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  • Punk 45: Vol. 1 Underground Punk in USA, Vol 1 1973-1980 Punk 45: Vol. 1 Underground Punk in USA, Vol 1 1973-1980 Quick View

    $28.99
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    Punk 45: Vol. 1 Underground Punk in USA, Vol 1 1973-1980

    Soul Jazz Records' new Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. The album coincides with the release of Soul Jazz Records' massive new deluxe 400-page Punk 45s cover art book edited and compiled by Jon Savage (author of the seminal book on punk, England's Dreaming) and Stuart Baker (founder of Soul Jazz Records).


    The book includes text by Jon Savage, numerous interviews and articles from the likes of Richard Hell, Seymour Stein (Sire Records), Geoff Travis (Rough Trade), Peter Saville (Factory) as well as exhaustive biographies, band line-ups etc on the many hundreds of bands who feature in the book.


    Punk 45: Kill The Hippies! Kill Yourself! The American Nation Destroys Its Young - Underground Punk in the United States 1973-80 is the first in Soul Jazz Records' Punk 45 series of album releases coinciding with the new book and will be followed at the start of next year by Punk 45 Vol. 2 Underground Punk in the UK.


    The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Pere Ubu, The Zeros, The Randoms, Electric Eels, The Pagans, The Deadbeats, The Lewd and many more - a lightning rod journey across the states of America - Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia - tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork.


    The album is released as a limited-edition super-loud, super-heavy double gatefold-sleeve vinyl editions with full sleevenotes.

    1. The Urinals - I'm A Bug
    2. The Normals - Almost Ready
    3. The Hollywood Squares - Hillside Strangler
    4. Electric Eels - Agitated
    5. Pere Ubu - The Modern Dance
    6. The Randoms - Let's Get Rid Of New York
    7. The Bizarros - Ice Age
    8. The Zeros - Wild Weekend
    9. Tuxedomoon - Joeboy The Electronic Ghost
    10. X Blank X - You're Full Of Shit
    11. Flamin' Groovies - Dog Meat
    12. The Deadbeats - Kill The Hippies
    13. Theoretical Girls - U.S. Millie
    14. The Skunks - Earthquake Shake
    15. Knots - Action
    16. Crash Course In Science - Cakes In The Home
    17. The Pagans - Not Now No Way
    18. Pastiche - Flash Of The Moment
    19. The Lewd - Kill Yourself
    20. Johnny Thunders & The Heartbreakers - Chinese Rocks
    21. The Controllers - Neutron Bomb
    Various Artists
    $28.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Blank Generation (180 Gram) (Awaiting Repress) Blank Generation (180 Gram) (Awaiting Repress) Quick View

    $19.99
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    Blank Generation (180 Gram) (Awaiting Repress)

    Richard Hell was one of the first men on the scene when punk rock first began to emerge in New York City as an early member of both Television and the Heartbreakers (he left both groups before they could record), but his own version of punk wasn't much like anyone else's, and while Hell's debut album, Blank Generation, remains one of the most powerful to come from punk's first wave, anyone expecting a Ramones/Dead Boys-style frontal assault from this set had better readjust their expectations.


    Love Comes in Spurts and Liar's Beware proved the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that; guitarists Robert Quine and Ivan Julian bounced sharp, edgy patterns off each other that were more about psychological tension than brute force (though Quine's solos suggest a fragile grace beneath the surface of their neo-Beefheart chaos), and while most punk nihilism was of the simplistic Everything Sucks variety, Hell was (with the exception of Patti Smith) the most literate and consciously poetic figure in the New York punk scene.


    While there's little on the album that's friendly or life-affirming, there's a crackling intelligence to songs like New Pleasure, Betrayal Takes Two, and Another World that confirmed Hell has a truly unique lyrical voice, at once supremely self-confident and dismissive of nearly everything around him (sometimes including himself). Brittle and troubling, but brimming with ideas and musical intelligence, Blank Generation was groundbreaking punk rock that followed no one's template, and today it sounds just as fresh -- and nearly as abrasive -- as it did when it first hit the racks.

