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   April 16, 2008  
APR Sun 13 Mon 14 Tues 15 Wed 16 Thurs 17 Fri 18 Sat 19

This Saturday, April 19th, Other Music is excited to be taking part in Record Store Day along with hundreds of other independently owned music shops across the country. Throughout the day we'll be selling limited vinyl singles and EPs (exclusive to shops participating in Record Store Day) from the likes of Vampire Weekend, the Breeders, Stephen Malkmus and Built to Spill, along with give aways, prizes, and 10% off of everything in the shop for the entire day. Also, various members from great bands will be stopping by to spin their favorite tunes throughout the afternoon. We hope that you can come by the shop and celebrate the day with us, and for those of you not in New York City, please make sure to visit your favorite local record store and show them your support!

TAPES 'N TAPES - 12:30 to 2PM

OTHER MUSIC: 15 East 4th Street NYC

Thank You Friends: Ardent Records Story
Thomas Function
Basic Replay (Various)
Baden Powell & Vinicius de Moraes
Sun Ra
John Fahey
Richard Swift
Gal Costa
Air (Moon Safari 10th Anniversary Edition)
Ellen Allien (BoogyBytes Mix)
Religious Knives
Migrating Bird: Songs of Lal Waterson

Oh, Run Into Me, But Don't Hurt Me (Various)
Country Funk
The Duke Spirit


The Kooks
Brian Jonestown Massacre
Fingered Dvdzine (Winter/Spring 2008)

All of this week's new arrivals.

APR Sun 20 Mon 21 Tues 22 Wed 23 Thurs 24 Fri 25 Sat 26

Antipop Consortium

Reunited and it feels so good! Legendary hip-hop experimentalists Antipop Consortium are back together performing at Other Music! Please make note of the date change above.

OTHER MUSIC: 15 East 4th Street NYC
Free admission / Limited Capacity

APR Sun 18 Mon 19 Tues 22 Wed 23 Thurs 24 Fri 25 Sat 26

Next week, longtime OM favorites Mum return to New York City to perform two shows, first in Manhattan at the Blender Theater at Gramercy on April 22 with Norway's Silje Nes and Reykjavík's Hjaltalin. The next night, the Icelandic ensemble will be on the other side of the East River playing at the Brooklyn Masonic Temple, along with Hjaltalín and Gregory and the Hawk. Other Music is giving away two pairs of tickets to each night, so just send an email to tickets@othermusic.com, and please list the show which you would like to enter for. We'll be picking the winners on Friday, April 18th.

THE BLENDER THEATER AT GRAMERCY: 127 East 23rd St. (Between Lexington Ave. and Park Ave. South) NYC

BROOKLYN MASONIC TEMPLE: 317 Clermont Ave (at Lafayette Ave.) Fort Greene, Brooklyn

APR Sun 27 Mon 28 Tues 29 Wed 30 Thurs 01 Fri 02 Sat 03

That's right, after almost 10 years, Richard Ashcroft, Nick McCabe, Simon Jones and Pete Salisbury are back together as The Verve, performing new songs and hitting the road again on a comeback tour that's stopping in NYC for two nights at the WaMu Theater in Madison Square Garden. Other Music has one pair of tickets to give away to their appearance on Tuesday, April 29th! To enter, just email giveaway@othermusic.com. We'll be picking the winner on Monday, April 21st. Good luck!!

WaMu Theater at Madison Square Garden: Seventh Avenue between 31st and 33rd Streets NYC
Click to Buy Tickets







Thank You Friends: The Ardent Records Story
(Big Beat)

"Back of a Car (Demo)" Big Star
"Batarang" The Avengers

Forty-eight tracks spread over two CDs chronicling legendary Memphis label and recording studio Ardent, including scarce and unissued Big Star material. Thank You Friends is not a compilation, this is an EVENT. The first disc collects the best of Ardent's 60s output, including plenty of soulful (this is Memphis after all) and twisted garage scorchers by the Wallabies, Lawson & Four More, and the Bitter Ind, some truly inventive psychedelic productions by the Goatdancers and the Honey Jug, great early recordings by Terry Manning (you'd do well to check out Manning's killer swamp-rockin' Home Sweet Home full-length reissued last year on Sunbeam), "Miss Eleana" from crooner Sid Selvidge's Portrait album, and AMAZING early Big Star-related songs; "Psychedelic Stuff" by Chris Bell, the original mix of "Free Again" plus two more by Alex Chilton, and two each by Icewater and Rock City, which was pretty much Big Star without Chilton.

