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Artist: BALI HIGH
Title: Bali High OST
Format: Double LP
Label: Anthology
Country: USA
Price: $19.00
"From the 50s up until the early 80s, most surf film soundtracks were bootlegged straight from the directors record collection without much thought given to licensing rights or fees. As was the case with Bali High (1981), a visual documentation of three years of chasing waves in Indonesia and Kauai. Filmmaker Stephen Spauldings original soundtrack featured favorites from The Rolling Stones, Bob Marley, and Santana, but as the subculture of surfing grew commercial traction, Spaulding had to rethink how to legally sell the film without paying for song rights. For the 1984 re-release Spaulding sought out the help of Kauai based musician and producer Michael Sena to compose an original score that could match the action and vibe of his previous soundtrack. Unencumbered by the challenge of interpreting a compilation of various artists into one fluid body of music, Sena wrote, produced, and recorded each song himself in just three months. The resulting 26 tracks lend the film its signature flavor and cover an impressive variation of genres, featuring moments of folk, dubby rock, synthesized disco, tropicalia, jazz fusion, and hyper-tempo power rock. Spaulding and Senas collaboration leave us with a layered time capsule in surf history, and we are proud to present the first issue of this colorful soundtrack as part of the ongoing Anthology Surf Archive series." - Anthology.

Artist: CREATION REBEL/NEW AGE STEPPERS
Title: Threat to Creation
Format: LP
Label: Anthology
Country: USA
Price: $17.00
"This 1981 collaboration between two acts on Adrian Sherwoods nascent On-U Sound label captures, like few other records of the day, the dubbed-out pressure of living in Thatcherite London, pounded flat by class warfare and left to fend for itself. Threat to Creation channels raw earth blues through pounding rhythms and left-field sonic anachronisms, and reclaims dub reggae as a music defined by struggle. Sherwoods touch created invisible links between dub and punk rock, fostered through guest appearances by Ari Up (The Slits) and Keith Levene (Public Image Ltd.). Anthology is pleased to present the first-ever U.S. edition of this crucial work." - Anthology.

Artist: FEVRE, BERNARD
Title: Cosmos 2043
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"The idea to re-release these records, and for the first time in their original format, is very dear to me. I really like the word origin, because its very important to know where things and people come from. I hope that others can see that I have been an originator not an imitator, although I never considered myself futuristic or revolutionary at the time. The important thing with these reissues is the fun that they will bring to the fans that have demanded them for so long. I understood it was going to make people happy. I wanted to re-master my old tracks myself because I didnt want to have a modern filter that would take away the charm of my old work, and new details would even appear in my work. In the end, the 1970s need to be heard: its important for the magic of listening. Listeners will have the exact sound of the studio that I was using at the time, hardly utilized by me for the original Revox tapes. It will be a journey to my dimension in a universe that I was the only one to know until now. I had the chance to work from magnetic analogue master tapes, which have not traveled far from my 1975 studio / chambre de bonne and the Paris suburbs where they were archived, since “the object ages less quickly than its creator.” I also think that I naturally make pretty timeless music, and the proof is that my music continues to convince young people from all over the world, even in countries where I will probably never go. And these people could be my grandchildren! By the way, the title The Kid In Me, from my last album, represents my inner child, who thinks his music is timeless and unaffected by the clock. The most exciting thing for me is that, for the first time, my music will be released and distributed all over the world, 40 years after being considered pitiful or mediocre, except for a few enlightened beings. And that means I can keep my job, which is very exciting. Music is my soul; its my life.

Cosmos 2043 and Suspense were made one after the other in 1975. Writing and production took two months for the first album and four months for the other. I chose to do everything myself, because I didnt trust the other producers and musicians; I thought they were way behind the times. Besides, Ive always found that other people around me paid little attention to music, and seemed old, unfashionable. Yet, its still amazing to celebrate the 40-year anniversary of Suspense (and 38-year anniversary of Cosmos 2043, which came out in 1977) because I never considered myself a pioneer or revolutionary. To make these albums, I used a Solina keyboard, Hohner clavinet that France gave me, a monophonic Moog, a Poly Korg that had been lent to me, and of course, that Mini Korg 700 that I still use today. I also had a Teac 4-track tape recorder, Power effects (a defunct French brand) and an Allen & Heath 12-track console. A real home studio ahead of the times in 1975! Cosmos 2043 (released in 1977) is best known for “Earth Message,” which was sampled in “Got Glint” by The Chemical Brothers. The cover is a rather naïve drawing that I drew myself because I have little talent there. I like the idea of abstraction in my work: “Skeeze” and “Weekee Way” are words that have no inherent meaning, like music in general. But if you have a working brain (and you arent a robot), these words will indicate a direction, suggest an image, evoke a feeling, or make you laugh. Art can touch the mind, body, heart, and even the feet! For the title, I chose the date 2043 rather haphazardly – it had to indicate a distant time, far away. I imagine that in 2043 life will be harder and the weather much warmer, and truthfully I do not know… unless a fairy comes along…