    Love Comes In Spurts
    Liars Beware
    New Pleasure
    Betrayal Takes Two
    Down At the Rock and Roll Club
    Who Says?
    Blank Generation
    Walking On the Water
    The Plan
    Another World
    Richard Hell and the Voidoids
    $19.99
    180 Gram Audiophile Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Blank Generation Blank Generation Quick View

    $18.99
    Buy Now
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    Blank Generation

    Richard Hell was one of the first men on the scene when punk rock first began to emerge in New York City as an early member of both Television and the Heartbreakers (he left both groups before they could record), but his own version of punk wasn't much like anyone else's, and while Hell's debut album, Blank Generation, remains one of the most powerful to come from punk's first wave, anyone expecting a Ramones/Dead Boys-style frontal assault from this set had better readjust their expectations.


    Love Comes in Spurts and Liar's Beware proved the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that; guitarists Robert Quine and Ivan Julian bounced sharp, edgy patterns off each other that were more about psychological tension than brute force (though Quine's solos suggest a fragile grace beneath the surface of their neo-Beefheart chaos), and while most punk nihilism was of the simplistic Everything Sucks variety, Hell was (with the exception of Patti Smith) the most literate and consciously poetic figure in the New York punk scene.


    While there's little on the album that's friendly or life-affirming, there's a crackling intelligence to songs like New Pleasure, Betrayal Takes Two, and Another World that confirmed Hell has a truly unique lyrical voice, at once supremely self-confident and dismissive of nearly everything around him (sometimes including himself). Brittle and troubling, but brimming with ideas and musical intelligence, Blank Generation was groundbreaking punk rock that followed no one's template, and today it sounds just as fresh -- and nearly as abrasive -- as it did when it first hit the racks.

    Love Comes In Spurts
    Liars Beware
    New Pleasure
    Betrayal Takes Two
    Down At the Rock and Roll Club
    Who Says?
    Blank Generation
    Walking On the Water
    The Plan
    Another World
    Richard Hell and the Voidoids
    $18.99
    Vinyl LP - Sealed Buy Now
  • Blank Generation (Colored Vinyl) Blank Generation (Colored Vinyl) Quick View

    $19.99
    Buy Now
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    Blank Generation (Colored Vinyl)

    Richard Hell was one of the first men on the scene when punk rock first began to emerge in New York City as an early member of both Television and the Heartbreakers (he left both groups before they could record), but his own version of punk wasn't much like anyone else's, and while Hell's debut album, Blank Generation, remains one of the most powerful to come from punk's first wave, anyone expecting a Ramones/Dead Boys-style frontal assault from this set had better readjust their expectations.


    Love Comes in Spurts and Liar's Beware proved the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that; guitarists Robert Quine and Ivan Julian bounced sharp, edgy patterns off each other that were more about psychological tension than brute force (though Quine's solos suggest a fragile grace beneath the surface of their neo-Beefheart chaos), and while most punk nihilism was of the simplistic Everything Sucks variety, Hell was (with the exception of Patti Smith) the most literate and consciously poetic figure in the New York punk scene.


    While there's little on the album that's friendly or life-affirming, there's a crackling intelligence to songs like New Pleasure, Betrayal Takes Two, and Another World that confirmed Hell has a truly unique lyrical voice, at once supremely self-confident and dismissive of nearly everything around him (sometimes including himself). Brittle and troubling, but brimming with ideas and musical intelligence, Blank Generation was groundbreaking punk rock that followed no one's template, and today it sounds just as fresh -- and nearly as abrasive -- as it did when it first hit the racks.

    Love Comes In Spurts
    Liars Beware
    New Pleasure
    Betrayal Takes Two
    Down At the Rock and Roll Club
    Who Says?
    Blank Generation
    Walking On the Water
    The Plan
    Another World
    Richard Hell and the Voidoids
    $19.99
    Colored Vinyl LP - Sealed Buy Now
  • Noctiluca Noctiluca Quick View

    $16.99
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    Noctiluca

    Dunes are a mysteriously ethereal and minimal trio from Los Angeles, CA. Appropriating pop and experimental music into a familiar swirl, while retaining a fresh outlook and approach, Dunes inhabit a space of tweaking, twisting, imagining moments and emotions from the past, destined to end up as their future. Stephanie Chan, formerly of Austin, TX bands Finally Punk, and The Carrots plays guitar and sings in Dunes, she creates surreal and dreamy narratives with her lyrics and uniquely beautiful, powerful voice. Mark Greshowak (Talbot Tagara) plays baritone guitar and sometimes bass, weaving melodies back and forth with Stephanie, making lush tones in the process. Kate Hall, played drums in Mika Miko before holding down the rhythmic duties and also singing for Dunes.


