Hot on the heels of Lovely Gold, Michael Yonkers unearths yet another collection of songs from his vast arsenal. Recorded in 1974 and released originally in what we would imagine would be a tiny amount, Goodby Sunball showcases Yonkers' folkier side, and the songs here display a more skeletal acoustic approach that would be electrified a few years later on Lovely Gold. However, calling this "folk" doesn't entirely hit the mark - this is Michael Yonkers we're talking about, a man whose approach represents a unique vision in the history of home recorded music. And to those paying attention, you might find Goodby Sunball presenting some of Yonkers' weirdest lyrics, even though the music itself is probably his most traditional sounding. The songs almost give off a spiritual vibe, and the lyrics alternate between sad laments and aching passion, with some impenetrable wackiness thrown in for good measure. Looking at the cover, with the man himself posed between two trees and the back, with a bearded, cult leader-looking Yonkers, one might wonder if this album represents time lost in some mental wilderness. Many of the songs are ultra melancholy, and the use of multi-tracked vocals gives things a hazy, ethereal quality, while lines like "Hand me another beer and you'll see happiness" make you wonder... But no complaints here, just Michael Yonkers doing his thing in the 1970s. It's great having these tracks available, probably the first time many people have heard this stuff... of course, with a pressing of only 500, you might want to act fast. And for now, we're the first to have these, weeks before they land everywhere else, so dig in! ----* ----* Selected New Arrivals : ----*
Is this a lost Bert Jansch or Fresh Maggots record? Sure sounds like some beautifully arcane British Acid Folk, or old timey Appalachian balladry, but with some anachronistically strange lo-fi recording effects and drones and other weirdness going on. Like a psychedelic John Jacob Niles perhaps. Sounds like it's either really old or could be totally recent like something by Mike Wexler, or even Aaron Ross. Oh wait, it's Michael Yonkers?! The outsider garage guitar visionary whose Microminiature Love album from 1969 is an absolute all-time favorite around here. Wow, this is not the sound we usually expect from him. First of all, instead of amped up electricity, it's all about acoustic guitar, and even more surprising, it was recorded the same year as Microminiature Love. Geez, this dude never stops surprising us. Released on vinyl in 1974, Grimwood pretty much sank without a trace. But he's definitely having a prolonged renaissance now with two brand new albums and possibly more reissues in the works. Definitely for fans of Comus, Jan Dukes De Grey and everyone mentioned above!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
The Michael Yonkers cd on Sub Pop is probably *always* going to be a steady seller here at AQ. It's the unreleased album from 1969 that blew everybody away upon (re?)discovery in the here and now, Yonkers' Microminiature Love has already attained classic status, a fucked up and wonderful '60s garage guitar album totally alien and ahead of its time, a big fave with everyone here and quite a few of our customers judging by how many we've sold. So...what's this LP then? A *new* record from a much older but still eccentric Michael Yonkers? Yes, the man (after battling disability for many years) is back and kicking out the jams yet again. His raw, wild abandon, weird guitar tunings and unique vocal stylings are all present and accounted for here, on this very stripped-down, starkly primitive recording, done all by himself on a four-track machine with no overdubs or anything. In fact, the back cover proudly states that these 19 tracks are all first takes, recorded in sequence! Ok, it's not Microminature Love all over again, but it's better than we might expect from such a 'comeback' LP. He sure hasn't gone all Clapton on us or anything. Definitely get the Sub Pop cd first, but if you're a fan you might dig this quite a bit. It is kind of 'bar-rock', but fucked up and slowed down (we'd actually love to hear a 'screwed-and-chopped' version) and distorted and dissonant and choppy. Plastic Crimewave did the sleeve artwork and released this on his label Galactic Zoo Disk in conjunction with the fine folks at Eclipse. LP-only so far.
