Long-time Waysiders will remember this Residents-influenced recording project who released two fun, primitive slabs of home-made vinyl. Nice to have them here again and done so nicely!

"Way back in 80’s, before the term “Alternative” was hijacked to correspond with Seattle “Grunge”, the genre was held in high-esteem for its “D.I.Y. / Low-Fi” ethic.
The Blitzoids - along with The Residents, R. Stevie Moore and Eugene Chadbourne - epitomized this school of thought in the USA. From the...

“'Pass Through Here' is a new album from Connecticut folk icon Kath Bloom, her first for five years. It's a distinctive new sound for Kath, uplifted by floating synthesizers and disembodied choruses, while retaining the direct simplicity and power for which she is loved.
Beginning to perform in the late 70's, Kath is renowned for her 80's private-press recordings with avant-garde guitarist Loren Connors, as well as signature tune 'Come Here', from the soundtrack to the Richard Linklater film 'Before..

“A holy grail for 1970’s and 1980’s Metal collectors! If there ever was a band that could be classified as “obscure, underground rock” this is surely one. The only known release on this band is a sole 45 released on Excelsior (the label owned by the late Bill Holford, SR. of ACA Studios in Houston). Mr. Holford would sometimes take a band under his wing and help them, which is what he did with Blown Free.
David Matthews (not that guy) started his career back in the late 1960’s, landing eventually...

"Portland jazz ensemble Blue Cranes has long established itself as a forward-thinking entity. The quintet, made up of Reed Wallsmith on alto saxophone, Joe Cunningham on tenor saxophone, Rebecca Sanborn on keyboards, Jon Shaw on bass, and Ji Tanzer on drums, is steeped in the history and sound of the artists that came before them, but too curious and creative to simply replicate the past. Blue Cranes wants to explore.
That idea has never felt more true than with the group’s fifth and most ambitious...

"Thank the Great Old Ones! After 3 albums of declining quality, Blue Oyster Cult were back in business.
Cultösaurus Erectus is quintessential BÖC, featuring some of their very best work. Black Blade is sci-fi prog rock on the same level of Astronomy with all the guitars back on full blast and one of Eric Bloom's greatest lead vocal performances, especially the equal parts scary and trippy vocoder monlogue at the end. What an achievement, and burning away any lingering doubts after the lackluster...

"Who would have thought that in 1981, after a pair of limp, unfocused studio offerings, and two mixed -- at best -- live outings, that the once mighty Blue Öyster Cult would come back with such a fierce, creative, and uncompromising effort as Fire of Unknown Origin.
Here was their finest moment since Agents of Fortune five years earlier, and one of their finest ever. Bringing back into the fold the faithful team who helped articulate their earlier vision, producer Sandy Pearlman, Richard Meltzer...

The band who basically invented the idea of 'thinking man's hard rock/heavy metal'. One of the great hard rock bands of all time and that's no lie! This is their mega-classic third album - generally regarded as their greatest - and includes 5 bonus tracks

The band who basically invented the idea of 'thinking man's hard rock/heavy metal'. One of the great hard rock bands of all time and that's no lie! This is their mega-classic second album and includes four bonus tracks!

What happens if you cross Clarence Ashley, Jack Rose and Charlemagne Palestine?? Maybe this!

“An American banjo player, drummer, and teacher with one foot in Appalachian folk and the other in minimalist drone. This is a cinematic suite of contemplative, elastic set pieces that conjures the titular Virginian river tribe/extinct county, the second solo album by Nathan Bowles (Black Twig Pickers, Pelt, Sreve Gunn, Hiss Golden Messenger) deploys banjo, percussion, piano, and voice to explore the...

“Sahari may be Aziza Brahim’s best album to date. The 2019 album finds the Sahrawi artist, whose emigration to Spain lives on in her music, showing further advances even beyond the brilliance of Abbar El Hamada. Never truly a desert blues singer, there were always touches of that style in her slightly weathered but elegant voice, and that has been played against elements of Spanish and flamenco to give Brahim something truly fascinating and unique.
Sahari moves Brahim even further, and the listener...

Brainville (mk 1) was
Daevid Allen-guitar and vocals
Kramer-keyboards/bass/guitar
Hugh Hopper-bass
Pip Pyle-drums

It's amazing to see this document released, especially as I was at this gig in NYC at the Knitting Factory! (I just happened to be in NYC visiting family at the time, but how was I going to pass up a chance to see this??).

"Brainville was the band formed by Daevid Allen, Hugh Hopper and the late Pip Pyle all revered musicians within the Canterbury Scene....

This is absolutely one of the great deals in our extensive offerings; don’t blink and miss it!

New, fifth release and back on track after their disappointing last one. Really good!
BB&F are a unique German trio who combine certain aspects of progressive/postrock bands like Tortoise, Jaga Jazzist with the rhythmic aspects of Nik Bartsch's Ronin, a Steve Reich/Philip Glass/Michael Nyman maximum minimalist sweep and 'die mensch machine' esthetic of Kraftwerk and lots of techno influence as well...

“Brix and the Extricated have some great songs and fine players to interpret them. I've seen them live and all the energy is perfectly brought into the studio on this release. The songs are often commercial but with dark shadows drifting across them hence my saying ‘If Blondie had not gone pop’. This band could throw Rip Her To Shreds into their set and you would believe it was theirs.”