My influences come from classical music, rock n roll, rhythm and blues, and little songs on the radio – the kitschiest! I have always taken joy in respecting musical conventions, while also rejecting music theory at the same time. Im also influenced by the work of my heroes: Louis de Funès, Maurice Chevalier, Edith Piaf, Woody Wood Pecker, The Addams Family, Garry Cooper, Grace of Monaco, Buster Keaton, Little Eva, Mickey Mouse… Images that disturb me are those of my dreams or nightmares; they are so much more imaginative than those images imposed on us as “fiction.” My music is rather phantasmo-psychédélique, like soundtracks to imaginary films. Very few films were using this kind of music at the time. My music could soundtrack Barbarella or Interstellar instead of this very artificial synth noise you hear throughout the film. I also imagined my music in a Gary Cooper film, instead of the usual western music, or in Star Wars, in place of the redundant symphonic music, or even in Alphaville, Soylent Green, Alien, or Mars Attacks! I like movies that dont inflict stereotypes, or ones that depict mundane everyday occurrences punctuated by music not unlike the sounds of Richard Wagner or neighborhood dance clubs. In the second half on the 1970s, Paris was the “free thinker”, caught between a youthful past and a trendy, yet uncertain, future. The economy was healthy (a baguette cost 1 Franc or 0.15 €), nightclubs were friendly, girls were good girlfriends and guys were good boyfriends. I was buddies with most of the coatroom workers at the dance clubs that I would go to, and I never had to pay an entrance fee. I found a good way to get free drinks: I would sit at a table with older folks and challenge their “bad ideas” and “mediocre politics.” That always annoyed them, so they would buy me another drink to convince me of my mistakes! In reality, I always thought the future would be pretty idiotic, and I think it is like that today. Ive been hearing the same phrases for 60 years, from the mouths of business school graduates and those with “no teeth”: technology has not made the world any happier, just more dependable and naïve. And the naïve man is the preferred food of the raptor." - Bernanrd Fevre.

Artist: FEVRE, BERNARD
Title: Suspense
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"The idea to re-release these records, and for the first time in their original format, is very dear to me. I really like the word origin, because its very important to know where things and people come from. I hope that others can see that I have been an originator not an imitator, although I never considered myself futuristic or revolutionary at the time. The important thing with these reissues is the fun that they will bring to the fans that have demanded them for so long. I understood it was going to make people happy. I wanted to re-master my old tracks myself because I didnt want to have a modern filter that would take away the charm of my old work, and new details would even appear in my work. In the end, the 1970s need to be heard: its important for the magic of listening. Listeners will have the exact sound of the studio that I was using at the time, hardly utilized by me for the original Revox tapes. It will be a journey to my dimension in a universe that I was the only one to know until now. I had the chance to work from magnetic analogue master tapes, which have not traveled far from my 1975 studio / chambre de bonne and the Paris suburbs where they were archived, since “the object ages less quickly than its creator.” I also think that I naturally make pretty timeless music, and the proof is that my music continues to convince young people from all over the world, even in countries where I will probably never go. And these people could be my grandchildren! By the way, the title The Kid In Me, from my last album, represents my inner child, who thinks his music is timeless and unaffected by the clock. The most exciting thing for me is that, for the first time, my music will be released and distributed all over the world, 40 years after being considered pitiful or mediocre, except for a few enlightened beings. And that means I can keep my job, which is very exciting. Music is my soul; its my life.

Cosmos 2043 and Suspense were made one after the other in 1975. Writing and production took two months for the first album and four months for the other. I chose to do everything myself, because I didnt trust the other producers and musicians; I thought they were way behind the times. Besides, Ive always found that other people around me paid little attention to music, and seemed old, unfashionable. Yet, its still amazing to celebrate the 40-year anniversary of Suspense (and 38-year anniversary of Cosmos 2043, which came out in 1977) because I never considered myself a pioneer or revolutionary. To make these albums, I used a Solina keyboard, Hohner clavinet that France gave me, a monophonic Moog, a Poly Korg that had been lent to me, and of course, that Mini Korg 700 that I still use today. I also had a Teac 4-track tape recorder, Power effects (a defunct French brand) and an Allen & Heath 12-track console. A real home studio ahead of the times in 1975!

My influences come from classical music, rock n roll, rhythm and blues, and little songs on the radio – the kitschiest! I have always taken joy in respecting musical conventions, while also rejecting music theory at the same time. Im also influenced by the work of my heroes: Louis de Funès, Maurice Chevalier, Edith Piaf, Woody Wood Pecker, The Addams Family, Garry Cooper, Grace of Monaco, Buster Keaton, Little Eva, Mickey Mouse… Images that disturb me are those of my dreams or nightmares; they are so much more imaginative than those images imposed on us as “fiction.” My music is rather phantasmo-psychédélique, like soundtracks to imaginary films. Very few films were using this kind of music at the time. My music could soundtrack Barbarella or Interstellar instead of this very artificial synth noise you hear throughout the film. I also imagined my music in a Gary Cooper film, instead of the usual western music, or in Star Wars, in place of the redundant symphonic music, or even in Alphaville, Soylent Green, Alien, or Mars Attacks! I like movies that dont inflict stereotypes, or ones that depict mundane everyday occurrences punctuated by music not unlike the sounds of Richard Wagner or neighborhood dance clubs. In the second half on the 1970s, Paris was the “free thinker”, caught between a youthful past and a trendy, yet uncertain, future. The economy was healthy (a baguette cost 1 Franc or 0.15 €), nightclubs were friendly, girls were good girlfriends and guys were good boyfriends. I was buddies with most of the coatroom workers at the dance clubs that I would go to, and I never had to pay an entrance fee. I found a good way to get free drinks: I would sit at a table with older folks and challenge their “bad ideas” and “mediocre politics.” That always annoyed them, so they would buy me another drink to convince me of my mistakes! In reality, I always thought the future would be pretty idiotic, and I think it is like that today. Ive been hearing the same phrases for 60 years, from the mouths of business school graduates and those with “no teeth”: technology has not made the world any happier, just more dependable and naïve. And the naïve man is the preferred food of the raptor." - Bernard Fevre.