The main event for most, I'm guessing, is disc two (the '70s) and its treasure trove of rare Big Star tracks...and rightfully so. Worth it for the sublime demo version of "Big Black Car" alone, the alternate takes and mixes shed a lot of new light on what many of us consider to be classics. And if Chilton's demo recording of "Stroke It Noel" doesn't make you feel at least a little bit warm and fuzzy, you have no heart. In addition, we get power pop gold from Tommy Hoehn and the Scruffs, and the single version of Chris Bell's "You and Your Sister." Big Star is the best band ever, and some of the other music coming out of Ardent Studios isn't far behind. Can I write my best of '08 already? The Thomas Function LP, the Cheap Time record on In the Red, the forthcoming Milk n' Cookies reissue, and Thank You Friends. Get it. [AK]







"Can't Say No"
"Relentless Machines"

For the past couple of years, Huntsville, Alabama's Thomas Function have been kicking around the U.S. garage punk scene and have put out a handful of fantastic singles. Much like their kindred spirits from the north, the Goodnight Loving, their ties to that scene are more about attitude and presentation than the actual nuts and bolts of their music, and like the Goodnight Loving, Thomas Function have delivered an amazing debut album that deserves to be heard by as many ears as possible.

Vocally, Joshua Macero may recall a young Tom Verlaine, but it would take a lot more than that to start breaking out any Television-isms as most songs are built around clean guitar lines (with occasional fuzz used to great effect) and full-bodied organ and a very sensible rhythm section. The record's pacing is fantastic with not a dud to be found. But I'll tell you that the high point of the album is in the middle with "Relentless Machines," a track that is so good it's scary. It really is the sort of song that most bands will never come close to matching, a total classic. This is not to poo-poo the rest of the record though because it still has many gems. Four months into 2008 and this one's going to be very hard to beat. [DMa]






Basic Replay
(Basic Replay)

"Call Me Rambo" Ackie
"Ayatollah" Jackie Mittoo

Basic Replay is a joint venture between Honest Jon's and Rhythm & Sound that began in 2004, and this fantastic self-titled compilation culls together the label's vinyl-only reissues onto one CD, many for the first time. Following in the handpicked style of one-offs, these singles have been re-mastered to bring forth the deep baselines and crispy snares snaps. Featuring a cross section of dub, roots, and dance hall from London, Jamaica, Canada, France and New York, names like White Mice, Keith Hudson, Gregory Isaacs and Jackie Mittoo (whose haunting instrumental "Ayatollah" is reason enough to pick this collection up) will most likely be familiar to you, while lesser knowns such as Ackie, King Culture, Tenastilin and Black Uhuru singer Andrew Bees are still worthy of repeat listens. Deep and at times moody, there are plenty of vocal and dub versions to keep everyone grooving, as roots to modern rhythms abound. Any fan of Wackies, Greensleeves, or the heavier side of Studio One should no doubt check this out. [DG]






Saturdays = Youth

"Graveyard Girl"
"We Own the Sky"

Just a quick glance at the album art of Saturdays = Youth, you get the idea that M83 (Anthony Gonzalez) has a predilection for the teen nostalgia world of an old John Hughes flick. If the artwork isn't enough of a hint, the listener is reminded subtly, yet frequently, as Gonzalez takes us on a spine tingling ride, a cinematic dreamscape where the girls (to quote "Graveyard Girl") "worship Satan like a father, but dream of a sister like Molly Ringwald." Despite the album's oft-cited laundry list of pop influences, headed by the one and only Kate Bush, Gonzalez creates his own surreal moment that defies easy categorization. Herein lies the uniqueness of his album: the juxtaposition of emotions. Pieces that may seem joyous at first soon evoke the feelings of melancholy and even sorrow, while still adding an element of vitality struggling against all that opposes them.

