The Other Music Update

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	January 18, 2012


	FEATURED NEW RELEASES Chrysta Bell + David Lynch Karen Dalton The Walker Brothers (3-CD set) The Big Pink Calvin Keys LP Michael Chapman Los Nombres Michael Nyman Band Howler Michigan Mixture (Various 2CD)		Bollywood Bloodbath (Various) Heaven & Earth ALSO AVAILABLE Intended Play LP (Matador Sampler) "Blue" Gene Tyranny Yeti Magazine #12 Shindig! Quarterly No. 4 Peaches LP (Teaches of Peaches) Link Wray (Three-Way Shack on Sale) Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

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		OTHER MUSIC WEDNESDAYS AT THE ACE HOTEL Only two more nights remaining in Other Music's January residency inside the gorgeous lobby of NYC's Ace Hotel. Tonight, Chris Pappas will be spinning a great, genre-hopping mix of vintage rock, psych-pop and funky international grooves, with some '80s shoegaze, twee and post-punk throw in on top. Next Wednesday, Gerald Hammill returns with a couple record bags full of funky leftfield pop and other delightfully obscure gems. We hope to see you! Tonight, January 18: Chris Pappas Next Wednesday, January 25: Gerald Hammill ACE HOTEL: 20 W. 29th Street, NYC 8PM Until Late \| No Cover Facebook Event Invite

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		LAURA GIBSON IN-STORE PERFORMANCE: MONDAY, JANUARY 23 @ 8PM We're excited to welcome Laura Gibson to Other Music, who will be playing an intimate set at the shop on the eve of the release of her new album, La Grande, on Barsuk. The Portland, OR singer-songwriter has received much acclaim over the past half-a-decade or so, and her upcoming full-length is a stunning, timeless collection of mysterious, atmospheric folk with guest appearances from members of Calexico, the Dodos and more. OTHER MUSIC: 15 East 4th Street, NYC Both in-Stores: Free Admission \| Limited Capacity

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		WIN TICKETS TO CLOUD NOTHINGS Here's a fun twist on our enter-to-win ticket contests, this one coinciding with the release of Cloud Nothings' great new album, Attack on Memory, out next Tuesday, January 24 on Carpark Records. When we open our shop doors this Saturday at 11 a.m., we'll have a special Cloud Nothing's Rubiks-like cube at our register counter waiting to be solved. The first person to do so wins a pair of tickets to the band's upcoming show at Webster Hall on January 26th and also keeps the cube! There's only one pair of tix and one cube, so get here early for a better chance to win. THURSDAY, JANUARY 26 THE STUDIO AT WEBSTER HALL: 125 E. 11th St. NYC


	$12.99 CD $37.99 LPx2		CHRYSTA BELL & DAVID LYNCH This Train (La Rose Noire) "Real Love" "Right Down to You" Following the ambitious but somewhat disappointing Crazy Clown Time, David Lynch returns with another dispatch of recorded songsmithery, this time channeled through his new chanteuse protégée, Miss Chrysta Bell. Bell has a stunning voice, soft and smooth, but with a powerful blues streak underneath, and the songs on This Train show similarities to Lynch's work with Angelo Badalamenti for Julee Cruise's two excellent albums made in the late-'80s/early-'90s, but here the space-jazz influence is swapped for an ethereal, ghostly railroad blues. Those influences are mixed with the otherworldly dream-pop that has become somewhat of a Lynch trademark, sufficiently modernized here. With an artist like Adele topping the charts these days, this dark modern blues actually has a pop relevance that is a little surprising, and with Bell's voice, her velvet sensuality, and Lynch's solid songwriting, this could almost be a hit; it's more likely to hold down cult status, but regardless, this is an excellent record, as heavy on atmosphere and incense as it is on languid rhythms and memorable tunes, and it managed to slip its way into my best of 2011 list as a tail-end wild card stunner. If you found yourself wanting to like Lynch's album more than you actually did, if you dig the likes of Adele, Amy Winehouse, and Julee Cruise, and want some new bluesy chanteuse flavor, or you're just pining for a bit of that old school dream-pop that he does so well, look no further. This is one of those records that gets nearly everyone in the shop coming up to the counter with inquiries when I play it, and it wholeheartedly deserves your attention. [IQ]


