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viewing 1 To 25 of 64 items
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7"
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ON 312EP
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Three-track 7" strictly limited half blue/half yellow vinyl; includes postcard and poster. Part of the Optic Sevens 3.0 reissue series. Chin-Chin, an all-female group consisting of Karin (guitar/vocals), Esther (bass/vocals) and Marie-Anne (drums/vocals) was formed in 1982 in Biel, Switzerland. Originally released in 1986 on 53rd & 3rd, these three tracks make their first appearance on 7".
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7"
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ON 311EP
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Two-track 7" strictly limited translucent lime color vinyl; includes postcard and poster. Part of the Optic Sevens 3.0 reissue series. In 1980 post punk pop indie band Girls At Our Best came out of nowhere (Well, Leeds actually) with "Getting Nowhere Fast" and was the NME's Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album Pleasure which reached the UK album charts in 1981, before splitting up two years after this debut.
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7"
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ON 307EP
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Four-track 7" strictly limited white vinyl with red splatter; includes postcard and poster. Part of the Optic Sevens 3.0 reissue series. Appearing for the first time on an officially released 7" the John Parish produced Sunshine Thuggery EP (1988), caught the ear of John Peel who invited the band to record a session for his program. Peel commented "the woman who's in charge of the band has a terrific way with words in almost the manner of Morrissey. There are lines in here which make me laugh out loud."
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7"
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ON 310EP
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The Servants debut originally released in 1986 on Head Records is backed here with Loggerheads, that was recorded during the same session as the A side and a track that David Westlake has always wanted to appear on 7". The second track on the B side is a previously unreleased version of the A side that was recorded in 1985. Produced by Adrian Borland, who also plays keyboards on the track. Limited three-track 7". Half-and-half blue/clear vinyl; includes postcard and poster.
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7"
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ON 308EP
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Indie pop sensations The Nivens from Northumberland existed between 1987 to 1990. Recording for the excellent Woosh label, their debut "Yesterday" hit the indie top ten in January 1989. Two track 7". White vinyl; includes postcard and poster.
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OPT4 040LP
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The V.I.P.'s were formed in 1978 while at Warwick University. Within weeks they were gigging at clubs in the Midlands, often on the same bill as The Specials in Coventry. Soon they found a manager, Clive Solomon, who with Timmy Mallet (now a TV and radio presenter) and both students at the university, financed the group's first single the EP Music For Funsters. In the summer of 1978, they built up a loyal following in London. The single was picked up by John Peel, who played it constantly on his BBC radio show through the year. The three-track EP was released on Clive Solomon's own Bust label. In 1979 the V.I.P.'s could be found playing all over the country, frequently on the same bill as Squire, stablemates on Clive Solomon's label. In early 1980 they went into Olympic Studios in Chiswick to record some tracks with ex-The Animals bass player and Slade/Jimi Hendrix manager, Chas Chandler. A major record deal was agreed with Gem Records/RCA and Causing Complications came out in March of 1980. To coincide with the release the V.I.P.'s went on tour supporting Secret Affair. The constant touring, recording and radio play had earned them a spot on Top of The Pops but they were suddenly told -- on the afternoon that they were due to appear -- that an industrial dispute at the BBC had resulted in the show being cancelled. They continued to record and tour, this time with Madness, The Beat, and Dexys Midnight Runners amongst others. Illness -- Jed had been touring with a collapsed lung -- and tensions saw the band play their last concert at Leicester University. A fourth and final GEM single, proved to be their last. With several songs still to be recorded, it was a frustrating time for all. Paul Shurey and Guy Morley has already made alternative plans for The New V.I.P.'s and recruited Simon Smith from The Merton Parkas to play drums while Paul returned to his native keyboards. With Tony Conway on guitar and Andy Godfrey on bass they became Mood Six. 17-track compilation of all of their studio recordings, remastered, and pressed on electric blue vinyl. Presented in gatefold sleeve with never seen before photographs, a printed lyric inner sleeve, and poster.
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2X7"
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ON 306EP
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Formed in Olympia, Washington in 1982 by Calvin Johnson, Heather Lewis, and Bret Lunsford. This four-track single was originally released in 1987 on 53rd & 3rd Records and appears here for the first time on 7". Limited four-track double 7" in gatefold sleeve; yellow vinyl; includes postcard and poster.