Saturdays = Youth is a synergetic blending of influences whose whole is greater than the sum of its parts. The album's centerpiece "Colours," the most danceable of the collection, seems like four minutes rather than eight -- a glossy (though not overproduced) track that glides by until it hits a peak that sounds similar to a rubber ball bouncing down a spiral flight of stairs. Another highlight, "Skin of the Night" meshes background vocals so gorgeously that the listener will be tempted to push repeat before the song fades into "Graveyard Girl." The stunning range of production throughout makes it tough to pick favorites though; the album's first five tracks are highlighted by focused songwriting while the last half is far more spacey. Gonzalez was recently quoted as saying, "There is no irony at all in my musical relation to the 80s. I really can cry when I listen to Kate Bush or Simple Minds." But ultimately, Saturdays = Youth is an album that evokes the spirit of 2008; the '80s merely serving as a vehicle to take us there...and into the future. [BL]






Os Afro Sambas / A Vontade
(El / Cherry Red)

"Canto de Ossanha"

Baden Powell is widely regarded as one of the great masters of Brazilian music, his oeuvre a successful mergence of pop craftsmanship, swing rhythms, and classical and jazz guitar virtuosity. His compositions radically explored the guitar's potentialities in pop and jazz music, bridging Brazilian popular music with classical artistry. His creative partner here, the Brazilian poet, composer and singer Vinicius de Moraes, wrote (along with Antonio Carlos Jobim) some of the most definitive and endearing songs of the Bossa Nova era, such as "Chega de Saudade" and "Garota de Ipanema." Powell and de Moraes' 1966 masterpiece, Os Afro Sambas de Baden e Vinicius, is undeniably one of the most important records from that exceptionally fertile decade of Brazilian artistry, yet it has not ever before been consistently available on compact disc.

During a six month travel in Bahia in the 1960s, Powell explored the Candomble and Umbanda rituals found in the region, studying closely the highly rhythmic, percussive musical traditions involved. Thus inspired, Powell and de Moraes went on to compose this collection of true classics, beautifully sung by de Moraes and female choral group Quarteto Em Cy. This album maintains a discreet roughness around its edges, resulting in an eerie moodiness in exceptional contrast with the brightness, sophistication and subtle nostalgia characteristic of Powell and de Moraes. Os Afro Sambas is vibrant, timeless, inspiring, haunting -- truly a milestone of Brazilian popular music. [JC]

This reissue also includes A Vontade, one of Powell's most successful solo albums from this period.






Disco 3000
(Art Yard)

"Disco 3000"
"Third Planet / Friendly Galaxy"

In a career chock full of new highs and innovations, the late seventies was a particularly fertile era for Sun Ra. Ever the one to push the boundaries of sound and music, this period found him exploring different instrumentation, including electronics, as well as tonality and other rhythm structures. It is right in the middle of this era that Sun Ra and a very scaled down Arkestra -- John Gilmore (sax/vocals), Luqman Ali (drums/vocals), Michael Ray (trumpet/vocals) and June Tyson (vocals) -- took an extended trip to Italy during the winter of '77-'78. The resulting Disco 3000 is an excellent encapsulation of the diversity of Mr. Ra's late-seventies work; a double-CD with six bonus tracks, this expanded edition runs the gamut from, hard bop to a full, smearing sound meltdown. "A Third Planet Incl, Friendly Galaxy" begins with a stark and hollow tone before slowly progressing into a confident and punchy bop workout, with really nice acoustic piano solos and flourishes that showcase Sun Ra's beautiful playing in a way you don't hear to often enough around this time. This is followed by the brilliant "Dance of the Cosmo Aliens," where a scratchy rhythm is picked and pecked at with nervous detail while a slow, slightly off kilter drumbeat provides a shaky anchor. And as if the built tension wasn't satisfactory, Ra comes in with positively wobbly cosmic keyboard madness. Part science fiction, part circus horror movie soundtrack, this seems to operate with only a cursory acknowledgement of life down here on Earth. Oh, and for all the truly forward thinking beatmakers out there -- do investigate. What I like about this album is Sun Ra's ability to fluidly move from the lyrical to loco, from sprawling to urgent, with such ease it's seems like a slight of hand. And from Ra, it all makes perfect sense. [GA]