	$15.99 CD $21.99 LP+MP3		KAREN DALTON 1966 (Delmore) "Reason to Believe" "2:19 Train" The posthumous excavation of rare Karen Dalton recordings continues with this latest installment from Delmore Records. I can safely say you shouldn't be worried about diminishing returns here, as this is a supremely intimate tape that captures Dalton and then partner Richard Tucker holed up in a remote cabin in the mountains outside of Boulder, Colorado one evening in 1966. The highlights are undoubtedly her renditions of a number of Tim Hardin tunes that heretofore had been undocumented. "Green Rocky Road" in particular is just stunning, as if you're listening to a cloud slowly unfurl across a landscape, effortlessly floating into infinity. There's also a devastating version of her classic "Katie Cruel" and a practically somnambulant version of folk standard "Cotton-Eyed Joe" that's impossible to not get completely lost in. Anything that expands our understanding of this incredibly enigmatic and troubled singer is a cause for celebration, and here's hoping that the well hasn't run dry yet as all these releases thus far have all been uniformly excellent. [MK]


	$21.99 CDx3		THE WALKER BROTHERS No Regrets / Lines / Nite Flights (Sony) This is seriously the best deal you're going to come across all week. The last three Walker Brothers albums, made after their 1970s reunion, are back in print and available as a three-CD set for just over $20. This includes the excellent No Regrets and Lines, which sees the band kicking out some fine country-rock AOR grooves, with Scott and the boys all in fine voice and top form, but the last disc in the set is what you really need. Having received word that their label, GTO, was about to fold, the band pretty much decided that they had one last shot at going for gold. Scott encouraged the group to throw down the gauntlet, pull no punches, and write the best fucking songs they could muster for what was to be their swan song. The result was 1978's still-astonishing Nite Flights, an album which draws inspiration from Bowie & Eno's Berlin trilogy, as well as the dark, suave sounds of Manifesto and Stranded-era Roxy Music, but which takes that sound and wraps its jagged pieces into barbed-wire shots of pure black electricity. Everyone drools enthusiastically over Scott's four songs on the record, which open the set, and deservedly so; he foreshadows the dark, arty brood of his later albums like Climate of Hunter and Tilt, but gives these songs more of a post-punk pulse that's actually almost danceable, filled with skittering hi-hats, alien synth textures, Burroughs/Gysin-inspired lyrical cut-ups, liquid fretless basslines, and some of the most evil, minimalist guitar put to tape. What you need to know is that John and Gary's songs are equally great, though much more "traditionally" conventional, going for more of the Roxy/Eno flavor. These tracks are still dark and wicked, and John sings with more grit in his voice than I've ever heard from him elsewhere. Don't believe the hype when critics talk shit about the rest of this album, because while Scott's top-loaded masterpieces make the second half of the record feel like a bit of an aftershock, it's actually sequenced perfectly. This album is flawless in my mind and stands to me as the band's crowning achievement. This is currently the only way any of these records are available, and while Nite Flights is the real prize here, all three albums are worth your attention. As I love to say, buy this now or cry later, because who knows when these'll be available again. [IQ]


	$12.99 CD $16.99 LP+MP3 $9.99 MP3		THE BIG PINK Future This (4AD) "Stay Gold" "77" The Big Pink seem to live and die by one motto: go big or go home. There's nothing subtle about Future This, the London band's follow-up to 2009's critically-lauded A Brief History of Love. It has all the hallmarks of their first record -- towering, bombastic choruses, hooky guitars, banging drums and plush production -- but, with super producer Paul Epworth (Adele, Florence, Cee-Lo) in tow, the group is on a quest to expand their sound even further. For fans of the band this makes perfect sense; they've never shied away from sounding like young kids with pop stardom aspirations and sold out stadium dreams and, here, it shows. Like their breakthrough single "Dominos" from '09, opener "Stay Gold" is another raucous, goth-tinged psych-pop anthem, cooked up with epic ambitions and polished to a fine sheen. The album is full of these almost radio-friendly pop tracks that the Big Pink then drenches and distorts with classic shoegaze and fuzzy rock touches. It makes for an enjoyable yet sonically dense listen. There are sample-collages -- check the Laurie Anderson loop on "Hit the Ground (Superman)" -- and fuzzy, swirling synthesizers to match every strident guitar line and soaring chorus; it's an easy and obvious critique to say Future This is a very heavy-handed album; it is. But, if you spend time with the record, you'll notice the deft songwriting skills lurking just behind the swift flourishes and layers. With the closing track, "77," the band really nails what they are going for and it's a big and glistening, but also unforgettable song to finish an album of big, glistening, but not always so unforgettable tracks. All and all, the Big Pink are clearly a talented bunch; just two weeks into the year, they've released a record that, with the everything turned all the way up to 11, demands your attention and is most everything that a fan could hope for. [PG]