“Warehouse find of the last copies of this long unavailable 2000 release. Jumping Off The Page is a studio recording by the quartet of Rob Brown (alto sax, flute), Roy Campbell (trumpet), Chris Lightcap (bass), and Jackson Krall (drums).”

"Alto saxophonist and flutist Rob Brown is often featured in the context of other leaders' recordings as an inventive improviser who has enough of the early AACM in him to stretch time, space, and harmonic ideas, and enough of the late-'50s hard bop tradition...

I'm a huge Jack fan and I found this fascinating and wonderful, as it's from his early prime as a solo artist and just after his world-wide fame with Cream. And equally fascinating is the interview with Tony Palmer, the film maker about the making of the film. Lots of eye-opening discussion of the slums of Glascow, where Jack grew up.

"Born amid the slums of Glasgow, known as the Gorbals, his musical talent was quickly recognised and he attended the Royal Scottish Academy of Music where he...

“Lenny's master work in many ways, it must be noted that if you are new to Lenny Bruce this is his thesis work towards his PhD in Freestyle Social Commentary. By this show Mr. Bruce no longer does bits, he is all free form, and lays this show out like a brilliant jazz piece. In lieu of a Louis Armstrong or Kermit Ruffins delivernig tales of love, loss, trials and tribulations through beautifully combined notes from their trumpets, however, his music is the truth and his instrument is his style.
This...

“Probably the last coherent performance Lenny Bruce ever gave, before a very appreciative and forgiving audience, and he was really great. There's even a moment where he loses his train of thought, and he makes a funny bit out of that. A really brilliant performance, and, although some of "those" words appear here and there, you might be surprised at how little of that there was--it's certainly quite tame by today standards. He didn't need to curse to be funny. He was a brilliant social commentator and...

“Earthworks' sophomore lineup of Bill Bruford (drums), Patrick Clahar (saxes), Mark Hodgson (upright bass) and Steve Hamilton (piano) has produced an effort worth every penny to jazz and fusion fans alike. Although fans of traditional jazz may find more progressive efforts a bit harsh to the ears, this release takes Bruford back to his roots in jazz and will certainly appeal to even those that claim to be "purists."
Absent are the electronic keys and chordal drums prevalent in earlier Earthworks...

“The music of Bill Bruford's Earthworks on this CD is quite unusual. The multi-themed originals feature top-notch playing by the quartet (Bruford on drums and electronic percussion, Django Bates on keyboards, peck horn and trumpet, Iain Ballamy on reeds and bassist Tim Harries) that looks toward Ornette Coleman; at times (Ballamy's tenor sometimes recalls Dewey Redman) while traveling its own singular path. Full of unpredictability, subtle mood changes, touches of eccentric funk and a surprisingly...

“Bruford was able to snag two young English jazz prodigies from the band "Loose Tubes", Iain Ballamy (saxophones), and Django Bates (keyboards and 'peck horn') to be his partners, along with Mick Hutton (bass). Ballamy and Bates, who were known for their offbeat and humorous sensibilities, co-wrote much of the music with Bruford. Bruford was just out of a stint in King Crimson, and he brings electronic drums, heavy industrial beats, and a plethora of world music flavors to "Earthworks". This is music too...

“This well-rendered, joyfully rocking, jazzy and coolly swinging -- not to mention crazy and from the outer limits -- live date (recorded at N.Y.C.'s Iridium Jazz Club in 2004) serves as a celebration of the marriage of both idioms, as well as a 20th anniversary party for the legendary Yes and King Crimson drummer's famed Earthworks band.
The expanded orchestra concept began as a joint-force venture between the Earthworks repertoire and woodwind player Tim Garland's London-based, nine-piece...

“It sometimes seems there must have been some indefatigable taper who followed Tim Buckley anywhere and everywhere he performed during his all-too-short lifetime, recording his shows with the determination of the most obsessed Deadhead. Ever since the release of Dream Letter: Live in London 1968 in 1990, long-lost archival recordings of Buckley on-stage have been surfacing with remarkable frequency, and coming from a performer who jumped stylistic borders with the ease and elan of Buckley, it's not...

“The folks at Manifesto have done an excellent job in keeping the music of Tim Buckley on the market over the past ten years, even going so far as to release three highly revealing new discs of live recordings. Nicely bookending Buckley's most productive years, The Dream Belongs to Me continued that streak. Split between two 1968 demo sessions and a similar tracking date from 1973, the music contained illustrates that quite a lot had happened to Buckley in the intervening years, both personally and...

Fun, extremely obscure psych/early prog British rarity, originally released on Nova.

"Amazing 1969 UK mod/psych/freakbeat rarity featuring soon to be members of T2 and The Flies. This is the first time it has been reissued officially on CD...

“While most of the rockabilly cats who recorded for Sun Records in its heyday seemed to believe in the idea that less is more, fronting bands that rarely had more than four pieces, Sonny Burgess had different ideas -- his group the Pacers was a full-bodied affair, featuring two guitars, bass, drum, piano and a trumpet, giving his best recordings a broad and full-bodied sound that sets his work apart from his peers.
Burgess also was willing to sway back and forth between his country and R&B....