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The CD Reissue Wish List blog has been discontinued as of October 2015, as it had served its initial purpose.

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Tuesday, October 27, 2015

The CDRWL is Signing Off!

Hello everyone. After spending a wonderful weekend in the Colorado mountains, I realized perhaps it was time to become a private collector again, and refocus my free time energy elsewhere, other than these blogs and rating sites.

I cannot thank the contributors to this blog enough for everything they have volunteered without asking for a single thing, except requesting the reissue itself! Especially the AC and Midwest Mike, two incredible gentlemen who are solely responsible for keeping this blog going many years ago. And I'd be remiss if I didn't thank all the other contributors who have been wonderful in their support. Too many to name,but you know who you are!

Of course everything will be left here for research and documentation, and if I reconsider my position at a later date, this blog will reopen for business!

Friday, October 23, 2015

News: Sfinx debut album reissued by Soft Records

Here's the other news item from Achim. This is one of those albums I thought may have been reissued in the past, but no, this is the first legit CD for the album. And it comes from the superb indigenous Soft Records label. As an aside, I have a few of their CDs here to review for Under the Radar, and we have a couple there already (Survolaj, Talitha Qumi) that we've raved about in the past.

I haven't heard this album in ages. I don't even have a copy here, so I'll need to dig around for one. I see I have a rating for it, but I've just removed those as it's been way too long to be fair.

Our RYM friend Apps79 says this about it: "Sfinx came in life in Bucharest around 1963, found by three high school students and friends, drummer Cristian Valica, bassist Corneliu "Bibi" Ionescu and singer/guitarist Octav Zemlicka.Among their early members was also organist Idu Barbu, but the crucial point comes in 1967, when violin player and student Dan Andrei Aldea joined the band, he was destined to become the band's leader and an accomplished multi-instrumentalist.Several members would come and go over the span of the next 7-8 years, Sfinx'es fame though was on the rise, writing music for the film ''Nunta de piatra'' and releasing a first single in 1972.A second EP follows in 1974 at a time, when Ionescu and Aldea were surrounded by ex-Mondial drummer Mihai Cernea and a second guitarist, Dan Badulescu.Their ex-keyboardist Idu Barbu helped them during the recording sessions of their debut ''Lume alba'', which was released in 1975 on the Electrecord label.

You shouldn't expect by a band from Romania, a country with limited tradition in Progressive Rock, to break new grounds, but Sfinx appeared to be more than just a talented band on ''Lume alba'', exploring music fields that were almost forbidden for other groups.They played a mix of straight Hard Rock with some supporting poppy tunes, but I also encounter lots of folky influences and spacey, Fusion touches in their sound.The standard-structured tracks are rather of limited interest for fans with no access to the Romanian language, containing lots of punchy guitars, catchy choruses and dynamic grooves, which are sometimes surrounded by discreet keyboard sounds.But there are also tracks in here that are surprisingly good and beyond their time regarding the Romanian Rock scene.For example ''Sinteza'' is powered by great electric solos and a marching rhythm section, accompanying some impressive Moog synth solos with a slight spacey underline or the title-track, which sounds extremely trippy with its wordless vocals, background bass lines and soaring synth lines.''Muntele'' is very interesting as well, some of the guitar parts recall KING CRIMSON at their mid-period, the Hard Rock leads are still in evidence, but the semi-symphonic synths, the powerful breaks and the changing climates add a personal aura in this piece.''Calatorul si copacul'', the opening track is a nice attempt in Folk/Pop with great violin work by Aldea, while the swansong of the album, ''Om bun'', is a beautiful piece of archaic Prog Folk with a slight Medieval atmosphere, featuring poetic voices, traditional flute lines and light bass work.

That's what should be called Art Rock.Not groundbreaking by any means, however ''Lume alba'' remains a hidden gem of versatile Eastern-European Rock music with multilpe influences, likely to satisfy all lovers of flexible listenings.Recommended."