	$24.99 LP 180 Gram		CALVIN KEYS Shawn-Neeq (Tompkins Square) This 1971 classic from the Black Jazz label has always been one of the more rare and sought-after entries in the legendary label's catalog. Oakland-based guitarist Calvin Keys and a crack ensemble sail through these five tracks like their lives depend on it. The early-'70s jazz-funk sound predominates here although the players just as easily settle into hard-bop style grooves, as on the cover of Thelonious Monk's "Criss Cross." The production is very bare-boned, giving a great sense of immediacy to the proceedings; as the record plays I imagine a large and somewhat drafty space where a console has been set up, and where it's up to the players to provide the heat -- they do, trust me! Keys shines throughout with a very "pianistic" approach to guitar phrasing, and there are moments interspersed that actually call to mind the experiments Can was simultaneously undertaking in Cologne during the making of Tago Mago. Great to have this back out in a good-quality vinyl issue, because the previous Black Jazz reissues from about a decade ago were shoddy at best, and this is an interesting new direction for the Tompkins Square label. "B.E." is the standout track here, but the whole session is very memorable, and no, he's not Alicia's dad! [GC]


	$15.99 CD $21.99 LP 180 Gram		MICHAEL CHAPMAN Rainmaker - Remastered w/Bonus Tracks (Light in the Attic) "It Didn't Work Out" "On My Way Again" Oh my life goes by so easy My days they pass so well I believe I'm gettin' older But I'm not the one to tell I can pass my days in sunshine And I can pass my days in grey And If I should die tomorrow I'll be the one to blame Light in the Attic follows up their great reissue of Michael Chapman's Fully Qualified Survivor with his just as excellent debut LP, Rainmaker, originally issued in 1969. Both of these albums have been longtime favorites around here, which I think we originally reviewed at least seven or eight years ago. If anything though, they've gotten even better with age as the realization of what a singular presence Chapman has been over the last four decades has fully sunk in. In some ways I find Rainmaker to be even more immediately accessible than Fully Qualified; it's not quite as heavy and brooding, and his folk roots are more palpable here than on its successor, not to mention that it includes what I find to be his most absolutely perfect song, the jewel-like "Goodbye to Monday Night," quoted above. He's just a total genius at marrying these really driving and acoustically dense numbers with his inimitable and deeply laconic vocals that seem to have very little antecedent in British folk music. The new packaging of this album is stellar, with a long essay by Byron Coley, three previously unreleased tracks, a gorgeous tip-on gatefold sleeve for the LP, and a bevy of old photos. A true original, this record is every bit as essential an album as any by Jansch, Drake, Harper and Martyn, et al. [MK]


	$15.99 CD $18.99 LP		LOS NOMBRES Los Nombres (Asterisk/Numero) "Full of Love" "Listen People" A few years ago, when I heard that the Numero Group were taking on the daunting task of putting together a best-of Boddie Recording Company collection, I could only shake my head; labor of love would certainly describe the undertaking in assembling this epic box set, as the Numero folks culled through hundreds of hours of reel-to-reel tapes and thousands of pages of catalog. Over the course of 35 years, Thomas and Louise Boddie had released over 300 albums and 45s that featured a diverse array of Cleveland-area sounds, from spooky doo-wop to vocal gospel, to ice-rink records to lo-fi soul...and then there's Los Nombres, perhaps the finest American-Latino soul band that the world never knew. Hailing from Lorrain, OH, this seven-piece group of Puerto Rican teenagers was no doubt an anomaly in the fertile Rust Belt scene of the late-'60s and early-'70s -- an excellent, heavy rock-n-roll and funk scene that has been fairly well documented through the years. Los Nombres' hard-edged brand of Motown-influenced Latino funk, however, had more in common with East and West Coast contemporaries like War, Joe Bataan and Harvey Averne. Swelling to as many as 23 pieces at times, their punchy horn- and organ-fueled arrangements overrode the primitive recordings and revealed a band that could swing and groove with the best of them. While instrumentals like "Cold Wine" also call to mind the heavy Afro-funk leanings of UK groups like Cymande and Lafayette Afro Rock Band, lead vocalist Willie Marquez was arguably the X-factor that made their recordings extraordinary. His crooning style came off like a Joe Bataan with a Johnny Mathis-inflection, and stellar mid-tempo ballads here like "Loving You" and "Just Call Me" showcase that voice in fine form as Marquez practically floats and soars above the bright horns and organ rumblings. Other highlights include "Listen People," a beautiful strings-inflected Smokey Robinson & the Miracles tribute, and the fuzzy psych-funk of "Trivialities," which boasts a vocal line lifted from Shocking Blue's psych classic "Hot Sand." Heck, the whole record's a delight from start to finish, and combined with the stellar liner notes and photos curated by Josh Dunn, you have an early contender for reissue of the year. Fans of the aforementioned, Ray Baretto's Acid and the like, step right up! [DH]