Media Dreams
(Art Yard)

"The Shadow World"

The interstellar black hole of music by the manmade myth known as Sun Ra continues to expand, with no end in sight. This excellent 2CD release of Media Dreams, reissued by Art Yard, is a companion piece to the equally futuristic and funky Disco 3000. Sometime during the late seventies (about the same time as Ra's "funk" album Lanquidity), he took a small quartet to Italy for a short yet prolific tour. The small group setting here -- featuring mainstay John Gilmore (tenor sax), Michael Ray (trumpet) and Luqman Ali (drums) drums -- seems like the perfect balance, while Ra handles multiple keyboards, piano, and rhythm machine(!). Dense and grooving, the material recorded during this trip would be issued as several albums (Sound Mirror, Disco 3000 and Media Dreams) on Ra's Saturn label. Unlike other the outer space musical journeys that Ra and crew would take throughout the decades, this one finds the Saturnite jazzman at ease, thoughtful yet letting loose, handling the bass-lines and keyboards himself and offering some nice electronic rhythms with a "groove box" similar to the one used by Shuggie Otis and Sly Stone. The rhythms and electronic textures add an oddly contemporary feel to the free jazz ramps. Great live drumming from Ali and Gilmore mesh with Ra's pulse signals and the whole concert feels like a lift off, orbit, descent, and release. One of the best reissues I've heard from Ra in some time with a great transfer from the not-yet lost master tapes, it's unlike any place we've heard him go before...and hopefully will return. You have to wonder what else is waiting to be salvaged from obscurity. Highly recommended. [DG]






The Mill Pond

"The Mill Pond Drowns Hope"

Over the past two decades, John Fahey's melodic, rambling Takoma releases of the late '50s to early '70s have come full circle from mild obscurity to being regarded as instrumental in American music history. This 10th anniversary reissue of The Mill Pond allows a wider audience to be exposed to one of the bleakest, and perhaps most uncertain, periods of Fahey's life -- the mid-'90s, when health problems were numerous and he was living alone and recording in a motel room in Salem, Oregon -- just a few years, coincidentally, before he achieved popular recognition. These four songs, originally released as a double 7" during the first years of Fahey's comeback, immediately went out of print.

Firmly entrenched in Fahey's electric slide guitar experiments, The Mill Pond is a brooding, repetitive, and minimal slice of Fahey's essential body of work. "Ghosts" is an Eastern-influenced meditation featuring the artist's distinctive, informal strumming rhythms and, most notably, Fahey's throat-singing debut. "Garbage," with electronic contributions by Jeff Allman, is a super-contemporary, nearly 11-minute noise opus weighed down by reverb-y guitar peals, in which Fahey sounds not unlike Thurston Moore in his expert ability to shelter multiple layers of equally persistent melodies within a shell of feedback. In its four variations, The Mill Pond, with its drowning, sparse melodies and tormented vocals, might actually convince you that more than this re-issue has come back from the dead.