Artist: FOLSOM, ROBERT LESTER
Title: Music and Dreams
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Rock and pop music are, by all accounts, as unfair as life itself. Imagine spending the prime years of ones life, slowly honing ones skills as a guitarist, songwriter, vocalist and fledgling producer/engineer, only to have the developed fruits of your labor passed over by industry, radio, even those who you may have connected with earlier. Such was the fate of Music And Dreams, a wonderful, privately-issued album released by Robert Lester Folsom in 1976 thats very special to us here at Anthology Recordings, and an all-new collection of his home recordings, entitled Ode To A Rainy Day: Archives 1972-1975. Robert Lester Folsoms story isnt all that uncommon in the parlance of his era. Too young to be drafted, he spent the 60s growing up in Adel, Georgia, a small town nearer to Valdosta and Floridas northern border than anything resembling rock & roll, obsessing over his guitar as his craft and skills grew. Convincing a friend to go in on a Sears reel-to-reel tape recorder, which hed eventually buy out, Folsom caught the recording bug, traveling all around the area with his mobile unit, capturing sound to tapes for hire, and mastering the art of multitracking, which would become essential to his own material. With a number of friends home from college here and there, Folsom would write and record a wealth of material, eventually self-releasing an 8-track tape of his strongest selections, which makes up the backbone of Ode To A Rainy Day – the first time these songs have been heard in decades. The polish youll find on Music And Dreams is missing from the tracks on Ode, and if thats how you need to swing, so be it. Ostensibly more homemade, if not entirely “outsider” – a tag usually reserved for musicians that exhibit some manner of concern to the outside world rather than their lack of suitability for the music industry, neither of which fits Folsoms character or material – Ode showcases both impeccable songwriting across light folk, downer pop, front porch rock and woodshed country tropes, combined with ingenious arrangements and technical skills across primitive recording equipment. Folsoms voice on these tracks pitches between Joe Walsh and Alzo Fronte, with a Southern twinge that grounds those tracks in reality. Patches of tough, Whitten-esque acid guitar soloing dot the title track and “On and On,” though the beauty of Ode lies in its tracking of the seasons: the supreme late summer laze of “See You Later, Im Gone,” the wintry chill of instrumental “Oblivion,” the springtime sashays of “Situations” and “Lovels,” all bring out a natural, safely-exposed-to-the-elements sound from these works that transcends the humble circumstances in which they were fashioned. Rather, these songs wear those circumstances like a badge of honor, and listeners can decide for themselves the best parts of these approaches by comparing the versions of “Show Me To The Window” that crop up on both releases.

Folsom had become a seasoned studio head and professional musician by the time that his solo debut Music And Dreams had materialized. Recording at the Lefevre studio in Atlanta, GA, it brings the ideas presented on Ode into clear, polished relief, lushly appointed with synthesizers, clavinet, an army of percussion, and multiple tracks of orchestration and arrangements thatll make you feel like youve heard any of these wonderful songs before. Folsom provides a homespun challenge to then-established artists as farflung as Todd Rundgren, Neil Young, and KC & The Sunshine Band, albeit with touches of guitar fuzz ripping (“Jericho”) that credit his upbringing from the decade prior. Had the record any manner of major label backing, it couldve been a hit; as it stands, Music And Dreams has quietly amassed a cult following, with original copies trading for handsome sums, as attested by its presence in both editions of The Acid Archives, and its thorough championing by an unlikely ally, Gumball/Velvet Monkeys guitarist and celebrated producer Don Fleming, who grew up next door to Folsom back in Adel, and whose first outfit, The Stroke Band, was produced by Folsom himself at Lefevre in 1978. Were proud to make Music And Dreams available once again, and beyond ecstatic to present the music that led up to it on Ode To A Rainy Day." - Anthology.

Artist: FOLSOM, ROBERT LESTER
Title: Ode To a Rainy Day: Archives 1972-1975 LP
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Rock and pop music are, by all accounts, as unfair as life itself. Imagine spending the prime years of ones life, slowly honing ones skills as a guitarist, songwriter, vocalist and fledgling producer/engineer, only to have the developed fruits of your labor passed over by industry, radio, even those who you may have connected with earlier. Such was the fate of Music And Dreams, a wonderful, privately-issued album released by Robert Lester Folsom in 1976 thats very special to us here at Anthology Recordings, and an all-new collection of his home recordings, entitled Ode To A Rainy Day: Archives 1972-1975. Robert Lester Folsoms story isnt all that uncommon in the parlance of his era. Too young to be drafted, he spent the 60s growing up in Adel, Georgia, a small town nearer to Valdosta and Floridas northern border than anything resembling rock & roll, obsessing over his guitar as his craft and skills grew. Convincing a friend to go in on a Sears reel-to-reel tape recorder, which hed eventually buy out, Folsom caught the recording bug, traveling all around the area with his mobile unit, capturing sound to tapes for hire, and mastering the art of multitracking, which would become essential to his own material. With a number of friends home from college here and there, Folsom would write and record a wealth of material, eventually self-releasing an 8-track tape of his strongest selections, which makes up the backbone of Ode To A Rainy Day – the first time these songs have been heard in decades.

