fair.