Important Records proudly presents this limited collector's package of The Mill Pond recordings -- including an extensive booklet collecting 32 of John Fahey's paintings for the very first time -- all housed in a deluxe letterpressed jacket which features the same striking cover art as the original double 7". [KS]






$9.99 MP3


Richard Swift as Onasis
(Secretly Canadian)

"Sign Language"
"Whistle at the Bottom of a Shoe"

California's Richard Swift is nothing if not a chameleon. Best known for his albums as a talented singer/songwriter with a firm grip on folk and pop melodies, the easily malleable Swift left his comfort zone last year, releasing an ambient album under the alias Instruments of Science and Technology. Now, Swift has yet another new alter ego: Onasis, a front for creating gritty garage and surf rock that is, according to Swift, straight out of the '50s. On Onasis I & II, a double EP that clocks in just under the 40-minute mark, we see Swift exchanging his usual pleasing vocals for a throaty howl in the vein of Screamin' Jay Hawkins and his typically clean guitar strums for grainy, stomping riffs a la both the Cramps ("Sm60") and Link Wray; as for the transition from Swift to "Onasis," it is remarkably seamless.

On the whole, the two EPs are comprised of both churned-out scuzzy, songful ditties as well as more exploratory instrumentals. And with countless references purposely apparent -- a catchall, reminding of everything from the Velvet Underground to Howlin' Wolf, with even a hint of Alex Chilton -- it would be easy to dub Swift and his renderings as imitative or self-indulgent. Yet, Swift's goal with Onasis I & II is neither; instead, along with assuming a new identity, he also assumes the role of both musical interpreter and historian as the recording is an excellent collection of musical entertainment, comprised of pieces of everyone's history. Recommended! [PG]






(Dusty Groove)

"Pais Tropical"
"Com Medo, Com Pedro"

Finally! A domestic issuing of the wickedest, most mind-warping Tropicalia album. Granted, by the tail end of 1969, when Gal Costa's second self-titled album of the year was released, Tropicalia as an artistic movement was all but finished. Caetano Veloso and Gilberto Gil were already shipped out to London to avoid further imprisonment, Mutantes was on their way to turning into a prog-rock band, and Tom Ze...well, who knows what he was up to. That tropicalist spirit lived on in Gal though, and it's hard to put into words just how audacious and profound this album remains forty years on. A song like "Tuareg" shows a female pop star digging heavy rhythmic N. Africa sounds (way before Missy's "Get Ur Freak On") while other songs anticipate the Boredoms' heaviness, full of tape effects and acid-dripping guitar work from Brazilian guitar hero Lanny. Highly recommended. [AB]






Moon Safari 10th Anniversary Edition
(EMI Import)

"Remember D Whitaker Version"
"Kelly Watch the Stars (Demo)"

Hard to believe it's been 10 years since Air released their debut full-length, Moon Safari. In commemoration, Astralwerks brings us a limited-edition re-release, featuring a robust three-disc compendium to the album, packaged beautifully as a DVD sized bound book. The seminal Moon Safari -- which incidentally is one of Other Music's all time top sellers -- makes up the first disc, and if you don't know it by now, it's a contemporary classic of electronic pop music, with a feel that is all at once retro and futurist, ambient and engaging. The second disc features live radio sessions, remixes (including Beck's re-working of "Sexy Boy"), and unheard versions of tracks from the album. Finally, the third disc is a previously hard to find DVD celebrating the visual side of Moon Safari, the result of a collaboration between the French duo and American artist and director Mike Mills. Comprised of a 60-minute tour documentary, four music videos, and bonus album art done by Mill's, this disc may be one of the best available portraits of the band. Catching them just as they had become internationally renowned, the film Eating, Sleeping, Waiting, Playing captures the suave intelligence and aloof charm of Nicolas Godin and Jean-Benoit Dunckel, as they play concerts in New York, London, and Paris. Artfully directed and full of live footage that features Air's proficiency as a live band, it's a fascinating visual compendium to the elegance that is Moon Safari. [JW]

Originally released in strictly limited numbers exclusively to the Agnes b. fashion chain, we are pleased to offer the 1998 Air flexi-disc 7" collectible of "Sexy Boy / Californie" with purchase of the 10th Anniversary edition of Moon Safari. Available while supplies last.






