Baptists

Like its predecessor, Bloodmines is a fast, exhilarating album of rage, oozing with genuine raw emotion and punk rock fury. Shards of feedback make way for fast powerful riffs and savage vocals, whilst explosive drumming pumps blood around the band's beating heart. On album tracks like Vistas, Calling and the title track, Bloodmines, the pace changes, revealing powerful, almost anthemic, jagged noise rock akin to influential San Diego post-hardcore band Drive Like Jehu and similar acts which go beyond the two minute mark. Discordant guitar melodies and abrasive vocal passages are elongated, still volatile but perhaps allowing for further contemplation of the band's underlying message.

BAPTISTS continually find new ways to express their rage and with Bloodmines they have created a memorable and commanding album.

No Better Than This, an album of all new original material from John Mellencamp recorded during his minor league ball park tour with Bob Dylan and Willie Nelson. Produced by T Bone Burnett who also collaborated with Mellencamp on the much-lauded Life Death Love and Freedom, the album was recorded on vintage equipment, a 55 year-old Ampex tape recorder with just one microphone in Savannah at the First African Baptist Church, in Memphis at Sun Studios and in San Antonio in room 414 of the Gunter Hotel.

Remastered

Emergency Ward! (1972) is Nina Simone's statement on the Vietnam War, and by dealing with matters more spiritual than political, this album aptly reflect the events of the day.

The entire first side consists of a 18-minute medley of George Harrison's My Sweet Lord and a poem by David Nelson called Today Is a Killer, set to music by Simone. This is a very strong, gospel-like performance, sometimes resembling the Capitols' Cool Jerk with a call-and-response vocal arrangement - one of Simone's finest moments. It was performed together with the Bethany Baptist Church Junior Choir of South Jamaica, New York.

Side two consists of the Lennie BleecherJeremy Wind song Poppies and George Harrison's Isn't It A Pity. Tracks 1 and 4 were recorded november 18, 1971 at Fort Dix, and tracks 2-3 were recorded at the RCA Studio in New York City.

During that time he recorded two sides for a regional 45 single and was later recorded by Leo Bruin, both in Senatobia and during a trip Ranie made to the Netherlands. Some of those recordings appear on the Swingmaster CD Going Down South, along with tracks by harmonica player Johnny Woods and R.L. Burnside, whom Ranie mentored and often played with.

Burnette's music, like the aforementioned artists, is strongly rooted in the rhythmic tradition of the fife and drum bands from the region, which you'll hear on this 11-song collection, also recorded by Leo Bruin. Ranie Burnette died in Memphis, TN, on January 23, 2000 and is buried in the cemetery at Ebeneezer Missionary Baptist Church in Como, MS.

Touring is an expression of faith - in yourself, in your friends, in the
hope that the world has a place for you. In that spirit, I invited all the
bands we covered to play on Fellow Travelers, with the caveat that you
couldn't play on your own song. Almost everyone rose to the bait: Chris
from the Baptist Generals turned Clinic's "Tomorrow" into a stomping
incantation, while Clinic infected the Generals' "Fucked Up Life" with
drum machines, radio signals, and combo organ. I added recordings I
made of birds and waves in the Falklands to David Thomas Broughton's
"Ambiguity," and he sent us a tape he made of sparrows, bulbuls, and
the clanking shovels of highway workers in Pyongyang, North Korea,
which we spliced into our rock-anthem version of Xiu Xiu's "I Luv the
Valley OH!!" And Jenn from Wye Oak, who, like us, had also toured with
Lou B, added vocals to "Natural One."

Leon Trotsky, who gave the words "fellow travelers" their political aura,
once wrote that "a protest against reality, either conscious or unconscious,
active or passive, optimistic or pessimistic, always forms part of a really
creative piece of work." Listening back, I get a feeling of common effort,
of common purpose, among all of our different musical paths; we've all
tried to defy or transform reality in small ways with our music, and to
prove it with our performing lives.

- Jonathan Meiburg, NYC, March 2013

Heavyweight Glossy Tip-On Jacket By Stoughton Printing

Mississippi's Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942, and for having taught some important licks to both Robert Johnson and Muddy Waters before he was rediscovered by a new generation of college-age fans in 1964.