News: Rocket Robert reissued by Got Kinda Lost

CDRWL contributor Achim turned in a couple of news items yesterday. I was not familiar with this album prior, but it looks intriguing for sure. Got Kinda Lost is yet another sub-label from the outstanding Guerssen group of Spain.

Guerssen says: "Those who’ve dirtied their fingers searching high and low for analog synth nuggets can rejoice at the arrival of under-the-radar synthesizer maverick “Rocket” Robert Moore. Less a reissue than an exhumation—what with a scant, hand-screened 142 copies produced in 1982 that circulated little outside the confines of Oregon state—Rocket Robert drifts in the backward-looking sounds of early synth innovators, while equally mining the kraut-tinged moments of punk-era instro synth explorers and the first breaths of synth-pop, rather than carrying similarities to the “New Wave” that was then talking hold of the masses. Issued by Moore’s own Salem, Oregon-based Future Records in 1982, his eponymous debut is simultaneously light-hearted and shot-though with ominous oscillations and offers up a darkly-throbbing, other-worldly vibe that is sure to ensnare synth-heads, beat-diggers and those searching the margins of the private-press alike. Got Kinda Lost Records is over the moon to allow this singular, unique album another chance to shine. RIYL: Delia Derbyshire, Fad Gadget, Mort Garson, Gershon Kingsley, Martin Rev, Morton Subotnick, etc. First time reissue of this under-the-radar synth nugget, with original master tape sound. Recorded in 1982 while having more in common with ‘60s analog synthesizer innovators or ‘70s German followers of the flame, providing the album an “out of time” quality. Includes two previously unreleased spaced-out-electro-pop songs from the album sessions. Insert features informative liner notes by Dave Segal (Staff Writer for Seattle’s alternative weekly The Stranger), culled from interviewing the artist and rare photos from Robert Moore’s archives. LP housed in an old-school-style tip-on sleeve. CD edition features a full-color insert with many images not featured in LP edition. "Unclassifiable outsider synth-damage not unlike Bite-era Bruce Haack and Damon Edge of Chrome collaborating, or weirdo proto-new wavers like Ghostwriters, Pulsar, Todd Tamanend Clark, or a non-operatic Klaus Nomi. Better yet, imagine a Grandmaster Flash-obsessed Kluster retreating into a stoney basement with Richard Pinhas—if that makes no sense, you're on the right path." - Steven “Plastic Crimewave” Krakow (Galactic Zoo Dossier)"

Tuesday, October 20, 2015

Shotgun LTD, USA

Shotgun LTD. - s/t. 1971 Prophesy

This title came up a couple of times recently while doing some research, and I found a copy over on Youtube to check out last night.

Shotgun LTD is one of those albums I passed over dozens of times in my crate digging years of the 80s and 90s. That looks to have been a mistake. Even though it's not a masterpiece, it's a fine example of North American hard rock, with blues and even a slight rural underpinning. The three track sequence on the first side starting with 'Against the Wall' is simply fantastic, and there's more than a nod to the Hammond organ / electric guitar based proto-prog sound here. Hard to imagine anyone who enjoys the latter genre not being impressed with 'Number Two'. After this, the album's momentum begins to slow considerably, and by side 2 there are couple of stinkers to endure in 'River of Hope' and 'Feelin' Bad'. All in all though, a fine discovery after all these years. Would make for a nice reissue, perhaps with some relevant bonus tracks to kick it up a notch.

Hilarious cover too, as the band and their "presumed" pregnant girlfriends are gearing up for a "shotgun wedding".

Priority: none (borderline 3)

Sunday, October 18, 2015

News: Baumann/Koek to be reissued on Bureau B

I have to admit I'd never heard of this one before. But CDRWL contributor Eric sent it over, and it indeed does look like something we'd be very interested in. Bureau B continues to be the leading light for all things German Electronik.