	$19.99 CD		MICHAEL NYMAN BAND Michael Nyman (MN Records) "In Re Don Giovanni" "Bird List Song" I have literally waited years for this album to be reissued and now my fears of wearing out my original vinyl can be put to rest. British composer Michael Nyman is world renowned for his scores to classic films like Peter Greenaway's The Draughtsman's Contract and The Cook, The Thief, His Wife & Her Lover, as well as Jane Campion's worldwide hit The Piano; he is also the man widely regarded as introducing the term "minimalism" into accepted canon during his years as a critic and music journalist to describe a certain strain of classical music. Nyman's own music combines elements of baroque canons, eastern European folk tradition, and the highly rhythmic pulsations of minimalist composition. He found himself at a personal crossroads at the start of the 1970s, disenchanted with popular music of the time, but also searching for his own compositional voice; he reached a personal epiphany one day when playing the opening 16 bars of the "Catalogue Song" from Mozart's Don Giovanni in the style of Jerry Lee Lewis, its uplifting rhythmic bounce giving him inspiration for new works which have become staples in his repertoire still to this day. That epiphanal piece, "In Re Don Giovanni," is included on what is technically Nyman's second album (after Decay Music on Eno's Obscure label), but for all intents and purposes could be considered his proper debut, which has remained criminally out of print since its initial release on Piano Records in 1981. This album does, after all, serve as the debut for the Michael Nyman Band, the ensemble for which he has written the bulk of his work and for which he still serves as pianist; the music here combines pieces in the plunderphonic "sampled/remixed" style of "In Re," where he reworks bars from Mozart and Webern, as well as key musics that served as soundtracks for the early films of Peter Greenaway, starting a fruitful relationship that would last for over ten years and produce some of each artist's best works. This album, produced by David Cunningham, best known for his work with This Heat and his own Flying Lizards project, and featuring performances by master European musicians Peter Brotzmann, Evan Parker and Alexander Balanescu, combines the refined charm of classical music with the exploratory nature and "anything goes" spirit of the post-punk movement; it serves as the bridge between the first phase of Nyman's career and the second phase, which arguably brought him his worldwide recognition. This is a defining document of British experimental music, and a record that I can say without hesitation is one of my all-time favorite albums. It combines strong rhythmic sensibilities with lovely melodies, blending avant-garde touches with a clear-cut listenablility. This is an album that everyone should hear at least once before they die, one of the most raw and direct pieces of modern composition ever put to tape, where the composer's ears and ideas were still fresh with endless possibility. Pick this up post haste. [IQ]


	$9.99 CD $15.99 LP+MP3 $9.99 MP3		HOWLER America Give Up (Rough Trade) "Beach Sluts" "Wailing (Making Out)" It would be pretty easy to write off the young Minneapolis band Howler -- the British papers were fawning over them before they even had a record out, their teenaged frontman Jordan Gatesmith likes to sing about getting wasted in an affected punk snarl and stare vacantly at any camera pointed his way, and their sound is a somewhat transparent homage to vintage pop-punk. The only stumbling block in dismissing these bratty kids so easily is their songs, which will lodge in your brain whether or not you think you are too cool to care. The Strokes are Howler's most frequent and obvious comparison -- early Strokes, and the mix of late-'70s NYC and London bands that inspired them. Howler has the same adrenaline-fueled grooves, the same desperately infectious guitar hooks, and the same irresistible sing-along choruses, with a bit less urban cool and a bit more school's-out-for-summer abandon. These are simple three-minute pop songs, grabbing what they can from early rock-n-roll, surf, and punk records, downing a case of beer in the basement, and letting her rip. No, it's nothing new, but damn, these kids have figured out how to do it well, and they sound like they are having a hell of a lot of fun doing it. Sometimes that's all you can ask for. [JM]