The Father of the Delta Blues recorded this namesake LP for Columbia Records a year later in 1965. It's become, in the words of Living Blues magazine - Essential recordings by one of the greatest bluesmen ever. And now, Analogue Productions presents a reissue unmatched in sonic quality and luxury presentation. For our version we turned to Ryan Smith at Sterling Sound to remaster the recording from the original master tapes. The freshly cut lacquers were then plated and pressed on 200-gram vinyl by our own Quality Record Pressings.

Son was born Eddie James House, Jr., on March 21, 1902, in Riverton, Miss. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn't even bother picking up a guitar until he turned 25; to quote House, I didn't like no guitar when I first heard it; oh gee, I couldn't stand a guy playin' a guitar. I didn't like none of it. But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, Miss., one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now.

Now, sit back and enjoy one of the genre's greatest, on a reissue that's the best that's been made to date. So authentic, so real - that's the Analogue Productions difference.

This title is not eligible for discount.

Heavyweight Glossy Tip-on Jacket By Stoughton Printing

Mississippi's Son House was already legendary for a small collection of live field recordings made by folklorist Alan Lomax in 1941 and 1942, and for having taught some important licks to both Robert Johnson and Muddy Waters before he was rediscovered by a new generation of college-age fans in 1964.

The Father of the Delta Blues recorded this namesake LP for Columbia Records a year later in 1965. It's become, in the words of Living Blues magazine - Essential recordings by one of the greatest bluesmen ever. And now, Analogue Productions presents a reissue unmatched in sonic quality and luxury presentation. For our version we turned to Ryan Smith at Sterling Sound to remaster the recording from the original master tapes. The freshly cut lacquers - for this version we've cut the album at 45 RPM for truer cartridge tracking and decreased distortion on the inner groove - were then plated and pressed on 200-gram vinyl by our own Quality Record Pressings.

Son was born Eddie James House, Jr., on March 21, 1902, in Riverton, Miss. By the age of 15, he was preaching the gospel in various Baptist churches as the family seemingly wandered from one plantation to the next. He didn't even bother picking up a guitar until he turned 25; to quote House, I didn't like no guitar when I first heard it; oh gee, I couldn't stand a guy playin' a guitar. I didn't like none of it. But if his ambivalence to the instrument was obvious, even more obvious was the simple fact that Son hated plantation labor even more and had developed a taste for corn whiskey. After drunkenly launching into a blues at a house frolic in Lyon, Miss., one night and picking up some coin for doing it, the die seemed to be cast; Son House may have been a preacher, but he was part of the blues world now.

Now, sit back and enjoy one of the genere's greatest, on a reissue that's the best that's been made to date. So authentic, so real - that's the Analogue Productions difference.

This title is not eligible for discount.

'The Lucid Collective' was recorded at Rain City Recorders, in Vancouver, B.C. and was engineered, mixed, and mastered by Stuart McKillop (BAPTISTS, BISON B.C.) with additional engineering by Curtis Buckoll and Mark Mckitrick.

As witnessed on the trio's previous works, 2010's Vold EP and first release for Southern Lord, 2011's Fear 7", as well through their vicious on-stage presence, DEAD IN THE DIRT crushes everything in their path with a vehement and volatile crust/hardcore attack. Inspired by the scriptures of His Hero Is Gone, Left For Dead, Infest and DropDead, the faction creates some of the most morose and tonally oppressive music conceivable, all fueled with enraged socio-political lyrical content and straightedge/Vegan ethics.

The Blind Hole surges with twenty-two tracks in less than twenty-four minutes, their downtuned, caustic riffs packed into the melee creating the most destructive blasting DEAD IN THE DIRT material yet. Though surging with crushing distortion, the album boasts incredibly clear production values, recorded at Bricktop Recording Studio with Andy Nelson (Weekend Nachos) in Chicago, and mastered by Brad Boatright (Nails, All Pigs Must Die, Baptists, Sleep). The cover was illustrated by Bo Orr as with the band's Fear EP.

Together on their new epic double album What One Becomes the trio walk the line between chaos and control. This sophomore album sees the band take a leap forward from their debut The Deal (2015) revealing a new side of Turner's combustible songwriting and guitar playing. Fans of the legendary Isis and cult heros Old Man Gloom will not be disappointed. There is a profound anxiety that leaches through What One Becomes. SUMAC's choreographed structures parallel the internal and personal struggles with anxiety. They seek to identify the source, devise a course of action, and confront that condition at hand. SUMAC channels psychic distress into their rigorously algebraic maneuvers and syllable-crack dissonance.