    Having released a 12 EP on Mexican Summer, two 7 EP's, one on Los Angeles label Teenage Teerdrops, the other on San Diego's Art Fag and a tape on Ooga Booga, Dunes are primed to release their full length. These undoubtedly great pop songs sink in further as you listen, the perfect blend of three musicians experimenting towards the common goal.


    Featuring 11-tracks, Noctiluca is a well thought out record, moments can bring you to the crafty and whimsical pop of The Cocteau Twins, while staying stripped down to feel as though it may be through the lens of Richard Hell, or as anxious as R. Stevie Moor. Post-punk, post-pop music played and interpreted by three great players who hold nothing back.

    1. Jukebox
    2. Lonely Palm
    3. Vertical Walk
    4. Red Gold
    5. Living Comfortably
    6. Falling
    7. Shadow
    8. Cameron
    9. The Spark
    10. Minnow & The Machine
    11. Tied Together
    Dunes
    $16.99
    Vinyl LP - Sealed Buy Now
  • So Long, Astoria (Awaiting Repress) So Long, Astoria (Awaiting Repress) Quick View

    $17.99
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    So Long, Astoria (Awaiting Repress)

    With a handful of indie releases and a few hectic years of touring under their belts, this release marks the Ataris big-label bow. And if the concept uniting it is an ode to the power of memory--a conceit attributed to Richard Hell, but one that ironically might as well have originated with the likes of Billy Joel--Kris Roe and company blitz their way through it with kinetic power and hooks to spare. But therein lies the rub: Fans will find this an album rife with positive energy, bright, well-constructed songs, and upbeat deliveries (if sometimes in service of awkward intellectual pretensions like Unopened Letter to the World's parallels between Kurt Cobain and no less than Emily Dickinson); cynics may hear at as further evidence that punk and alternative rock have been co-opted in service of formulas as well-honed--and rigid--as anything the dreaded Corp Rock '80s ever yielded. Still, if play-it-to-the-back-rows, unabashed power-pop is what the Ataris were after here, they've delivered it with nigh perfection, right down to a slick, pumped up cover of Don Henley's classic-rock warhorse The Boys of Summer. --Jerry McCulley
    1. So Long, Astoria
    2. Takeoffs And Landings
    3. In This Diary
    4. My Reply
    5. Unopened Letter To The World
    6. The Saddest Song
    7. Summer '79
    8. The Hero Dies In This One
    9. All You Can Ever Learn Is What You Already Know
    10. The Boys Of Summer
    11. Radio #2
    12. Looking Back On Today
    13. Eight Of Nine
    The Ataris
    $17.99
    Vinyl LP - Sealed AWAITING REPRESS Buy Now
  • Too Young To Be In Love Too Young To Be In Love Quick View

    $13.99
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    Too Young To Be In Love

    Too Young To Be In Love is the first fully-realized Hunx and His Punx album, and the groups first for Hardly Art. It was recorded in New York City by Ivan Julian, one of the founding members of inimitable NYC punk legends Richard Hell and the Voidoids. This record was made in the same studio that one of Hunx's idols, Ronnie Spector, once recorded in. While it is preceded by the Gay Singles LP (True Panther Sounds/Matador Records, 2009), a collection of hard-to-find and out-of-print 7 singles, Too Young To Be In Love is the first proper studio record from Hunx and His Punx.


    Too Young To Be In Love also marks the first time the group has ever been comprised entirely by punkettes, another name for the all girl band that band leader Seth Bogart (aka Hunx) always dreamed of. Shannon Shaw (of Shannon and the Clams) plays bass, and wrote three of the albums songs. Her powerful voice on Lovers Lane and The Curse of Being Young crackles and breaks with a raw ferocity that perfectly compliments Hunxs swoon-worthy nasal croon. This album also represents a distinct reversal of roles, the all-girl quartet (Shaw, plus guitarist Michelle Santamaria, drummer Erin Emslie, and Amy Blaustein on guitar/organ) bring the fire, while Hunx brings the sugar. All of the ladies sing on this album, and their voices combine to create some modern Wall of Sound magic.