The polish youll find on Music And Dreams is missing from the tracks on Ode, and if thats how you need to swing, so be it. Ostensibly more homemade, if not entirely “outsider” – a tag usually reserved for musicians that exhibit some manner of concern to the outside world rather than their lack of suitability for the music industry, neither of which fits Folsoms character or material – Ode showcases both impeccable songwriting across light folk, downer pop, front porch rock and woodshed country tropes, combined with ingenious arrangements and technical skills across primitive recording equipment. Folsoms voice on these tracks pitches between Joe Walsh and Alzo Fronte, with a Southern twinge that grounds those tracks in reality. Patches of tough, Whitten-esque acid guitar soloing dot the title track and “On and On,” though the beauty of Ode lies in its tracking of the seasons: the supreme late summer laze of “See You Later, Im Gone,” the wintry chill of instrumental “Oblivion,” the springtime sashays of “Situations” and “Lovels,” all bring out a natural, safely-exposed-to-the-elements sound from these works that transcends the humble circumstances in which they were fashioned. Rather, these songs wear those circumstances like a badge of honor, and listeners can decide for themselves the best parts of these approaches by comparing the versions of “Show Me To The Window” that crop up on both releases.

Folsom had become a seasoned studio head and professional musician by the time that his solo debut Music And Dreams had materialized. Recording at the Lefevre studio in Atlanta, GA, it brings the ideas presented on Ode into clear, polished relief, lushly appointed with synthesizers, clavinet, an army of percussion, and multiple tracks of orchestration and arrangements thatll make you feel like youve heard any of these wonderful songs before. Folsom provides a homespun challenge to then-established artists as farflung as Todd Rundgren, Neil Young, and KC & The Sunshine Band, albeit with touches of guitar fuzz ripping (“Jericho”) that credit his upbringing from the decade prior. Had the record any manner of major label backing, it couldve been a hit; as it stands, Music And Dreams has quietly amassed a cult following, with original copies trading for handsome sums, as attested by its presence in both editions of The Acid Archives, and its thorough championing by an unlikely ally, Gumball/Velvet Monkeys guitarist and celebrated producer Don Fleming, who grew up next door to Folsom back in Adel, and whose first outfit, The Stroke Band, was produced by Folsom himself at Lefevre in 1978." - Anthology.

Artist: G. WAYNE THOMAS & THE CRYSTAL VOYAGER BAND
Title: Crystal Voyager OST
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Part of the ongoing Anthology Surf Archive reissues, Crystal Voyager is another classic soundtrack enjoying its first ever US reissue. Directed by Albert Falzon and David Elfick, Crystal Voyager is shot and narrated by the legendary surfer and innovator, George Greenough (also known for creating the modern surfboard fin). G. Wayne Thomas and the Crystal Voyager Band provide a transcendent sonic backdrop of soft psych rock and breezy folk." First ever US LP reissue (fully authorized). Heavy stock paper sleeve. Liner notes by G.Wayne Thomas. Includes xeroxed 70s George Greenough surfboard ad." - Anthology.

Artist: ILIAN
Title: Love Me Crazy
Format: LP
Label: Anthology
Country: USA
Price: $22.00
"Leon Nahat sat on a pier at Hermosa Beach with his guitar and noted how each wave was different. He saw birds fly above and got a feeling. He went right to a recording studio and put “Saturday Song” down in one take, a touchstone of the sole 1977 album Love Me Crazy by Ilian. However, getting “the feeling” is perhaps the easy part, presenting it in a contagious way is where the talent comes in. Ilian (Nahats nickname) put together his first rock band, Fat Daddy Puck, in his hometown of Detroit, Michigan while he was still a teenager, circa 1970. Along with Doug Brown, Steve Marston, and Tom Fine, the band quickly built a local following playing all original material. When Ilian turned 18 years old, the band moved to Phoenix, Arizona and soon were among the most popular live acts in town. Their next move was to Colorado where Tommy Bolin of the hard rock band Zephyr caught a show and flipped. Tommy became a good friend of the band and partying buddy. Soon Bolin left Zephyr for the James Gang and ultimately Deep Purple. Ilian got the call from Bolin to fill in on lead guitar for Zephyr at a big festival show headlined by the Allman Brothers and promoted by local legend Randy Crazyhorse. It went well — he recalls that he “buried them all, and their Marshall stacks, too” with his little Fender Pro amp. This led to him joining Zephyr for a time until lead singer Candy Givens decided he was drawing too much attention and should lay back, so he quit.