Label data: "Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang (not Peter!) Baumann and Ata Koek, both from Kempten, Bavaria. It was mixed in Conny Plank's studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School: layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Oriental elements or hints thereof add a particular charm to Baumann/Koek, available now for the first time on CD (+vinyl and download)."

"Rumours persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. Indeed, the music might bear a certain resemblance and the song entitled “TD-Mem” might be seen as a clue. But the rumour is just that, a rumour, with no bearing on the truth. In actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS record cover artist), born in Kempten in 1950 and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. Wolfgang Baumann was 15 years old when he learned to play the electric organ. Some ten years later, he had grown tired of the limited range of sounds the instrument offered and he sold it on the spot. Wolfgang and his friend Ata were determined to explore new tones and musical structures— with a synthesizer. Together, they made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. The duo purchased a secondhand ARP 2600 and immediately began experimenting with the synth. They soon realized, however, that they needed more gear to create the music they dreamed of. Before long they had added an ARP sequencer, a Solina String keyboard and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four track recorder and were ready to commit their music to tape. Without a record label to back them, they pressed up 1000 copies and paid the production costs themselves. Having recorded all the music on the four track machine at home, the pair went to the expense of booking Conny Plank’s studio for the mix. The album was well received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution pressing another 5000 LPs. Japan proved to be a particularly popular territory, with radio stations picking up on the record. Sadly, Jaguar Records went bankrupt shortly afterwards. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School: a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality which saw Ata Koek consciously introduce just a hint of Oriental flavour. If Baumann and Koek considered their “modest” equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity which draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze et al."

Saturday, October 17, 2015

News: Group 1850's Polyandri to be reissued on LP by Pseudonym

Yea. LP. Pseudonym continues the disturbing trend of reissuing albums on LP without the CD (grumpy morning for the CDRWL Tom?). Ugh. At least throw a factory pressed CD in there similar to Twink, Isaiah, Klockwerk Orange, etc...! So like Kvartetten Som Sprangde, Resan (both on Subliminal Sounds), and Mad Curry (Wah Wah), we have another high priority album being ignored for the CD market. That should keep the pirates active at least (GREAT!). Look, if you follow the UMR, you guys all know I love LPs. I collect them to this day, and I will likely buy this just to hear what they do with the sound, and to see the liner notes. I have the original LP as well, and at this point in my life, multiple copies of one album are OK with me. But it sure would be nice to get a legit CD too (I still have the absolutely awful Twilight Tone boot that comes from a scratchy record). Maybe they will follow through with the CD at a later date. We certainly hope so.

Label advertises: "At last reissued on LP (180-GRAM AUDIOPHILE VINYL!), it's the third and final studio album from Holland's ultimate psych legends GROUP 1850! 'Polyandri' was originally issued in 1974, when psychedelic rock had already lost its momentum. That unfortunate timing must be the only reason why this is a somewhat overlooked album, because the music itself is absolutely killer! On offer is a wild fusion of psychedelia, jazz-rock and progressive space rock, at many times dominated by band leader Peter Sjardin's home-built keyboard, The Organizer. There are guest appearances from Barry Hay (Golden Earrings) on flute and well known jazz musician Hans Dulfer on sax. The LP comes with remastered sound, a heavy gatefold sleeve boasting restored artwork, rare memorabilia, pix and liner notes by Mike Stax (Ugly Things)."

News: Krautrock box takes OAS concept to new levels of dumb

Oh for crying out loud, really? When the Original Album Series first sprang about, it seemed like a good way to buy a band's discography on the cheap. Nice little cardboard album covers, sometimes good sound, but at a handsome price. It was a great way to catch up on groups like The Who or Jefferson Airplane, that kind of thing. But then they started doing it for groups such as Catherine Ribeiro/Alpes, an artist who deserves much more care to each album. For the common bands, that's already been done, but not for the more obscure artists like Ms. Ribeiro. But if you don't care about such things, at least you are getting many releases from one artist at a cheap price. I guess it's not any crazier than those Progressive Italia boxes, which sadly remains the only way to get those splendid Sensations' Fix albums on CD.