    Hunx and His Punx might be the first ever girl group fronted by a flamboyant gay male whose dream in life is to sound like a girl. They have created a unique new sound they refer to as Young Oldies, a mixture of '50s teenage rock n roll, '60s girl groups and bubblegum pop.


    I only write songs out of heartbreak, says Hunx of the new record. Older songs focused on trashier homoerotic topics like cruising and boyfriend stealing. But Too Young To Be In Love is all about love and heartbreak. People tend to have scandalous ideas about Seth Hunx Bogart. This can happen when you try to French kiss the entire front row at one of your shows, pose for photographs nude or bare everything in the video for Lust For Life by the band Girls. But behind all of this is a sweet and somewhat innocent entertainer who knows how to put on a show.

    1. Lovers Lane
    2. Hes Coming Back
    3. Keep Away From Johnny
    4. The Curse of Being Young
    5. Too Young To Be In Love
    6. If Youre Not Here (I Dont Know Where You Are)
    7. Bad Boy
    8. Tonite Tonite
    9. Can We Get Together?
    10. Blow Me Away
    Hunx And His Punx
    $13.99
    Vinyl LP - Sealed Buy Now
  • Brothers and Sisters of the Eternal Son Brothers and Sisters of the Eternal Son Quick View

    $16.99
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    Brothers and Sisters of the Eternal Son

    Damien is out of his goddamn mind.


    This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
    this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
    rural psyche. Well, folks,I'm sorry, but it's not.


    Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
    wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
    own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
    religion is a character in his religion.


    Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
    Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
    conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
    not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
    sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.


    Consider this:What if the only way to understand a religion is to create your own?


    Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
    this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
    give you a second.


    Do you understand the music any better?


    You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
    That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
    ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
    that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
    winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
    Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
    Gawd something to do.


    Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
    space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
    Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.


    Jesus is out of his goddamn mind and I want to live in Damien's America.


    Sign me up.


    --- Father John Misty; 09-20-2013

    1. Magic Number
    2. Silver Timothy
    3. Return To Maraqopa
    4. Metallic Cloud
    5. Jericho Road
    6. Silver Donna
    7. Silver Malcolm
    8. Silver Katherine
    9. Silver Joy
    10. Suns In Our Mind
    Damien Jurado
    $16.99
    Vinyl LP - Sealed Buy Now
  • End of Daze End of Daze Quick View

    $9.99
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    End of Daze

    Time heals all wounds, or so the phrase goes. For the dreamers however, time gives them - or maybe demands - the perspective of every angle, every possibility, every opportunity to wring out whatever is born from experience. Simple moments alone can magnify these perspectives, culminating in a deeper empathy, and for a select few, a muse for new artistic expression. Such seems the fate of Dee Dee of Dum Dum Girls.


    Much has been written of Dee Dee's personal trials, but no words speak better of her handling of experience than her musical output. End of Daze offers a bracing, daring sonic example of an artist evolving in her understanding of the world.


    End of Daze flows from a pair of bombastic opening tracks, through the simmering, plaintive cover of Strawberry Switchblade's "Trees and Flowers", to the regretful ballad "Lord Knows", in which Dee Dee's voice remains rich yet crystalline, a gorgeous, toned instrument revealing an awareness of fear and misstep. Closing the EP is "Season in Hell", a raucous and practically joyful closing of the book on past pains, and, perhaps more importantly, a looking forward ("Doesn't the dawn look divine?") to the future. It is the last stages of grief and its repercussions, a hopeful awakening somewhere on the other side, caught on tape.


    The EP was recorded in 2011 and 2012 with Sune Rose Wagner of The Raveonettes and Dee Dee's longtime producer Richard Gottehrer, whose track record includes the Brill Building, CBGB, and Sire Records.