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LP
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OPT4 044LP
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$19.50
PREORDER
RELEASE DATE: 7/30/2021
Live radio broadcast recording of their 1991 concert from the legendary Quartier Latin Club during The Berlin Independence Days. Includes tracks from their indie top 10 album Leave The Straight Life Behind, singles, and the previously unreleased "You Can Stop That For A Start". When BOB hit the stage at the legendary Quartier Latin club during the Berlin Independence Days on October 21 1991, they were talking loud and saying something. BOB had been touring relentlessly for five years. All over the UK and Europe. Headlining their own shows and supporting some of the biggest names in indie rock, but this gig was something else. It couldn't have happened in any other place, or, at any other time. In Berlin, the wall had come down two years previous. Things were changing. There was a freedom of movement, unknown for many decades. You could grasp the spirit of creativity. In London, the underground indie scene of the mid to late '80s was being replaced by the corporate music marketing machine they called Britpop. On this recording we capture a milestone moment of this time. Includes double-sided A3 poster; edition of 300.
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2CD
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OPT4 029CD
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$16.50
PREORDER
RELEASE DATE: 7/23/2021
Optic Nerve present Sorted! including first time reissues of Party Day's critically acclaimed and highly sought-after debut album Glasshouse from 1985 and the 1986 follow-up Simplicity. Including all tracks from the singles and EP's, plus unreleased recordings. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single "Row The Boat Ashore" in 1983. Their brand of post-punk indie rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately. The follow up single "Spider" from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. Their self-released debut album Glasshouse was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second-hand market. The Glasshouse EP followed later in '85 heralding a more commercial approach and widening appeal. Their second album Simplicity was released in 1986.
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2LP
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OPT4 029LP
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$37.50
PREORDER
RELEASE DATE: 7/23/2021
Double LP version. Color vinyl; Disc one is purple, disc 2 is gold. Optic Nerve present Sorted! including first time reissues of Party Day's critically acclaimed and highly sought-after debut album Glasshouse from 1985 and the 1986 follow-up Simplicity. Including all tracks from the singles and EP's, plus unreleased recordings. Party Day, with their bass led rhythms and sharp powerful drums gigged extensively and released their debut single "Row The Boat Ashore" in 1983. Their brand of post-punk indie rock with Gothic overtones soon got the attention of DJ John Peel and sold out almost immediately. The follow up single "Spider" from 1984 again received extensive airplay from John Peel and received rave reviews from the national music press. Their self-released debut album Glasshouse was released in 1985 to glowing reviews and has gained popularity over the years. Now very collectable, it exchanges hands for big money on the second-hand market. The Glasshouse EP followed later in '85 heralding a more commercial approach and widening appeal. Their second album Simplicity was released in 1986.
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LP
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OPT4 043LP
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$23.00
PREORDER
RELEASE DATE: 7/2/2021
The legendary session from members of The Outsiders, The Sound, and Honolulu Mountain Daffodils. Released for the very first time. Overseen by Adrian Janes and remastered by Nick Robbins. In December 1978 Pete Williams, later to achieve cult infamy as Lord Sulaco of the Honolulu Mountain Daffodils, decided to realize a notion which he'd long kicked around with some of his musician friends. This was to record some original songs for which he -- who had never been in a studio in his life -- would provide the lyrics and sing. These friends were the Outsiders, at that time consisting of Adrian Borland (guitar, vocals), Graham Bailey (bass), and Adrian Janes (drums), plus an increasingly regular guest player in Bi Marshall (clarinet). A year later, Janes having left, the Outsiders became the Sound. With no prior preparation other than Williams writing a set of lyrics (reputedly all based on newspaper stories), he then hired Elephant Studio in London for a day's session. This was engineered by Nick Robbins, later to produce the Sound among others, but at that point at the very start of his career. This was no bad thing, since he was as open to the bizarre working methods of the Crazies (named after the George Romero sci-fi horror film) as they were innocent of their strangeness: improvise a song during one run-through, record it, and then move on to the next one, each to be created in the same way. This extremely efficient method left enough studio time after recording six songs for the rest to head off for something to eat, while Williams scribbled lyrics for a final composition, "When We're Dead", which was recorded upon their return. The surviving members (Bailey, Marshall, and Janes) all recall this as one of the most enjoyable and relaxed sessions they were ever part of. The same experimental freedom and warped humor can also be heard in the albums Williams and Borland made as the Honolulu Mountain Daffodils a decade later. Cassette copies of the resulting album were produced for all concerned, and it seems that there was an idea of making it more widely available in this format, but this was never to occur. It is only now that, with the original tape rediscovered, that the Crazies' "A Simple Vision", mastered by Nick Robbins, can at last be perceived by the wider world. Color vinyl.