One wonders how many new discoveries will be unearthed from legendary outsider rocker Michael Yonkers. But man, we don't want it to stop. Whether he's putting out new stuff or digging through the vaults, Yonkers' strange story just keeps getting better and better, and to think that the man has retained such an amazing vision for almost 50 years is truly astounding. Lovely Gold collects songs from a period in Yonkers' career that many of us had yet to hear: the late '70s. 1977, in fact, you know, the year of punk and all that shit. But Lovely Gold is something else, and like most of this guy's stuff, it defies simple categorization. The strangest aspect of Yonkers' music is how it manages to recall things we all know and love, mostly from a garage rock template, but things are warped into beautiful creations that only Yonkers could produce.
Take a look at this cover. Michael Yonkers sitting in front of a wall of recording devices. That's really all he needs, and the man is going it alone on this one. Actual percussion is sparse, with guitars providing most of the rhythm. There is a welcome abundance of multilayered vocals here, which combine for amazingly ethereal sounds. The songs "I Knew You'd Remember" and "Will It Be" show off this effect best of all. These songs are unbelievable, the kind that will stop you in your tracks. Mutant gospel? Experimental Gregorian chanting? What the fuck IS this stuff? Totally amazing for one thing, but trying to describe it is no easy task. You might think of Silver Apples or Peter Grudzien, but if you look at the back cover with the photo of the jumpsuited Yonkers holding the Fender Jaguar he whittled into a plank, that should really tell you that you're in strange territory indeed (Minneapolis to be exact). The song "Drifting Off" actually sounds like the work of a band, it rides out with a nice spooky feeling and sounds a bit more like the material on Microminiature Love. "Gone Down Old Sun" uses guitar strumming as percussion while the layered voices moan in unison, the end result sounding like your favorite pop song stretched and warped beyond anything you could have prepared for. "Nevermore" (listed, for some reason, as a "bonus track"), ends things on a very high note, sounding a bit like the song "Puppetting" from MML, only with vocals delivered from beyond the grave by Edith Piaf. At the end of the record, you realize you have just had access to someone's strange and fantastic private world. We can only wonder what else is out there waiting to see the light of day. HIGHLY RECOMMENDED! ----* ----* AQ x WFMU x SXSW 2010 POSTERS : ----*
Super limited 7" from legendary acid fried, psychedelic garage rock legend Michael Yonkers, whose Microminiature Love record is an all time AQ fave (read about it elsewhere on the AQ site and if you don't already own it, for god's sake BUY IT!!!). This two track 7" features a long lost classic from 1968 as well as a track recorded in 2004.
The A side is "The Big Balloon", featuring the Michael Yonkers Band recorded in 1968 and is a kick ass blast of rock-around-the-clock style classic rock and roll, but slightly skewed and tweaked and off kilter, with weird sounding guitars, Yonkers' distinctive vocals, as well as a super weird vocal / guitar breakdown that turns that classic rock and roll sound into some subtly damaged psychedelic rhythm and blues.
Normally, when faced with a classic song from an artist's peak, and a recently recorded tune, the newer track is typically a concession to the artist so he doesn't feel like no one cares any more, even though they don't, but this 7" is anything but. The B side, if anything is WAY weirder and heavier, featuring Yonkers on all the instruments, it's a slab of fucked up, damaged new wave metallic rock, with super blown out raw and distorted guitars, delivered in dense riffy squalls, over a sputtering drum machine, crazy vocals, this shit is amazing. Some impossible cross between the Residents, Devo and Flipper, but with a seriously new wave bent!! It's a whole lot weirder and more raw than his It's Only Yonkers record released a while back, so we know he's still got it. Here's to hoping there's a whole record of stuff like this just waiting to be unleashed!
Packaged in a super gorgeous silkscreened sleeve and of course, EXTREMELY LIMITED!
THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.
SORRY.