But this Krautrock box is really ridiculous. What a great selection eh? So well thought out. So what do these albums have in common? They're from Germany. Oh, and they were originally on Telefunken. That's it. Musically they couldn't possibly be any more disparate. Everyone gets so carried away with the Krautrock term - but it should have more meaning than just rock from Germany. Well, whatever. All these have been reissued on CD before, and I think most are OOP. I just wanted to vent...

Thursday, October 15, 2015

Updated post: Wolfgang Dauner

After many years, we finally had a chance to hear Wolfgang Dauner's most elusive title, thanks to the AC!

Original entry updated with full notes from myself and the AC.

Wednesday, October 14, 2015

Cosmic Debris, USA


Cosmic Debris - s/t. 1980 Non Compos Mentis
Cosmic Debris - While You're Asleep. 1983 Non Compos Mentis

Debut album moved to UMR

Meanwhile, regarding the second album While You're Asleep: I bought this album at the same time, but sold it in the mid 90s. Today I probably would not have done that, but I was in heavy acquisition mode in those days. Certainly it's a weaker effort, that I'm sure of (IMO of course), but I recall it being much more varied than the debut, and it certainly was a fine album. I'll need to hear it again at some point. It would be nice to see both of these reissued properly.

Priority: 2

Tuesday, October 13, 2015

News: Shadoks to reissue Blueset from Sweden

I ran across this bit of news while doing my monthly research. However, I wasn't familiar with this 1974 album, and waited until last night to hear it. Our trusty aid YouTube came in handy again, and I heard the album in full. I would have tagged this a Priority None (borderline 3), but it's still a fine piece, and my notes below captures (briefly) my initial experience. Shadoks has confirmed they will be reissuing it both on LP and CD, the latter not always a given with the fine label.

Blueset's album is mostly straight up blues rock, though special mention goes to 'Vibrationer I Folkton'*  which sounds like Kebnekaise on a bender. I'll drink to that! 

* - It's a 4 part, 13+ minute track, so definitely worthy of mention.

Wednesday, October 7, 2015

Ariel, USA

Ariel - Perspectives. 1985 Little Misters


UMR entry for Ariel - Perspectives

Priority: 1

Tuesday, October 6, 2015

Man Made, Canada


Man Made - s/t. 1971 Good Noise

I first ran into this title by way of Marquee magazine's (Japan) expose on rare Canadian progressive rock way back in 1990 or so (I still have the issue). My friend from Tokyo translated the review, and quite frankly it didn't sound all that great. For years I'd see the name pop up, but usually without much fanfare or recommendation. All the same, I was most curious about the side long track that opens the album. Recently I was doing some cross referencing, and there was Man Made. I wonder if the album is on Youtube? And it turns out it is (not in full, but all the tracks are there individually). So after all these years, I finally heard it. No surprise here, the album is indeed somewhat middling.

The side long namesake track is definitely the highlight though. The first half is slow blues coupled with atmospheric space rock. The Hammond organ in particular is quite good. About halfway, there's a really cool jazz rock break, and this is followed by some fine flute work. Odd in that no flute is credited anywhere (see back of LP). There are "horns", but I've never heard anyone call a flute a horn. If the whole album were like this, no doubt its reputation would be stellar. Side 2 is very disappointing, and is typical 1970 era North American styled straight rock with blues, gospel, country, and boogie undertones. 'Keep on Moving' is energetic at least, with a semi interesting compositional model, but otherwise the remainder is a complete snoozer.

Despite the music, kudos goes to the artwork - most certainly as representative of the traditional male mindset as one will ever find.

There's at least one pirate floating about. Not sure this one needs a reissue, but it's certainly not without merits.

Priority: none