Anybody can throw a bunch of licks at your face. Communicating, telling the story is where its at. Ilian was influenced heavily by the concise, innovative guitar moves on the 60s Yardbirds classics. Every note speaks, adds to the story the song is laying out. You can hear that in both his guitar tracks and the arrangements of his songs on Love Me Crazy. Not one dicey or stale move allowed, no horses beaten to death in pursuit of pop perfection. He moves fast and if it doesnt happen, he moves on to the next one. Brings em back alive. Beyond the Zephyr adventure, Ilian backed Chuck Berry, Dottie West, recorded with the Cleveland Symphony Orchestra, worked with Keith of “98.6” fame, and much more. All the while he was recording his own songs and firing them off to record labels. Sadly, he sent twenty four songs to CBS Records in NYC that are lost forever, as he has no copies. In bittersweet stroke of luck, he met up with a representative of Album World in the late 70s. Album World out of Nashville was a prime example of what is now called a “tax-loss label.” They would press up tiny quantities of LPs with a goal of losing money on them to scam the IRS. Ilian actually sent them two albums of material, but only Love Me Crazy was issued. In the confusion, Album World actually mixed up the song titles so that they are incorrect on the rare original LP sleeve and labels. The songs of Love Me Crazy LP were recorded at different times in different studios. They hang together so well because Illian moved fast and with his virtuosic guitar-playing guiding the way. His music sounds fresh and timeless today because the songs were captured quickly before the magic of inspiration faded. Rather than self-consciously attempting to write a “hit,” Ilian put down his feelings direct from his dome. The songs come from his real life. Hes thinking about how cool his sister is and we get the delightful “Hey Denise.” Hes musing about the human condition and the amazing psychedelic song “See What You Can See” emerges. He calls it “pop rock with a groove,” perhaps because these rock gems literally “popped” out of his mind.

After Love Me Crazy was released, Ilian pursued non-musical endeavors. He founded a water systems business that allowed him to live the American Dream, making so much money he could hit the golf course by 1 pm each day. He is also a walking encyclopedia of numismatics, and turned this passion into a rare coin dealing operation with a shop and many wealthy clients. He bought a Frank Lloyd Wright house and parked a collection of limousines on the property. Unfortunately he got caught up in a multi-million dollar deal with shady characters, got ripped off and had to quit the business. Despite the ups and downs of the real life and the fantasy of a career as a chart-topping rock star, Nahat is a positive man that continues making his exceptional brand of pop music with feeling to this day." - Anthology.

Artist: KIDMAN, ANDREW
Title: Litmus
Format: LP
Label: Anthology
Country: USA
Price: $15.00
"By 1996, surfing was on the upswing in popularity as professional surfers became marketable athletes. The three-fin, high performance, “thruster” shortboard was the tool of choice, lending to a fast-paced slashing style and ultimately a more aggressive “surf and destroy” movement in board culture. Litmus, Andrew Kidmans first avant-garde surf film, served as a soulful reaction to the pop-punk progression that dominated the mainstream. Prior to filming, Kidmans band, The Val Dusty Experiment, recorded a total of thirty-five songs in one day. The outcome of the “one-and-done” sessions was a lo-fi, rustic, experimental rock n roll sound, adding a rough-around-the-edges ambiance to the surf scenes that span Ireland, Australia, California, and South Africa. Additional contributions from Galaxie 500, Yothu Yindi and The Screaming Orphans diversify the score. Litmus was a defining moment in surf filmmaking — it sparked an open-minded retro-progressive movement as surfers formed a higher consciousness about the types of boards they were riding and why. The Anthology Surf Archive reissues series proudly presents the soundtrack of Litmus, released in tandem with the soundtrack from Kidmans 2006 follow up, Glass Love, in new form. - Anthology.

Artist: LORENZ, RUDIGER
Title: Invisible Voices
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"When he wasnt dispensing prescriptions in his day job as a pharmacist, the late German synth wizard Rüdiger Lorenz followed a truer passion, casting his own unique presence on the world of New Age music, and self-releasing a significant body of work on his own Syncord label. His vinyl debut, 1983s Invisible Voices, highlights when Lorenzs busy, sprawling compositions and untraditional tone banks came into their own. More restless and spirited than many of his musical colleagues, Invisible Voices presents a vision of aural wanderlust, built for the journey and ones reflection on it afterwards." - Anthology.

Artist: MAJOR, PAUL
Title: Feel the Music: The Psychedelic Worlds of Paul Major
Format: Hardcover Book + 7"
Label: Anthology
Country: USA
Price: $44.00
"Paul Major has lived resolutely at the edge of outsider music culture for nearly a half-century. As an early private press and “real people” record collector turned eminent, underground rock n roller, his influence is felt if not heard all around us—until now. Feel the Music traces Pauls trajectory from his formative days in the Midwest, his years in the late 70s New York punk scene, and into his curious career as a connoisseur and campaigner of the weirdest records of all time. Brought to life with unseen photographs, rare record covers, and cut n paste ephemera from Pauls long running mail order catalog, while animated by Pauls storytelling, Feel the Music is a fanatical mystery tour through the further, outer reaches of music history. Alongside Pauls writing, Feel the Music features essays by Johan Kugelberg, Jack Streitman, Michael P. Daley, Rich Haupt, Stefan Kery, Patrick Lundborg, Geoffrey Weiss, Jesper Eklow, and Glenn Terry. Each book also comes with a special Sorcerers and Endless Boogie split 7″ vinyl record.

