Feeding Tube Vinyl, CD & Tape 42 Artikel

Here's an expanded vinylization of a boss live show from Snock and his Vermont roustabouts, recorded at Folk City on July 17, 1976. Most of it was first issued back in '88, as side two of the Land of Lo Fi/Redbirds cassette on Bellemeade Phonics. But some new masters showed up subsequently, so there's an extra song and a half available for your listening pleasure. And pure pleasure is what it is. I always believed I had seen Hurley play somewhere in NYC before this. I thought maybe it was during the Unholy Modal Rounders' stint at Broadway Charly's, but Woodbill has continuously disabused me of this notion over the years. By his count, there were zero Manhattan Hurley shows until after the release of the acclaimed Have Moicy! album in 1976. And he oughta know. Consequently, this was probably the first time Hurley brought his band out of the hills. Guitar, bass, drums, piano and trumpet, all of them beautifully in sync and swinging like the rural hippie boogie band they were -- tested by long nights in halls filled with rowdy snowmobilers and the women who love them. Hurley & the Redbirds were more than ready to bowl over the city slickers who filled Folk City this hot mid-summer evening. Snock's voice is limber and strong, flipping easily into falsetto and yodels, and the music is faultless. Something like the Platonic ideal of what 'bar rock' can be. They only do one tune from Have Moicy!, but nobody could have minded. The music rolls out like the sweetest-ever guzzle of maple syrup laced with Mello Corn Whiskey. So loaded, so powerful, you're likely to shit the bed if you listen lying down. So hop right up, and let the music shuffle your feet around for you. You'll be glad you did. Besides the boss sounds, this issue includes liner notes by Snock recalling the scene around Fairfield Vermont back in the summer of '75. It's a very nice read. Count yourself lucky. Don't delay." --Byron Coley, 2017.

Backing herself with circular acoustic patterns, her voice recalls the sweet charm of Sandy Denny when she was w/ the Strawbs, or the way Joni Mitchell covered Leonard Cohen's 'Urge for Going' in '72.

Split EP. Boston's (NE) PATS revel in squealing feedback, raunchy spuzz-riffs, & mutable vocals, reminiscent of the Cows & long-forgotten weird Texas just-pre-core punk bands. Hudson Valley's Palberta take the primitive, rumpus room antic-punk of their cassette & plow it straight into a mound of no-wave snot -- drippy, off-center, & bizarrely attractive; they recall such form-destroyers as Aunt Sally & even Arthur Doyle.

Remixed, remade, remodeled vinylization of Palberta's Hot On The Beach (2015). The four brutarian tracks on the A-side are shards of songs reductive enough to have earned their 'no wave' deal of approval. Ug-thrust co-existing with a whacked-out feel more in line with late '70s UK scribblers like the Raincoats or Big In Japan. They do a single extended track called 'Prolly For The Best'—something like a dance 12" released by 99 Records, recorded anonymously and very drunkenly by the Y Pants after a show at Experimedia. Edition of 360. 45 RPM.

Johnson played piano on Pumice's most recent album, & her music has a distinctly percussive element.

His 1st album as the leader of a jazz trio in 1974.

LP of mostly instrumental material recorded in the same mid-late '70s time frame as his cult album You Think You Really Know Me. On side A, classic youthful piano destruction with the late Vince Rossi; on side B, five shorter tracks with a trio, something like oddball soundtrack music from '70s exploitation cinema.

Debut from New England's favorite dream-harpist, previously known for her work in the context of Boston's Whitehaus Family. Excursions into the mists of detourned Scottish balladry & backseat singalong dynamism, something like kindergarten recreations of The Wicker Man.

Collects two albums from Brattleboro, Vermont-based songwriter Pete Nichols. For fans of Jad Fair, Yo La Tengo. LP with download, limited to 250 copies.

2nd volume of music from punk/no wave obscuros - tracks culled from old tapes & transferred by Don Fleming, including material from a 1974 New York performance.

Collaborative album from two New England improv heavyweights - sax-blower Paul Flaherty & percussionist Chris Corsano.

A collection of '74-'77 vintage recordings by this mythic proto-punk/no wave unit from the bowels of New York City. On par with Electric Eels, Debris, Simply Saucer, early MX80 Sound! Features late Contortions / 8-Eyed Spy / Raybeats bass player George Scott and more. Edition of 600. Includes download code.

While we were playing the test pressing of this album, the UPS guy came in with a package. He looked at the speaker and said, 'Sounds like that baby's busted, champ.' Chris and I looked at each other and jumped him, popping his eyes out of his head and dragging him into the back room to drain his blood amidst the back stock. Damaged III is that kind of album. Back when I lived at the Believers House in Easthampton, Grey Skull Manor was just downstairs and we would often feel the evil emanations seeping through the floorboards. Of course, this was long before the trio hung up their horned hats and went straight-GEORGE MYERS becoming a yuppie movie booker, JEFF HARTFORD forming the JEFFREY HARTFORD SEXTET PLUS OMNE, and DAN CASHMAN founding the... FIBBLES. Back in those days, there was no room for Milkshake Rock amongst these cavemen. Their sound is a perverse improv / noise / metal / core hybrid that makes one's ears bleed with the sheerest pleasure imaginable. Years in the making, Damaged III takes its blueprint from a Black Flag boot cassette called Damaged II. The idea was to take elements of that specific set of tunes and emphasize aspects of them that would deform their intent and meaning. No effort was made to replicate Rollins' vocals (indeed, it sounds like they're all gargling hot dinosaur jizz), but instrumental and lyric samples form the basis of the compositions. An extraordinary, dare I say, Herculean effort by three guys I just previously thought were a menace to society. That was before the Fribbles, of course. Coming to a town near you!"-Feeding Tube Records; Edition of 200. Hand-glued covers.