    1. Mine Tonight
    2. I Got Nothing
    3. Trees and Flowers
    4. Lord Knows
    5. Season in Hell
    Dum Dum Girls
    $9.99
    12 Vinyl LP - Sealed Buy Now
  • The Rocky Horror Picture Show Soundtrack The Rocky Horror Picture Show Soundtrack Quick View

    $16.99
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    The Rocky Horror Picture Show Soundtrack


    Back In Print On Red Vinyl


    For the 1975 film version of The Rocky Horror Picture Show, American producer Lou Adler wisely mixed the best of the London and Los Angeles stage versions, shooting the movie in England with Tim Curry and several of the other original cast members, plus Meatloaf (years before Bat Out of Hell), and Americans Barry Bostwick and Susan Sarandon as the innocent couple Brad and Janet. Adler also brought back original London stage musicians in place of the slick studio musicians who had marred the L.A. cast album. The film version resequenced the songs and reassigned some of the vocals, with Brad's song Once in a While dropped. But it all worked out fine. The strings that were added to ballads like Science Fiction/Double Feature only improved them; the rockers rocked out; Bostwick and Sarandon proved to be the best Brad and Janet ever; the original cast members, especially Curry, reveled in the opportunity to immortalize their portrayals; and Rocky Horror's potential as a witty parody of cheap movies, rock & roll, and sexual mores was fully realized. The film soundtrack album became the definitive version of the score, despite lacking the songs Planet Shmanet Janet and The Sword of Damocles. The Rocky Horror Picture Show was not successful in its initial theatrical run, but then a strange thing happened. In 1976, the Waverly Theater in New York's Greenwich Village began showing the film at midnight on Fridays and Saturdays. Soon, a cult of repeat viewers began turning up every week; they began to dress like the characters, call out their own comments at strategic moments, sing along, and add their own theatrical effects. The phenomenon spread across the U.S., with fans rivaling Trekkies and Deadheads for loyalty and eccentricity, and The Rocky Horror Picture Show took on a life Richard O'Brien never could have anticipated.


    - William Ruhlmann (All Music Guide)

    1. Science Fiction/Double Feature
    2. Dammit Janet
    3. Over at the Frankenstein Place
    4. Time Warp
    5. Sweet Transvestite
    6. I Can Make You a Man
    7. Hot Patootie - Bless My Soul
    8. I Can Make You a Man (Reprise)
    9. Touch-A, Touch-A, Touch Me
    10. Eddie
    11. Rose Tint My World
    12. I'm Going Home
    13. Super Heroes
    14. Science Fiction/Double Feature (Reprise)
    Various Artists
    $16.99
    Colored Vinyl LP - Sealed Buy Now
  • Quazarz vs. The Jealous Machines Quazarz vs. The Jealous Machines Quick View

    $19.99
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    Quazarz vs. The Jealous Machines

    Quazarz vs. the Jealous Machines is one of two new albums by interstellar hip-hop enigma Shabazz Palaces, aka Ishmael Butler (who, in another galaxy, performs in Digable Planets) and Tendai Maraire. Quazarz vs. the Jealous Machines, and its companion, Quazarz: Born On a Gangster Star, were both produced by Knife Knights (i.b e.b.) and mixed by Blood.

    Quazarz came to the Earth from somewhere else, a musical ambassador from his place to ours. Somehow, through fire or through fury, the Palaceer of Shabazz Palaces caught wind of the tale, and it is through his prism that we hear the story.

    The beach was there, and Atlaantiis, and chemical alterations and cell memories and Andre Norton, Richard K. Morgan, and always Octavia Butler. There were killings and there were votes, and brutality in both. There was sound and there were other worlds, and there was a vastness so participation sometimes came only at the edges. And the Palaceer coasted down with the alien notion, like Quazarz, and so became.

    On Quazarz when they look at this place they see the inhabitants, the humans, but they don't assess as we do. And so Quazarz was sent to meet a cat with vibration, a creative and courageous, caring, compassionate dude that stood out. The dude was a drug dealer, but that was neither here nor there, until his dealings squashed the rendezvous, leaving our alien alone to figure out what this place is really all about.