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2LP
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OPT4 011LP
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In 1980, post punk pop indie band Girls At Our Best came out of nowhere (Well, Leeds actually) with "Getting Nowhere Fast" and was the NME's "Single Of The Week" reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album Pleasure which reached the UK album charts in 1981, before splitting up two years after that first record. Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the '80s -- long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude "Jo" Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade, and Happy Birthday Records are included here as bonus tracks on a 45rpm 12" --including the wonderful "Getting Nowhere Fast" (later covered by The Wedding Present), its coruscating B-side "Warm Girls", "Politics!", "Go For Gold", and "Fast Boyfriends". Their influence can be seen on innumerable C86/indie bands who came afterwards. Comes on half-and-half, color vinyl: disc one on yellow/magenta and disc two on turquoise/magenta. Second disc contains the singles and B sides; 45rpm. Gatefold sleeve with printed inner sleeves containing lyrics, photos, and interview by The Mouth Magazine; also includes "Pleasure Bag" containing four postcards, two stickers, a stencil, repro Tour Poster, repro promo posters for "Go For Gold" and "Politics/Its Fashion" singles.
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7"
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ON 304EP
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The Desert Wolves are from Manchester. Their first gig was supporting The Stone Roses. They released two singles on the excellent Ugly Man Records before splitting, just before The Stone Roses hit the big time and just about every Manchester band were getting signed. These three tracks are from their Mark Radcliffe produced 12"-only debut, originally released in 1987. Part of The Optic Sevens 3.0 reissue series. Remastered from the original master tape. Splatter vinyl; includes postcard and poster; edition of 650.
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7"
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ON 305EP
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Two-track 7". Part of the Optic Sevens 3.0 Reissue Series. "Take the Skinheads Bowling" is the signature song of Camper Van Beethoven. Taken from their 1985 album Telephone Free Landslide Victory. Their classic debut single became an indie top 10 hit and featured in John Peel's festive 50. Upon release, it picked up substantial airplay and is still played frequently on radio shows across the globe. Later covered by Teenage Fanclub and Manic Street Preachers and featured in the Michael Moore film Bowling For Columbine Red vinyl; includes postcard and poster.
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CD
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OPT4 042CD
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Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy's Whamm! record label, "Modesty Blaise" earlier in the year. This was singled out in the music press as not just one of your average jam crash/bang/wallop mod revivalist tunes. Whamm! was struggling to provide the funds to record an album, the songs were too good not to commit to a full 12" set, so the Direct Hits pooled their limited resources and self-financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound. Early on the morning of August 12th, 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover, and their trusty roadie "Robbo" assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band's busy live schedule, the recording of the first nine songs on this disc were finished by mid-afternoon. Throughout the rest of the day, the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster's stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the day's work, clutching the precious reel-to-reel tape. Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their Blow Up debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984. A few didn't make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements. Remastered. CD version includes 20-page booklet.
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OPT4 042LP
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LP version. Blue vinyl; gatefold sleeve; includes A2 poster and three art prints. Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy's Whamm! record label, "Modesty Blaise" earlier in the year. This was singled out in the music press as not just one of your average jam crash/bang/wallop mod revivalist tunes. Whamm! was struggling to provide the funds to record an album, the songs were too good not to commit to a full 12" set, so the Direct Hits pooled their limited resources and self-financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound. Early on the morning of August 12th, 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover, and their trusty roadie "Robbo" assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band's busy live schedule, the recording of the first nine songs on this disc were finished by mid-afternoon. Throughout the rest of the day, the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster's stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the day's work, clutching the precious reel-to-reel tape. Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their Blow Up debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984. A few didn't make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements. Remastered.