An obscure late-sixties ahead-of-his-time visionary gets his due with this LP reissue. A while back, the Get Hip label released two songs by Michael Yonkers on a 7" and a compilation and that started the buzz. Yonker's stuff was like nothing anyone had heard back then (or even now, really): fucked up garage psych with dementedly genius lyrics and crazy acid-fried guitar. Now Destijl has released the whole LP, that was originally recorded in 1968 but then quickly shelved almost before it had a chance to be heard. Yonkers, a legendary Minneapolis-area figure, built his own effects pedals, cut his Fender Telecaster down to a plank, and played like no one else ever. I'm at a loss of words on how to describe this. It's sort of like a fusion of stripped down Black Sabbath, The Troggs, Pere Ubu, and The Cramps?? Or something like that. Definitely something to check out. Vinyl only.
Reviewing this cd is bittersweet. Sadly this album's title states the truth, Timo Yuro passed away a few years ago, making her cherished recordings all the more so. Although it takes on many different tones and moods, her unbelievably powerful voice is unmistakable. Despite its title, this collection captures it perfectly in all of its glory. If you like '60s girl group pop, r&b and soul, you're probably already very familiar with Ms Yuro.
Note: this release is not new. It somehow slipped by us when it was first released back in '96, but we heartily tip our hat to dear Marc Cappelle of American Music Club for bringing to our attention recently!
First off, if you haven't seen Zabriskie Point, close your email right now and go down to the video store and rent it. You won't regret it. Okay, so now the soundtrack. Reissued in a gorgeous gatefold sleeve on heavy 180 gram vinyl, this soundtrack was originally released in 1970 and features some seriously twisted stuff. The most noteworthy being a handful of tracks recorded by Pink FLoyd specifically for the film. Tripped out, meandering and spacy, organs and heartbeat-like throbs, found sounds and haunting voices, only occasionally coalescing into recognizable Pink Floyd. Worth it for those tracks alone. But there are also plenty of juicy sixties nuggets from the Youngbloods (which got Andee to go out and get a couple Youngbloods records), the Grateful Dead, John Fahey, the Kaleidoscope (the US band featuring David Lindley, not the British psychedelic group we reviewed a few months back), Roscoe Holcomb, as well as the first solo recordings from the Grateful Dead's Jerry Garcia. All of these tracks work so well together even away from the film, sort of like the best sixties psych/folk/Appalachia/hippy mix tape you could hope for. And -with- the film, well, it's absolutely perfect. This vinyl reissue comes with extra photos and new liner notes.
Swedish exploito porn flick psych... or something like that.
If you've been diggin' the vintage Turkish psych/pop of the Erkin Koray and Cem Karaca discs we've highlighted recently, here's something else for you, quite similar though it's from a bit further to the East... The title they've chosen for this collection would do as a review of it, in a nutshell: "Hip '70s Afghan Beats!" Indeed. Amhad Zahir was a popular Afghan singer, and these tracks, culled from his prodigious discography, are rife with emotive deep voiced crooning, exotic folk flourishes, and East-meets-West stylings (electric wah wah guitar, and tabla too!).
The liner notes (which could have done with an extra round of copy-editing, we're afraid) provide a brief biography of Zahir, who tragically was assassinated in 1979, at the age of 33, by Afghanistan's communist regime, on account of his political beliefs. Before his death, though, he had become hugely popular, and nowadays is apparently still considered a legend, one of Afghanistan's biggest recording stars. Of course, to us ignorant Westerners, he's quite obscure. We can only trust that the unnamed compiler has indeed chosen the "best of" Zahir's output; these tracks sound good to us, anyway! Infectious, hypnotic, moody, with groovy horns, traditional melodies, and reverb-heavy rhythms, it's all quite enjoyable.