Paul Major was born in Louisville, Kentucky in 1954, placing him squarely in the generational path of rock n rolls mighty wave: fuzz guitar first blew his mind at age 12, and he hasnt looked back since. After stints playing in bands in St. Louis and Los Angeles, he moved to New York in 1978 and spent the next few years embroiled in the citys explosive punk scene (most notably as part of the proto-speed metal band the Sorcerers). All the while, he found himself cultivating an extensive knowledge of rare and bizarre LPs. As his expertise in obscure collecting grew, Paul began a mail-order LP business, and his catalogs soon became must-reads for their mixture of hard-won crate-digging knowledge and witty, one-of-a-kind music writing—holy texts for psychedelic lifers the world over. Starting in 1997, Paul put his decades of experience to work as the singer and guitarist of the band Endless Boogie, whose skewed, no-frills take on rock has renewed his status as a preeminent voice on the farthest, weirdest margins of popular music." - Anthology..

Artist: MCMAHON, F.J.
Title: Spirit Of The Golden Juice
Format: LP
Label: Anthology
Country: USA
Price: $20.00
"The world that inspired Spirit of The Golden Juice nearly 50 years ago has moved on. F.J. McMahon moved on with it. Originally pressed in a small quantity and scattered along the California coastline in 1969, F.J. McMahons first and only album, Spirit Of The Golden Juice, is a spell-binding blend of singer-songwriter emotion and spiraling guitar accompaniment with a raw, adventurous character all its own.

Well-chronicled and loved since its rediscovery, Spirit Of The Golden Juice is an album concerned with memory and mystery and the preservation of the two. Its also about the weight of personal experience and how we tow it around with us. F.J.s simple, personal approach to songwriting allows us the space to fill in our own colors and our own faces. Its themes are there in plain sight, but the questions it asks are sometimes left for us to answer for ourselves." - Mexican Summer.

Artist: MICHAEL ANGELO
Title: s/t
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Unlike many self-created obscurities rescued from the margins, Michael Angelo (aka The Guinn Album) isnt 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, Michaels 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 isnt 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. Theres denseness to Michaels 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. Michael Angelo is a very poetically palpable, ethereal, mellifluous set of creations, tapping into forever, timeless life concerns — all delivered with his fragile, sweet Beatle-esque vocal presence, which lay at the center of even the more propulsive efforts. Michael touches upon inspiration from dreams in “Oceans of Fantasy,” set to a psych guitar-tinged West Coast folk-rocker, the teach-the-children-well ruminations of “World to Be,” tortured, closed-off souls (“Lost in the Pain”), barbarism, disconnect, perhaps even suicide (“Checkout”), stunning near protest-song (“Bon Jour Mr. VIP”), and he caps things off beatifically with the high-flying psych moves and fluid instrumental breakdowns of “Future.”

The recently departed historian and Acid Archives editor Patrick Lundborg rated Michael Angelo in his Top 10 favorite private-issue releases, and original copies of this obscurity have long traded for close to four figures. The more affordable versions previously available have been shoddy bootlegs with poor sound. While the original master tapes vanished decades ago, this edition has been treated to a new re-master from a sealed original mint copy — and with Michaels full involvement and blessing — rendering it as near the sound of the original LP as possible. No longer with the need to pay near four-figures for the full experience, we can now all drift within a sea of dreams with Michael Angelo." - Anthology.

Artist: PERHACS, LINDA
Title: Parallelograms
Format: Double LP
Label: Anthology
Country: USA
Price: $28.00
"Originally released on the Kapp label in 1970, Linda Perhacs sleeper psych-folk opus Parallelograms has enjoyed a perennial resurgence since it surfaced on collectors radar in the 90s. Gentle as it is deep, few records have been able to capture the emotional depth of a beautiful strangers mind on a breezy summers day, framed by deceptively deep arrangements and Ms. Perhacs lucid vocal delivery. Anthology presents the definitive version of Parallelograms, mastered from the original tapes and featuring a bonus LP of demos and interviews. It comes in a reverse board gatefold jacket with a six-panel insert and includes a digital download code." - Anthology.

Artist: STROKE BAND, THE
Title: Green And Yellow
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Green And Yellow is the collected recordings of legendary lost 1970s Deep South freaksters, THE STROKE BAND. Seen and heard, until now, by only a few South Georgia pot heads, rednecks, sheriffs, strippers, and intoxicated U.S. Marines. Fronted by Bruce Joyner – a swamp rat synthesis of Buddy Holly, Bryan Ferry and Jerry Lee Lewis – The Stroke Band were an art-punk aberration to anything else happening in South Georgia in 1978 – 79. This Anthology Recordings re-release of the Green and Yellow album is the first in any form since the private press LP came out in 1978. The Green And Yellow digital and CD releases include the original Green And Yellow album; plus the bands only live performance at Joes Cellar – a notorious strip club in Albany, Georgia; and a set of demos and psychotic improvs from their Cork House headquarters in Valdosta. The CD and LP releases includes rare photos and a comprehensive oral history from the participants, including singer and band leader Bruce Joyner, who signed to Sire Records with The Unknowns in 1981 and has released several acclaimed solo albums since 1983; Don Fleming, guitarist for the Stroke Band, who went on to front his own bands Velvet Monkeys and Gumball, and produced albums for Sonic Youth, Teenage Fanclub, Hole, Screaming Trees, Andrew W.K.; Mark Neill, guitarist for The Stroke Band and The Unknowns, who is a renowned recording producer and engineer, in 2011 he won a Grammy for his production of the Black Keys Brothers album; and Green And Yellow album producer Robert Lester Folsom, whose own album Music and Dreams from 1976, was rereleased by Mexican Summer in 2010." - Anthology.