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7"
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ON 303EP
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Hailing from Wolverhampton, Weeping Messerschmitts gave us one absolutely cracking 12", released on Upright in 1986 and then disappeared. Previously only 12"-only release, Optic Nerve bring you two of those tracks on 7" for the very first time. Coming out of the West Midlands Weeping Messerschmitts cut their teeth supporting schoolfriends, The Mighty Lemon Drops. Initially called The Railway Children (until another band from Manchester nicked the name and pressure from lawyers at Virgin Records forced a change) and briefly managed by Gerry Cott of The Boomtown Rats (until a disagreement about the bands direction, forced him to quit) the Messerschmitts gigged constantly all over the UK, creating quite a buzz, building a following and gaining favorable reviews from the music press. It was no surprise that they were soon offered contracts with three major labels before choosing to take the indie route with Upright Records. For whom they recorded one of the greatest lost indie records of the '80s. Unfortunately, this was to be their only release before splitting in '87. Part of The Optic Sevens 3.0 reissue series. Blue vinyl; includes postcard and posted; edition of 800.
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7"
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ON 301EP
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Part of The Optic Sevens 3.0 Reissue Series. Initially released in 1988 on Creation, Christine was the opening track from The House of Love's self-titled debut album and was the song that gave Guy Chadwick the idea for the sound of the group, what kind of musicians to look for and of course, the image. It reached #4 in the indie charts with Melody Maker describing it as "shimmering with reverbed romance... a heroic anthem to doomed and incandescent love." Includes all three tracks from the 12" and first time in picture sleeve for the 7". Clear vinyl; includes postcard and poster.
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2LP
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OPT4 041LP
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It was 1977, there may well have been "knives in West 11", but at a student's hall of residence in Leicester, a packed room of cross-legged intellectuals were about to witness the debut of the Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny "Guitar" Hawkins on guitar, and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners. The four-piece added Dave Henderson from The Blazers, a chirpy power pop punk quintet. Record Shop owner -- and now Mayor Of Mablethorpe -- Carl Tebbutt launched Uptwon Records with a Disco Zombies EP. The record was shelved, but unperturbed, the band pressed on and recorded a session at the local radio station, "TV Screen Existence" was the only track that survived. The band lost Johnny "Guitar", relocated to London and took The Foamettes' guitarist Steve Gerrard with them who returned to Leicester to become a part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognized line-up of The Disco Zombies for several years. By 1978, Andy Ross launched South Circular Records to release the band's debut single, "Drums Over London" and John Peel played it regularly. South Circular wasn't to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies' single and regain momentum. "Here Comes The Buts" was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was likened to The Cramps meets Neil Young in NME. They recorded for Dining Out the follow-up "The Year Of The Sex Olympics", backed with "Target Practice" and "New Scars" -- it never saw the light of day. By now, the Zombies had been through their dark post punk phase and "Where Have You Been Lately Tony Hateley" was a clever upbeat anthem. It was released on the Cordelia label's Obscure Independent Classics album. In 2011, the drum machine line up descended on Mark's studio, and they recorded two of their lengthier tracks: "Night Of The Big Heat" and "LHO". A few years later Andy Fullerton returned to the fold recording three more originals "Hit", "Lenin's Tomb", and "Paint It Red" for an even more limited edition ten-inch in 2018. 20-track compilation, remastered. Double-LP vinyl version comes on pink (disc one) and green vinyl (disc two); gatefold sleeve with printed inner sleeves and poster.
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7"
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ON 302EP
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Part of The Optic Sevens 3.0 Reissue Series. Glasgow based The Clouds only single was originally released in 1988 on Subway and became an indie top 20 hit. Includes all three tracks from the 12". Red vinyl; printed inner sleeve; includes postcard and poster.
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10"
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ON16
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The three-track Forever EP features two new compositions, the title track "Forever" and "My Slum Soul", plus an incendiary new version of an old live favorite "Ink Runs Dry". Folk Devils, the London group that took their name from a well-known academic text on social scapegoating, and who blazed a trail across the UK's independent music scene of the mid-80s with their unique brand of post-punk energy, have returned with their first new music in 35 years. Recorded at London's famous Konk Studios in North London and mixed and co-produced by Grammy Award-winning engineer Rik Simpson, the re-born Folk Devils drew inspiration from the release of their 2016 career retrospective Beautiful Monsters (2016) and the reactions at subsequent live shows around the UK with kindred spirits Membranes, Inca Babies, and The Cravats. Founder members, guitarist Kris Jozajtis and bassist Mark Whiteley, reformed the group by recruiting members of a short-lived 1987 version of Folk Devils; guitarist Nick Clift and drummer John Hamilton. Together, with singer Dave Hodgson, they soon discovered they had created a well-oiled twin-guitar juggernaut that brimmed with the same restless, twisted blues that characterized the first and second iterations of the band from 1983-87 when they were fronted by the highly underrated and now sadly-departed singer/songwriter, Ian Lowery. Hodgson, a fellow transplant from the North-East, had known Lowery in the early '80s prior to Folk Devils, when the two were in their respective post-punk bands Ski Patrol and Parting Shots. Translucent red 10" vinyl; edition of 250.