You know this is gonna be good -- from the same dedicated diggers at B-music/Finders Keepers that brought us the Anatolian Invasion of Selda and Mustafa Ozkent, the freak-folk of Susan Christie, the dreamscape soundtrack for Valerie And Her Week Of Wonders, etc., comes this "best of" collection from beautiful Hungarian singer Sarolta "Cini" Zalatnay, from the late '60s, early '70s. An obscure cult figure elsewhere, in her native country Zalatnay remains famous, a liberated Socialist-era sex symbol known for her scandalous personal life. DJ Andy Votel's extensive liner notes allude to all the shocking details. Fascinating as her story is (at age 54 she posed for Hungarian Playboy, has appeared on a Hungarian hidden-camera "reality TV" show, and was given a three-year prison sentence for fraud!) it's her breaks-friendly music that gets the B-music crowd all turned on. And while the 19 tracks here include some lovely pastoral pop and torchy ballads, it's her specialty of groovy, psychedelic hard rock wherein the best breaks are to be found. And there's plenty of that here. Yep, cow-bell rockin', acid guitar fueled hard rock, the ideal setting for her to let loose with her powerful voice, which draws comparisons to Janis Joplin (an impression reinforced here by one of the English-language bonus tracks, a cover of Joplin's "Move Over"). Plus the funky drumming and wah wah fuzz guitar licks are enough to make DJ-types drool. We're reminded a bit of Funkadelic vocalist Ruth Copeland's solo material, and the more kick-ass Shocking Blue cuts...good stuff!
This anthology brings together tracks from impossible to find LPs and singles, released by Cini as a solo artist as well as when she fronted such bands as Locomotiv GT and Skorpio. As usual the cd booklet is heavily illustrated with full color repros of the cover art from some of these treasures.
Geeze, will you look at that cover?? A gory painting of a severed, hairy hand, dripping blood with hanging sinews and jutting bone, clawing at a wall. For 1978, when this album was first released, that had to be considered pretty extreme! It would be at least another ten years before the likes of Cannibal Corpse would make such "shocking" images commonplace on album covers. So perhaps it will come as no surprise that apparently this band went on to become an important part of the '80s heavy metal scene in their native Spain. But this debut album of theirs, recorded when the guys in the band were in their mid-teens (!), actually harks back more to the proto-metal heaviness of the early '70s and even '60s, to which we say, right on! It's fuzzed-out, garagey psych, tons of fierce, heavy acid rock guitar, sounding something like Stray or Sir Lord Baltimore, or seventies Spanish older-brethren Tapiman and The Storm.
The first three tracks are all vicious stormers. Really raw and riffy!! Tracks four and five mellow out just a bit, balancing the heaviness with more melody. They've got a balladic '60s psych pop element to 'em, but they definitely don't wimp out in the end. We've gotta say, wow. Apparently the original of this is an expensive, rare-ass record (some collectors, we're told, even doubted its existence) but thanks to this cd reissue it's alive and well and and bloody and clawing at the walls. Recommended to all proto-metal freaks.
Awesome garagey/glammy '70s hard rock that sounds like a demented Led Zeppelin some of the time, featuring frontman Fred Cole, future co-founder of the legendary Pacific NW punks Dead Moon! For as big of proto-metal, '70s rock nerds as we are here at aQuarius, we don't understand how we'd somehow NEVER heard of this band until quite recently. And it's not like this is a new cd reissue, in fact, it apparently dates from 1994! When we got clued in to Zipper, we tracked it down, thankfully one of our distributors still had a supply in stock, so here it is, gotta share it with those of you who haven't heard Zipper either. Well, it's nice to know there's always some new but old gem out there we haven't yet heard.
So, Zipper's sole album, originally released as a private pressing (by the Cole's own "Whizeagle Records") in 1975, features nine cuts of high energy ramalama and bluesy grunge. The album opens with a bang, the song "Bullets" being the one that immediately made us think Led Zeppelin, with extremely lewd & lascivious lyrics delivered in what sounds like an exaggerated parody of a lemon-squeezin' Robert Plant. The sexual innuendo here is pretty outrageous / hilarious if you pay attention ("wanna stuff my face in your swimming hole, stroke it so hard I'm gonna break my pole", for example) and the guitars riff it up with wild abandon.