With Livin' On A High Note, Mavis Staples has delivered the most joyful and uplifting record of her career. 12 original songs written exclusively for Mavis by some of the finest songwriters of our time including M .Ward, Ben Harper, Valerie June, Neko Case, tune-yards, Nick Cave, John Baptiste, Justin Vernon, Aloe Blacc, and more.

For the first time in many years, Friday Music is proud to announce the new definitive remaster version of Blood, Sweat & Tears 1971 masterwork Blood, Sweat & Tears 4. Featuring the unmistakable voice of David Clayton Thomas, BST 4 yielded the band a platinum + l.p. effort with several hit singles like Lisa Listen To Me and the rocking Go Down Gamblin. The was the last album from the original line-up of charter members including David Clayton Thomas, Steve Katz, Bobby Colomby, Lew Solof, etc. Even founder Al Kooper lends a hand on the project with his stunning arrangement and composition John The Baptist. Includes A+ remastering from the original Columbia vault tapes by Joe Reagoso (Boz Scaggs, Hall and Oates, Doobie Brothers) and original art elements
not seen in years. The complete deal as you would expect from Friday Music. We can honesty say that we think this is the definitive best sounding version of this classic yet!

Pavement made five proper album-as-albums: Slanted and Enchanted (1992), Crooked Rain, Crooked Rain (1994), Wowee Zowee (1995), Brighten The Corners (1997) and Terror Twilight (1999). Each has its own sound. Each has its own legend. But each of their official albums has a shadow album-and it's usually as strong as the album that actually *did* come out. It's time for the world to hear the albums Pavement could have made, if they'd been a little less ambitious about music and a little more ambitious about the music business. If they'd been the kind of band to sweat the legacy. But if they were that kind of band, would they have written so many great songs? Much less *these* great songs? No.

Matador is finally releasing a series of these shadow albums. The first, naturally, is *The Secret History Vol. 1*, collecting the songs that got away during the era of Slanted and Enchanted, which Stephen Malkmus, Scott Kannberg and Gary Young recorded on the cheaper-than-cheap in January 1991. *Secret Slanted History* collects gems from Peel Sessions ("Kentucky Cocktail," "Circa 1762") and seven-inches ("Baptist Blacktick") as well as live slop from the first European tours, with Mark Ibold and Bob Nastanovich in the fold. Some are outtakes from *Slanted*-imagine leaving these tunes off your first album, when as far as you know or imagine, it's your *only* album. These tracks (some of which had never been rumored among Pavement freaks) came out on the 2002 *Slanted and Enchanted* reissue. But they've never been separately available as an album in their own right, and many of them have never been on vinyl before.

The rarities collected here could have been-or maybe even should have been-cobbled together into a quickie stopgap album, a Slantedsequel.

Live Evolution Lost: The 13th Floor Elevators Live at the Houston Music Theatre is the first ever release of the complete performance of the band's legendary show from 18th February 1967.

The trailblazing 13th Floor Elevators released the first "psychedelic" rock album in America, transforming culture throughout the 1960s and beyond. Formed in late 1965 in a small town in Texas by Electric Jug playing Tommy Hall, guitarist & vocalist Roky Erickson, guitarist Stacy Sutherland they were joined by bass player Benny Thurman, and drummer John Ike Walton; at a time where Baptist and Mormon preachers fought for the population's spiritual wellbeing, and Country & Western music filled the bars on a Saturday night. Out of these conflicting extremes, the Elevators were born and began making a name for themselves in the burgeoning music scene in Austin, Texas.

Though Roky Erickson was the frontman, the group's sound and philosophy were created by the unpredictable & impulsive Tommy Hall. The Elevators followed their own spiritual cosmic route searching for a new path to enlightenment whilst all the while creating a reputation for excess. The band developed a sound that merged garage-punk and psychedelic experimentation. Their music, from the beginning, played and created under the influence of LSD, was raw, ambitious and hugely experimental with Sutherland's pioneering use of reverb and echo, and bluesy, acid-drenched guitar mixed with Tommy Hall's innovative electric jug 'psychedelic rock' was conceived.

A three album edition, on green, blue and red heavyweight vinyl, which for the first time features the whole of the Elevators' historic gig on 18th February 1967 at the Houston Music Theatre. It catches the band with its classic line-up before the release of 'Easter Everywhere' and is the only known complete recording of an Elevators' gig, and the latest to survive. Mastered by Sonic Boom and put together by band expert Paul Drummond, it includes one reel unissued for over forty-five years.