    Coming from a simpler, more essential, innocent place, the hero could not make heads nor tails of most advancements. From an aerial view, he saw that a good percentage of earthly vibrations were on very small squares and it became his belief that this world was very disposable and the spans short. His opinion was not of anything good nor bad but simply the truth. The machines-he noted-though at the behest of their master's voice, are scorned, and jealous as all hell.

    And so the tale is told while surfing on the board of Shabazz Palaces, with its sturdy base angled for takeoff on a new trajectory. There is new blood and space and room to be different and have different assets and different art and different ways to talk and also open up some space inside to do something new. There are pages and there are drawings, and color and faces and inked dialogues written in ancient futuristic hieroglyph. There are scales and there is melody and there are Sunny days and there is Darkness, but that-it should be noted-to the Palaceer is not a lack of illumination or brightness. Maybe it is dark, but in it is always optimism and joy, a bright darkness and a full, hopeful one as well.

    1. Welcome to Quazarz
    2. Gorgeous Sleeper Cell
    3. Self-Made Follownaire
    4. Atlaantis
    5. Effeminence
    6. Julian's Dream (ode to a bad)
    7. 30 Clip Extension
    8. Love in the time of Kanye
    9. Sabonim in the Saab on 'em
    10. The SS Quintessence
    11. Late night phone calls
    12. Quazarz on 23rd
    Shabazz Palaces
    $19.99
    Vinyl LP - Sealed Buy Now
  • Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock) Quick View

    $29.99
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    Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting (Out Of Stock)


    Includes Detailed Artwork And Two Essays By Leon


    Craig Leon's seminal synthesizer albums Nommos and Visiting are finally re-editioned in
    definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.'s archival
    series.


    Issued respectively by John Fahey's Takoma record label in 1980 and Leon's Arbitor
    private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard
    Craig Leon. Leon's production was pivotal in realizing the debut recordings by Ramones,
    Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound,
    Leon's own debut album was arguably, if not literally, more alien.


    In 1973 , the Brooklyn Museum hosted a comprehensive collection of sculptures by the
    Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections
    of a visit from an extraterrestrial species they named Nommos. Years after experiencing the
    exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their
    home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was
    presented and a challenge in place: what would music sound like if handed down from an
    ancient alien species? And how best to imagine it?


    Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to
    employ the latest and greatest synthesizer technology available. An avant empathist and
    eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint.
    After a secluded week in an Austin, Texas studio with his partner, wife and collaborator
    Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the
    Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms
    programmed on a prototype of Roger Linn's nascent drum-machine, the LM-1.


    Issued by Fahey with zero expectation of the same radio airplay Leon accomplished
    with his pop productions, Nommos now stands as an innovative example of cosmic-synth
    composition that wasn't made for its time or any other. For this edition, Leon has in fact
    re-animated Nommos by re-recording the exact audio signals as preserved in the album's
    original studio notes. Every patch, tape-delay speed and outboard setting was transcribed
    as first scored, materializing the best possible audio from an album whose masters were lost
    in major label merger milieu years ago.


    Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title
    suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The
    album is in equal measure more improvisatory and constructed than its predecessor. Both
    albums were intended to be listened to as a set in the first volume of Leon's Anthology of
    Interplanetary Folk Music (the title was an homage to Harry Smith's influential collection of
    folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and
    compositional additions to both albums to enhance the connectivity and encourage infinite
    interpretation.


    While reissues and bootlegs have appeared to relieve the demand for these records,
    this collection will stand as the first ever version authorized by Craig Leon himself. The
    vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by
    Leon. The first tells the complete story of the stargazing Dogon people and their prescient
    understanding of cosmology. The second details Leon's adventure in creating the Anthology
    of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one
    seamless synth classic.

    1. Ring With Three Concentric Discs
    2. Donkeys Bearing Cups
    3. Nommo
    4. Four Eyes To See The Afterlife
    5. She Wears A Hemispherical Skullcap
    6. One Hundred Steps
    7. Region of Fleeing Civilians
    8. Three Small Coins
    9. Visiting
    10. Details Suggest Fidelity To Fact
    11. The Customs of the Age Disturbed
    Craig Leon
    $29.99
    Vinyl LP - 2 LPs Sealed Temporarily out of stock
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