Cole's over the top vocals are big part of Zipper's sound, for sure, and at first (before we realized it was Fred Cole singing) we were kind of taken aback by his style, sneering and screeching, part Percy, part Mick Jagger, often doing a scrappy, campy falsetto that makes us think of Wayne Kramer warbling "Rambing Rose" on the MC5's Kick Out The Jams! Overwrought and ridiculous, but damn it works, with the downer epic "Face Of Stone" ferinstance being truly emotional wrenching. Some big influences are probably late '60s Stones, Zeppelin of course, perhaps early Detroit-era Alice Cooper, and maybe a bit of Black Sabbath. There's some sweet aching ballads, some lumbering blues rawk blasters, some glammed-up punkers, and even a '50s style raver. Good stuff - for raunchy, kickass, low-budget heavy jams from the garage circa '75, look no further!
(Sometime soon, we'll also have to review the reissue of the excellent album by Fred Cole's even earlier band from the sixties, The Lollipop Shoppe, a band whose cutesy name belies their seriously gloomy vibes.)
SWEET! REISSUED ON VINYL. We listed an earlier (and now out of print) cd reissue of this gem a while back, thusly...
Awesome garagey/glammy '70s hard rock that sounds like a demented Led Zeppelin some of the time, featuring frontman Fred Cole, future co-founder of the legendary Pacific NW punks Dead Moon! For as big of proto-metal, '70s rock nerds as we are here at aQuarius, we don't understand how we'd somehow NEVER heard of this band until quite recently.
So, Zipper's sole album, originally released as a private pressing (by the Cole's own "Whizeagle Records") in 1975, features nine cuts of high energy ramalama and bluesy grunge. The album opens with a bang, the song "Bullets" being the one that immediately made us think Led Zeppelin, with extremely lewd & lascivious lyrics delivered in what sounds like an exaggerated parody of a lemon-squeezin' Robert Plant. The sexual innuendo here is pretty outrageous / hilarious if you pay attention ("wanna stuff my face in your swimming hole, stroke it so hard I'm gonna break my pole", for example) and the guitars riff it up with wild abandon.
Cole's over the top vocals are big part of Zipper's sound, for sure, and at first (before we realized it was Fred Cole singing) we were kind of taken aback by his style, sneering and screeching, part Percy, part Mick Jagger, often doing a scrappy, campy falsetto that makes us think of Wayne Kramer warbling "Rambing Rose" on the MC5's Kick Out The Jams! Overwrought and ridiculous, but damn it works, with the downer epic "Face Of Stone" ferinstance being truly emotional wrenching. Some big influences are probably late '60s Stones, Zeppelin of course, perhaps early Detroit-era Alice Cooper, and maybe a bit of Black Sabbath. There's some sweet aching ballads, some lumbering blues rawk blasters, some glammed-up punkers, and even a '50s style raver. Good stuff - for raunchy, kickass, low-budget heavy jams from the garage circa '75, look no further!
Sometimes you just have to pause from the hustle, bustle and general assault of the modern world to refresh your appreciation of something truly exceptional and timeless. So, that said... Everyone! Stop what you're doing this very second, and get your own copy of this album! If you already have it, then get another copy for your best friend! If they already have it, then... well, you get the picture! Its presence is absolutely essential in any/every self respecting music lover's library.
This is not a new release, in fact it is the 30th anniversary edition which came out back in 1998... which means this classic album is pushing forty, and it still delights like a pup! Simply stated, Odessey & Oracle is a rare beautifully plumed pop bird that soars above the crowd. So many of our favorite more recent pop gods were clearly enormously influenced by this band and this album in particular -- Pernice Brothers, Zumpano, The New Pornographers, The Posies, The Shins... the list goes on and on and on. And we could go on and on but why waste breath and time? Highest recommendation, 'nuff said!
This edition also includes a bunch of bonus tracks for the completist (primarily alternate and mono versions). Heck, if you wanna go totally whole hog... may we recommend the Zombie Heaven 4 cd box set? At least two aQuarians own one, and several others are definitely considering it...