BoogyBytes Vol. 04
(BPitch Control)

"Eyes Forlorn" Sozadams
"in the Nook" Vera

Ellen Allien has done it again. She has made a DJ mix as listenable as it is danceable in her own special way. Her secret is in the way she makes each track and each transition an interesting and subtle shift from the last. Pro Tools or not, her mixes have a human touch simply by way of her making good choices! The general feel is bouncy, stripped-down and sensual. It's minimal enough for the snobs and sexual enough to keep the girls on the dancefloor. That's not one of those jaded reviewer-guy/half-true compliments either, this mix is consistently packed with cuts that have that bleepy bounce, with an acid-y space between the sounds. But more importantly, the tracks are the kind that feel good and play out well -- the slowly, steadily climbing type without the sudden freak-outs or drama-explosions. Imagine a perfect opener set that gets you on the floor in the first place, or the one that brings you back after the last DJ tried too damn hard. Or for us New Yorkers, the one that starts the head bobbing and gets you dancing on the way to the subway. Maybe we're just born under the same Astrological sign (dude...) but I can tell that Ellen was feeling this one and I am too. Anyone saying this mix is just okay needs to put the glowsticks down and open up their ears! [SM]






(No Fun)

"in the Back"
"The Sun"

A club-carrying member of Brooklyn's motley clan of ambient/tribal/psychedelic acts, Religious Knives is a band that moves in crowded circles. Lucky for them, their material speaks for itself. Hot on the hoofs of a new LP comes this collection of tracks harvested from earlier splits and singles, along with two previously unreleased songs. Musically, Resin floats halfway between eccentric noise orchestras such as Gang Gang Dance and the more linear, plodding rumble of a Black Mountain. Armed with dusky synthesizers, bluesy guitars and assertive thumpa-thumpa percussion, the Knives conduct a musical procession through moody and dissonant territory, at times whipping up tones that seem to echo the "religious" in their name. For a collection of b-sides and similar, Resin manages to sound remarkably like a premeditated album, switching up the sound just when you thought you got the gist. "Everything Happens Twice" is a western deluge slow-drip of monumental proportions, wonderfully welding together Mike Bernstein's distant doomsayer wail with his overdriven guitar to make one spooky sound. The Knives narrowly skirt something pop-ish on "The Sun" with its lighter synth riffs, and phenomenal closer "In the Back" buzzes with enough alien intensity to make it prime soundtrack fodder for a psychedelic film set in Benares. But that's just one reviewer's vision. Whatever the pleasure of your mind's ear, Religious Knives and their brand of cult-gunslinger noise will be sure to satiate it in full. [DS]






You Haven't Been Where I've Been

"The Last to Leave the Party"
"I Hear This Place Is Haunted"

Edward Rogers is a longtime New Yorker, originally from the U.K., who has had a hand in a variety of like-minded Anglophile projects over the years as a performer, producer and agent -- from orchestrating the triumphant return to NYC of Colin Blunstone in the mid-'90s and booking the always exciting The Beat Goes On series at the now-defunct Bottom Line, to his own recordings with the Bedsit Poets, Primrose Hill and the Green Rooftops, all exploring different aspects of '60s British pop or French yeh-yeh of the period. His solo albums, in collaboration with songwriting partner George Usher, are faithful homages to the '60s sounds of the Kinks and the Zombies, filtered through the post-R.E.M. American bands of the '80s. You Haven't Been Where I've Been is a wonderfully produced collection of laid-back rock songs that rely on Rickenbacker strum, a chugging rhythm section and rich piano and string orchestrations, as well as some illustrious guests, including Roger McGuinn on banjo and 12-string and the Church's Marty Wilson-Piper on lead guitar. Elegant retro pop for today! [JM]






Migrating Bird: The Songs of Lal Waterson
(Honest Jon's)