Artist: TAMAM SHUD
Title: Evolution
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Evolution is the name of an album and a surf film, both entwined by the very nature of the material and the musical group involved, Tamam Shud. Led by Lindsay Bjerre, the quartet of surfers-turned-musicians (or the other way around) were significant purveyors of the underground progressive music movement in Australia circa 1968 – 1972. Though never chart contenders, Tamam Shud were prolific live performers and their contributions to some of the most adventurous surf films of the era pushed them to the forefront of Australias underground music scene. For a group recently reborn – changing their name from The Sunsets – Paul Witzigs latest surf film was the idea vehicle to begin their recording career. In their previous life, The Sunsets had contributed soundtracks to Witzigs innovative genre films A Life In The Sun and The Hot Generation. Since the success of these films, the band itself was undergoing their own evolution. Like Witzig, they too were stretching out for total creative freedom. The subsequent sessions for the film soundtrack were just that; musical experiments unrestrained by any established parameters.

The approach Tamam Shud took to create the Evolution soundtrack was to have the film screened on the recording studio wall while the augmented group matched the action with sound, performing, essentially, a free-form musical jam. The end results were compelling enough to discard any concept of a narration – a standard procedure for all previous surfing films. As a result, the film became a piece of art – a visual and musical experience. The music became the narration. It was a bold move on the part of Tamam Shud and filmmaker Witzig, and it paid off gloriously. The film and the subsequently released Evolution album, which contained seven more Bjerre original compositions, found substantial success; the latter even being nominated for the Major Network Award as the Best Australian Album of the year. Anthologys Surf Archive delivers the first ever reissue of Evolution in deluxe vinyl and digital editions. The vinyl edition features booklet liner notes by Aussie surf historian Stephen McParland and other-wordly ephemera." - Anthology.

Artist: TRAD, GRAS OCH STENAR
Title: Djungelns Lag
Format: Double LP
Label: Anthology
Country: USA
Price: $25.00
"First EVER vinyl reissue of the 1972 Tall Records 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." - Anthology.

Artist: TRAD, GRAS OCH STENAR
Title: Mors Mors
Format: Double LP
Label: Anthology
Country: USA
Price: $25.00
"Mors Mors LP is the first ever vinyl reissue of the 1973 Tall Records 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.

Its really pretty simple: Träd, Gräs och Stenar was – is, shall remain – the best band in the world. You can get with it and get on this train, or forever live in ignorance, up to you. They were from Sweden, they were pioneers of DIY culture, they jammed with force and purpose for 40 minutes back when “legendary” SF groups or German kraut rock bands were still struggling to get out of the upper single digits with dignity; they traveled with organic food they grew themselves, and cooked for everyone they played to; they made their own instruments, amplifiers and PAs before there was such a thing as a PA; they released records themselves, yknow back when the Dead were still on a major label. Etc, as it were. Had this band been from the USA rather than some provincial northern European nation… never mind, its too depressing to finish this sentence. There was the occasional complex ingredient like a (home-brewed, natch) tremolo or fuzz pedal, but the way this band worked was incredibly simple: theyd show up, set up on some floor, or field, start up the generators, instruments, then begin to collectively tune themselves into the sphere we now know as TRANSCENDENTAL PSYCHEDELIC ROCK MUSIC. After that first meditative or explosive – or both – lengthy jam, theyd again take off, starting from a cover of Mighty Quinn or perhaps Last Time, or one of their own compositions, often influenced by ancient Swedish folk songs, and leave the melody behind after a few verses and travel to places lazy music journalists today call beyond time and place. It was a little like Ornette Colemans or The Velvet Undergrounds live formula: you know the beginning and the end, but what exists between those two points is what makes life worth living: the magical improvised unknown." - Anthology.

Artist: TULLY
Title: Sea Of Joy
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"Sea of Joy was director Paul Witzigs fourth surf film and his first to deviate from the tried and sounds of The Sunsets / Tamam Shud. To express his cinematic vision, Witzig chose the enchanting sounds of Tully, the legendary Sydney band who rose from the ashes of Levi Smiths Clefs into prominence as the backing band for the June 1969 Australian production of the musical HAIR. Like many surfers and non-surfers alike, Witzig had been mesmerised by Tullys concert performances. By the time finished filming his latest surfing epic, Evolution, the sound of Tully had changed though. Gone was the organ-dominated sound (the group was reputedly the first Australian band to use the Moog synthesiser), replaced by more gentle melodies, many with spiritual significance. This new mood and mode which was prompted by the groups involvement with the Meher Baba religious sect. Terry Wilson, the groups vocalist, was the only one not enamoured by the Indian spirital guru, cementing the cornerstone of personnel uneasiness besetting the quintet. Defiant of his bandmembers lifestyle, Wilson was subsequently replaced when Tully merged with a similarly structured – musically and religiously – group, Extradtion. It was this symbiosis of sound and idealogy that subsequently produced the Sea of Joy soundtrack, a collection of themes rather than standard self-contained songs. Recorded at EMIs Sydney studios, Tullys soundtrack material was subsequently edited for the album release into cohesive musical interludes. As such, they are held together in the album sequence by a magnetic musical flow that starts with “Sea Of Joy (Part 1)” and ends with “Sea Of Joy (Part 2).”