	$24.99 CDx2		VARIOUS ARTISTS Michigan Mixture Vol. 1 & Vol. 2 (Particles) "In the Silence of the Morning" The Glass Sun "Take Me to LA" Dick Rabbit I'm sure it was tough getting even a few seconds in the spotlight in Detroit in the late '60s, especially when you're playing second fiddle to the Stooges (with Iggy at his peanut-smearing, glass-chewing best) and MC5 (who by this time had turned into a full-blown political party). However, as evidenced by Michigan Mixture, there were a whole bunch of contenders who deserved a turn on the throne. Originally released as super-limited LPs in 1990, these two volumes have finally been reissued on CD as a convenient two-fer. Vol. 1 is the strongest of the two, and that's not selling the second volume short because this is one of the best rock-n-roll compilations of all time. It's not quite garage and not quite psychedelia as it exists in some kind of wasted vacuum between those two genres, with the holy trinity being the Up's classic, MC5-damaged "Just Like an Aborigine," Glass Sun's amazing, eerie psych burner "Silence of the Morning" and the Orange Wedge's totally manic and zonked-out "From the Womb to the Tomb." Vol. 2 continues much along those lines and with the exception of a few weak covers, delivers in spades as well. The stand-out track on this volume is "Third Side" by a bunch of miscreants who called themselves Geyda -- thumping five-star basement rock at its very finest. All in all, an essential purchase for anyone into scuzzy rock, the likes of George Brigman and Stone Harbour, and danger and teenage rebellion in general. [AK]


	$14.99 CD		VARIOUS ARTISTS Bollywood Bloodbath (Finders Keepers) "Sansani Khez Koi Baat" Hemant Bhole "Bindya Tarse Kajra Barse" RD Burman Finders Keepers exhumes an incredible collection of film music and songs from vintage Bollywood horror flicks, and it stands as one of their best releases to date. Bollywood Bloodbath features 22 tracks of the trademark collusions of Indian "filmi" music, but with a deeper emphasis on electronics and synthesis, percolating tablas and primitive beatbox grooves, spectral melodies, and shitloads of reverb and delay effects on the singers' voices. Some of the genre's biggest film composers are represented here, with prime material from Bappi Lahiri, Rajesh Roshan, and the grandmaster RD Burman amongst many names with which I'm less familiar but equally impressed. I love how much more subtle this set is compared to many other Bollywood comps that tend to overemphasize the "zany" qualities of this music's genre smashing. The collection is an obvious labor of love put together by huge fans of both the films and the tunes, and their selection and sequence is masterful. This is an excellent primer for both neophytes and seasoned listeners, and it's not necessarily something you'll only listen to during the autumnal nights of the Halloween season. Fans of the sound will want this without hesitation and if you're quick on the draw, initial purchases of Bollywood Bloodbath will also get an additional mix CD by Finders Keepers mogul Andy Votel called Hindi Horrorcore, featuring 50 minutes of bonus bloody beats including songs not featured on the proper compilation. I can't recommend this one more highly, folks! [IQ]


	$15.99 CD $24.99 LP		HEAVEN & EARTH Refuge (Lion Productions / Rockadrome) "Jenny" "Refuge" Reissued by Lion and Rockadrome, Heaven & Earth's Refuge album from 1973 is a lost and lovely masterpiece from the era when all the maiden's were fair and wore flowers in their hair. Accompanied by acoustic guitars, bass, flute, strings and a variety of percussive instruments, Heaven & Earth (Jo D. Andrews and Pat Gefell) provide the most wonderful harmonizing since, I dunno, Wendy & Bonnie? There are light psychedelic swirls throughout, and the occasional folk-funk flourish (the legendary Phil Upchurch plays on here) makes the trip even more magical. An absolutely necessary addition for fans of Linda Perhacs, These Trails, and the aforementioned Wendy & Bonnie. Pick your format but I highly recommend the lovingly recreated LP version, with nice looking tip-on sleeve and all. [AK]


	$1.99 LP+MP3		VARIOUS ARTISTS Intended Play (Matador/True Panther) A new Matador/True Panther sampler LP priced so low, it's like Second Christmas (ask Josh's nieces about that one). Features tracks off upcoming records from the Young, Ceremony, Tanlines, Perfume Genius, and Lee Renaldo, an unreleased Stephen Malkmus cut, and recent classics (or versions) from Girls, Kurt Vile, Cold Cave, and Esben & the Witch. Great music, ridiculous price, vinyl only.