"Cornfield" Nancy Elizabeth
"How Can I Leave" Michael Hurley

Surprisingly lovely tribute album to the way underrated sixties British folk revivalist Lal Waterson, who died of lung cancer in 1998. Honestly, I can very rarely stomach these sorts of endeavors, but Honest Jon's really hit the mark with this one. Maybe it's because Lal Waterson seems such an unlikely beneficiary of a tribute album to begin with, which is in no way meant as slight of her enormous talent, due to the low key way in which she went about her life and art. Her work has probably only made the barest ripple on the consciousness of listeners in the United States, as even the reissue craze of the last several years hasn't been able to tear her greatest album, Bright Phoebus, from the weird legal limbo it's long been suspended in, but she was regarded very highly by contemporaries and countrymen like Richard Thompson and Anne Briggs. This collection is mainly comprised of relatively young admirers, and each contribution is quite strong. There are a number of artists on here that I'm unfamiliar with, but that I hope to be checking out more of soon. Contributors include Richard Youngs, Michael Hurley, Nancy Elizabeth, Mark Olson, Victoria Williams, Vashti Bunyan, and many others. [MK]






$9.99 MP3


Oh, Run Into Me, But Don't Hurt Me!
(Sub Rosa)

"Trixie Blues" Anna Jones
"Black Angel Blues" Lucille Bogan

Although the disc jacket claims that this compilation of relatively unknown female blues singers does not have a theme, I can think of one: female empowerment. Outspoken and proud, these fourteen ladies sing of deadbeat men, their love of the bottle, prostitution and, especially, sex. These broads got needs and my-oh-my are they dirty! Double entrendres abound: "If you don't like my sweet potato, why did you dig so deep?/In my potato field three, four times a week?" is my favorite line from Lil Johnson in "You'll Never Miss Your Jelly." Turns out, Ms. Johnson faced some censorship back in the day.

But there's also a thread of sorrow that ties these singers together. It's a shame little is known about most of these women, their careers and their lives. Though these 24 songs pre-date the Great Depression, it sounds like these women were already struggling. In "Pot Hound Blues," Lucille Bogan, channeling Ma Rainey and her contemporary Bessie Smith, threatens that her man needs to find a job and bring some money home or she's gonna stop cooking him stew. During "Second-Handed Blues" Margaret Johnson laments, "Everything I get somebody else done had," and moans about her man's "brand new coat and vest" while she wears a second-hand dress.

The most recognizable name here is probably Memphis Minnie, who had the most successful career aside from Monette Moore (later of early television's Amos 'n Andy show). Minnie's "I'm Talking About You" takes the notion of a scorned woman and flips it to the perspective of the other woman who also has another man of the side: "I don't care what you do" so goes the refrain. Amen sister. A mesmerizing collection of unique blues songs full of sage words of wisdom from world-weary women. As an added bonus, half the proceeds will go to a New Orleans support organization. [TL]






The Album

"Public Toys"
"Sweet Jane"

Even though most of the instigators are pushing 50 these days, punk rock will be forever linked to a youth movement and Eater will be forever its poster boy. Led by the 15-year-old Andy Blade, no other UK band came close to capturing the energy and freedom like Eater. Freed from the confines of really learning how to play and fueled by the inherent energy of youth, they dove in headfirst, transforming yesterday's glam hits (the record has Velvets, Bowie and Alice Cooper covers) into simple punk shouters and writing some punk classics of their own too. Their re-work of Alice Cooper's "Eighteen" as "Fifteen" is especially brilliant, stripping the song to its bare essentials and playing it at double the speed, yet the desperation and confusion of the original remain. Although, I have to say, not everything about being fifteen is fantastic as a song like "Get Raped" might be better left forgotten. Of course, there is more than enough great stuff to make up for it and we haven't even begun to consider the bonus CD.