As part of the free-flowing musical journey the listeners are both mesmerized by the colorful and fluid sounds of the band in total and enchanted by the sweet vocals of Shayna Stewart (née Karlin). Longtime group member and multi-instrimentalist Michael Carlos lords over organ, sitar, piano, drums and bass. And even Witzig provided gong and gamelan to the new version of “I Feel The Sun,” a tune previously recorded by Extradition (and included on the Hush album). Although the music and foley presented via the soundtrack and album to Sea of Joy were initially misunderstood by both the record buying public and the surfer audience expecting a different Tully sound, the material worked exceedingly well with the visuals, exquisitely expressing what Witzig as a surf filmmaker had conjured cinematically. And although none of the members of Tully were surfers, they were nonetheless appreciative of the natural beauty and power of the ocean and the largely relaxed disposition associated with surfer lifestyle. Its perhaps Tullys acceptance and ease that inspires one of the more unique surf soundtracks of its time.This newly restored classic caresses shores beyond Australias beaches for the first time ever for Anthologys Surf Archives. Vinyl edition features booklet liner notes by Aussie surf historian Stephen McParland and other-wordly ephemera." - Anthology.

Artist: V/A
Title: Follow The Sun
Format: Double LP
Label: Anthology
Country: USA
Price: $26.00
"Follow The Sun compiles twenty cuts dug from dusty bins by Mikey Young (Total Control, Eddy Current Suppression Ring) and Keith Abrahamsson (Founder / Head of A&R at Anthology Recordings and Mexican Summer) surveying the sought after sound of Australias lesser — and greater — known moments of 70s rock, folk, and their in-between offspring. Follow The Sun filters the sublime and sometimes subversive psychedelic airwaves transmitted around the world from Americas terrestrial platforms during the golden age of gentle, exploratory FM through a distinctly Australian lens. Independent labels and recording studios proliferated across Australia during the late 60s and early 70s, while major labels simultaneously scoured the furthest reaching corners of the continent to foster new approaches in making music. With both indies and majors ultimately compelled to uncover the almighty single, the fringe was frequently explored for “crossover” sounds. This engendered a creative freedom amongst artists that mirrored the open-ended mood of the times. Anything was possible. Follow The Sun does not represent those Australian acts who produced a number one single leading to international fame and fortune. Some of the artists on the compilation never even made the local hit parade. But the fact that many of these artists didnt enjoy chart success is secondary; these artists represent the consciousness of their time. As radio perpetrated pop fodder trodding the middle ground to ensure maximum advertising, the artists on this album chronicled the times in their own unique ways.

Beyond sharing a penchant for pop and its many shades, creating common ideals or setting a narrative around the artists featured on Follow The Sun is a tall task and tale. After all, Australia is a huge country, nay continent. The scuffed shuffle of Mata Haris “Easy” drastically contrasts the loner vibes of Gary Shearstons “Witnessing,” while Megan Sue Hicks “Hey, Can You Come Out And Play” hypnotizes a la Shocking Blue and Trevor McNamaras “Country Corn” spins out like a rural Skip Spence tune. Hailing from distant, disparate cities across the wide Australian map, each of these artists represent distinct, different forms of pop music. The expansive double LP set features an earnest essay from Young, unseen photos and ephemera of the time, and a gaggle of “badly drawn idiots” ideated from the wonderfully weird mind of James Vinciguerra." - Anthology.

From Youngs essay: “Maybe I inject some vision of a simpler more self-contained, innocent Australia in the way I hear this music. A pre-Crocodile Dundee, Koala Blue, Ken Done Australia where in my yet-to-be-born head it seems that the rest of the world was less concerned about us and we were less aware of it. Our culture could operate in its own little bubble a lot easier than it does now and will again. I dont idealise these as the good times. Those kind of bubbles also create closed minds and shitty attitudes, but some great music is made when its restricted to its own small universe.”

Artist: V/A
Title: Morning of The Earth OST
Format: LP
Label: Anthology
Country: USA
Price: $19.00
"The most fitting first reissue of the Anthology Surf Archive – transcendent and as vital as ever, the Morning of the Earth film stands toe to toe w/ The Endless Summer as perhaps the most widely recognized (and worshiped) surf film. Anthology is proud to present the first ever US reissue of the soundtrack from this 1971 classic directed by Albert Falzon. Morning of the Earth offers timeless and meditative jams that capture the spirit of 70s Australia surf culture — the sound of escapism. Featuring G. Wayne Thomas,Tamam Shud, John J. Francis, Brian Cadd and more. Anthology Recordings Surf archive surveys the historical intersection of music and surf countercultures. interwoven with the films that have documented surfings evolution from the fringe to forefront are the soundtracks that paced them. First ever US LP reissue (fully authorized in heavy stock paper gatefold sleeve." - Anthology.

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