	$9.99 CD $9.99 MP3		"BLUE" GENE TYRANNY Detours (Unseen Worlds) "Detours" "She Wore Red Shoes" New release from polymath composer "Blue" Gene Tyranny, last heard round these parts a couple years ago with Unseen World's reissue of his seminal 1977 avant-pop album, Out of the Blue. Detours, also issued by Unseen Worlds, showcases his lovely work for solo piano, with four mostly lyrical, vaguely minimalistic pieces that occasionally belie his sly sense of humor.


	$14.95 MG+45		YETI #12 Magazine + 45 (Yeti Publishing) Portland-based Yeti Publishing ushers in the New Year with issue #12 of their magazine of the same name, and this latest installment is certainly a return to form. Pressed as an 8"x8" paperback book, included are stories on everything from economic desolation to drawings by Tim Miller as well as a bonus 7" with tracks by Fred McDowell, Grouper (covering Dead Moon!) and Tiki Men. Grab one while you can!


	$10.99 MG		SHINDIG! Quarterly No. 4 (Shindig! Magazine) Yet another jam-packed issue of the always excellent Shindig Magazine, with a lengthy expose on one of the greatest rock-n-roll bands of the '70s, Mott the Hoople (by Kris Needs, one-time Mott the Hoople fanclub manager) as the main attraction. In addition, there are in-depth articles on Australia's Twilights, swinging London's Alan Bown Set, UK psych-prog obscuros Paul Brett's Sage, and much more. Add the usual plethora of views and reviews and you've got another unmissable read from start to finish.


	$15.99 LP		PEACHES The Teaches of Peaches (XL) Long out of print on LP (if you have to look at that cover, we guess it may as well be 12x12), XL drops a slab of pink vinyl Peaches on you (on Adele's dime, we hope). The Teaches of Peaches is actually a great record, and heard now, without its Y2K "electroclash" baggage, this thing is so much fun, we can't stop listening. Please DJs, buy this record and "Set It Off."

On Sale
$19.99 CDx2

LINK WRAY
Wray's Three-Way Shack
(Acadia)

Wray's Three-Track Shack chronicles the phenomenal, yet not widely-known, early-1970s output of rock and roll legend Link Wray. Famous the world over for his ferocious instrumental hits from the 1950s, including "Rumble" and "Rawhide," Wray recorded sporadically throughout the 1960s before reaching his creative pinnacle with a series of albums produced in a makeshift three-track recording studio, located in the chicken coop on his family's farm in Maryland. This two-disc set is made up of Wray's complete chicken coop recordings, which include his eponymous 1971 release, the UK only Beans and Fatback -- released in 1973 but recorded simultaneously with the earlier record -- and another release from 1971, featuring pianist Bobby Howard singing Wray's songs under the pseudonym Mordicai Jones.

This is some of the most exhilarating and authentic American roots rock that you will ever hear. If you're a fan of the Band, the Sir Douglas Quintet, Neil Young, or any of the Stones' albums from around the same time period, specifically Let It Bleed, Sticky Fingers, and Exile On Main St., then prepare to have your mind completely blown. Wray's hits are great and all, but they don't even compare to anything on these three records. His voice is spellbinding, sometimes managing to sound like Van Morrison, Charlie Feathers, and Captain Beefheart all at once. Howard is aptly described in the liner notes as a "more conventional" singer, but he sounds especially gorgeous and majestic on the single "Walkin' in the Arizona Sun." Every song on Wray's Three-Track Shack is amazing, from scorching boogie rock burners to heartbreaking ballads steeped in country, gospel, and delta blues. Unless you already know and love these records, you're not going to believe how good this is. [RH]


	PHONE ORDERS Phone orders are accepted at (212) 477-8150 (ext. #2, mailorder) Mon-Fri, Noon - 7pm EST EMAIL For general inquiries or other information please email sales@othermusic.com. Do not reply to this message. REMOVE This is an automated list. If you would like to be removed for any reason, please visit: digital.othermusic.com/subscribe.php		THIS WEEK'S CONTRIBUTORS [GC] Greg Caz [PG] Pamela Garavano-Coolbaugh [DH] Duane Harriott [RH] Rob Hatch-Miller [IQ] Mikey IQ Jones [JM] Josh Madell [MK] Michael Klausman [AK] Andreas Knutsen THANKS FOR READING - all of us at Other Music

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