The second disc contains collects all other non-LP Eater material and it might be even better than the actual album. The first two singles "Outside View" b/w "You" and "Thinkin' of the U.S.A." are just perfect. You also get the b-side of the "Lock It Up" 12" single, a revved-up take on T. Rex's "Jeepster," the live "Get Your Yo-Yo's Out" EP, the "What She Wants She Needs" 7", the two tracks from the Label compilation LP and the two live tracks from the "Live at the Roxy" compilation record. Whew! This whole thing is quite a bargain! Don't pass it up. [DMa]






Country Funk

"Apart of Me"
"For Me"

Originally released in 1970, Country Funk's self-titled album brings a subtle approach to its namesake. A breezy, twangy sound keeps the band grounded in west coast country -- psych music territory -- not unlike the Byrds, Gram Parsons, Buffalo Springfield, and Crosby Stills Nash & Young. It also reminds me a bit of Every Picture Tells a Story, which is never a bad thing. Standout tracks include the opening number "Apart of Me," which Beck apparently sampled on Odelay, and heartbreaker "For Me," that has some killer guitar pickin' and sweet sincere lyrics as well. What a shame that this is the first time the album has been reissued in the last 38 years. Country Funk generously delivers with twelve tracks full of day dreaming and sunshine shuffling and is fit for anyone nostalgic of that west coast sound. Recommended for certain. [AC]







"Step and the Walk"

There's no telling why the UK's Duke Spirit didn't take hold with 2005's Cut Across the Land. With a raw, bluesy garage sound that borrowed just enough from predecessors like Patti Smith, Velvet Underground and Sonic Youth, the band got a lot of love from the critics but never really connected with the fickle record buying public at large. I expect from their new album, Neptune, that the Duke Spirit will finally break through. Recorded in California, producer Chris Goss (Queens of the Stone Age) beefs up the band's sound in all the right ways, thickening their twin guitar attack and capturing the powerful, soulful vocals of the group's MVP Liela Moss, whose performances in electric-charged songs like "Send a Little Love Token," "Into the Fold" and "You Really Wake Up the Love in Me" recall Smith and Dry-era PJ Harvey. But the Duke Spirit aren't a one-trick-pony collective, and this 12-song set is extremely nuanced, moving through restrained, atmospheric rock ("Wooden Heart," "Dog Roses"), dense, horn-driven punk ("Lassoo") and closing out with a lovely, almost Spector-esque ballad, "Sovereign," that could have found home on a Concretes record. [GH]






$15.99 Limited CDx2



"See the Sun"
"Stormy Weather"

Another solid album of NME-tailored tracks by the Kooks. Destined for the British charts, the band plays undeniably catchy pop that borrows from all the right places; Strokes, the Cure, Britpop, Kinks (they even recorded in Ray Davies' studio). While the first album was a one-dimensional upbeat ride, Konk is full of ups and downs, and therefore more interesting and longer-lasting. Limited edition version includes a second disc with two acoustic versions of songs off of Konk, plus five exclusive tracks.






My Bloody Underground

"Who Cares Why"
"Darkwave Drive/Big Drill Car"

A new, perfectly demented album of neo-psych and skewed rock n roll by Anton and his band of back up musicians, My Bloody Underground (the first of eight million puns on the album) shows flashes of pop brilliance before melting into a jammy, trippy haze, and repeat over and over again. Complete with offensive song titles and plenty of social commentary. Just like all your favorite BJM albums then.






2008 Winter/Spring

The latest installment in the Fingered DVD zine series focuses on the Montreal music and arts scene, and features performances by AIDS Wolf, Dreamcatcher, and Panopticon Eyelids, as well as stunning artwork by Seripop, David Lafrance, Natalie Reis, and many more. Throw in a short film by up and coming, and soon-to-be very important art star, Dandi Wind and this is an unbeatable package.
  All of this week's new arrivals.

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[GA] Geoff Albores
[AB] Adrian Burkholder
[JC] Jo Colagiacom
[AC] Amanda Colbenson
[PG] Pamela Garavano-Coolbaugh
[DG] Daniel Givens
[GH] Gerald Hammill
[MK] Michael Klausman
[AK] Andreas Knutsen
[TL] Tanya Leet
[BL] Brian Levine
[JM] Josh Madell
[DMa] Dave Martin
[SM] Scott Mou
[DS] Daniel Salas
[KS] Karen Soskin
[JW] Josiah Wolfson

- all of us at Other Music

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