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LP
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OPT4 030LP
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LP version. White vinyl; includes poster and download of all tracks included on double-CD version; accompanied by period images and new sleeve notes; edition of 200.You Can Stop That For A Start is an exclusive album of previously unheard material written and recorded by BOB over a five-day period in 1992. The album is accompanied by a selection of some of the band's favorite demo recordings made between 1988 and 1994. All the recordings in the set have been newly mixed by songwriters Simon Armstrong and Richard Blackborow. BOB's initial line-up was Richard Blackborow (vocals, keyboards, guitar), Simon Armstrong (guitar, vocals). Jem Morris (bass guitar), joined the duo in 1986 and, augmented with a drum machine, they recorded the band's first release, a flexi-disc, released in 1986 on their own House Of Teeth label. The drum machine was replaced by drummer Gary Connors in 1987, and this line-up recorded 1987's "What A Performance" single and the first of three John Peel sessions. Early in 1988, Gary Connors was replaced by former Jamie Wednesday drummer Dean Leggett, and the band recorded their second single, "Kirsty", and their second John Peel session. The two singles were brought together with the earlier flexi disc as the compilation LP Swag Sack, which was their final release on the Sombrero label (1988). All later records were on their own House Of Teeth label. In 1989, the band released a single "Convenience" which was followed by a limited edition/fan club release. After their third and final John Peel session, Morris was replaced by ex-Caretaker Race bassist Stephen "Henry" Hersom, and this final line-up recorded the Stride Up EP in 1990, an LP Leave The Straight Life Behind, the single "Tired" in 1991, and one last 12", the Nothing For Something EP in 1992. BOB on the new album: "The tracks that make up You Can Stop That For A Start were recorded over a five-day period in our final years, as the hectic touring schedule that had kept us financially viable began to tail off. What funds the band could glean from occasional publishing deals were spent on studio time, with the hope of creating work that would eventually attract more substantial financial investment. As this never materialized, the songs have largely remained unheard since the early '90s."
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2LP
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OPT4 027B-LP
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Black vinyl version. Released in February 1989, Razorcuts' The World Keeps Turning seemed to represent a heroic refusal to fall in step with the times. From its cover illustration to its musical content, which was essentially a continuation of what had been so masterly achieved on Storyteller (OPT4 026LP). Tim's words coupled with Gregory's melodies resulted in some of the loveliest songs in the Razorcuts catalog. Includes original album plus eight additional tracks on the second disc. Remastered. Includes a 12pp 12"x12" color booklet with sleeve notes.
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CD
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OPT4 038CD
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Before The Bachelor Pad, there was The Wee Cherubs. A collection of lost recordings made in Glasgow between 1982-1985. Restored and remastered especially for this release. Formed in 1982 by Martin Cotter, Christine Gibson, and Graham Adam and part of the Glasgow indie scene of the early '80s. The Wee Cherubs only released one single. The recently reissued Dreaming, (which is included in this set) before calling it a day in 1985. Their range of influences are on show here, and although some tracks are redolent of Orange Juice and Aztec Camera there is no definitive Wee Cherubs sound, which makes this collection an exciting and rewarding discovery. Cotter went on to The Bachelor Pad a psych-fueled head on collision between The Buzzcocks and Syd Barrett.
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OPT4 038LP
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LP version. Green vinyl; includes printed lyric inner. Before The Bachelor Pad, there was The Wee Cherubs. A collection of lost recordings made in Glasgow between 1982-1985. Restored and remastered especially for this release. Formed in 1982 by Martin Cotter, Christine Gibson, and Graham Adam and part of the Glasgow indie scene of the early '80s. The Wee Cherubs only released one single. The recently reissued Dreaming, (which is included in this set) before calling it a day in 1985. Their range of influences are on show here, and although some tracks are redolent of Orange Juice and Aztec Camera there is no definitive Wee Cherubs sound, which makes this collection an exciting and rewarding discovery. Cotter went on to The Bachelor Pad a psych-fueled head on collision between The Buzzcocks and Syd Barrett.
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