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viewing 1 To 25 of 45 items
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LP
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OPT4 040LP
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$26.50
PREORDER
RELEASE DATE: 12/4/2020
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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2CD
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OPT4 030CD
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$14.00
PREORDER
RELEASE DATE: 10/23/2020
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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LP
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OPT4 030LP
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$23.00
PREORDER
RELEASE DATE: 10/23/2020
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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10"
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ON16
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$14.00
PREORDER
RELEASE DATE: 10/16/2020
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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2LP
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OPT4 027B-LP
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$33.00
PREORDER
RELEASE DATE: 10/16/2020
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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$12.50
PREORDER
RELEASE DATE: 10/2/2020
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 abd Syd Barrett.
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LP
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OPT4 038LP
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$22.00
PREORDER
RELEASE DATE: 10/2/2020
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 abd Syd Barrett.
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2LP +7"
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OPT4 028LP
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Originally released in 1989. McCarthy's The Enraged Will Inherit The Earth is a musical molotov cocktail that's a mixture of power chords and virile, virtuous lyrics. The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn't get enough of a user base to make its intended impact. If the question was ever proposed, "can art be a weapon?" this album answers with a bold and resounding "yes." Includes the singles "Boy Meets Girl, So What," "Should The Bible Be Banned," "Keep An Open Mind Or Else," and "This Nelson Rockerfeller". Limited-edition set contains the original LP plus a ten-track bonus LP and a bonus 7" with two previously unreleased tracks. Remastered and pressed on color vinyl with a reworked sleeve by original designer Andy Royston.
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2LP
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OPT4 026B-LP
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Black vinyl pressing. Optic Nerve present a reissue of Razorcuts' Storyteller, originally released in 1988. Storyteller, which saw release in February of '88, arguably is the best album to come from the generation of indie pop bands to which Razorcuts belonged. Most of their peers tended to falter beyond the convenient restrictions of singles and EPs, but Storyteller, whether by luck or design, hangs together as a complete work, not a moment of its 35 minutes wasted or excess to requirements. Indeed, there are few lovelier songs from that year than "Brighter Now", "Jade", and the title track. Includes original album plus eight additional tracks on the second disc. Remastered. Contains the originally LP plus an eight-track bonus LP. Includes a 16pp 12"x12" color booklet with sleeve notes by Popkiss author, Michael White and Tim Vass; Presented in a gatefold sleeve.
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7"
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ON 206EP
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First appearance on 7" for The Vaselines' classic debut single that was originally released on 53rd & 3rd Records in 1987. Two of the three tracks that were on the 12" are included in this version. Color vinyl ; includes postcard and poster.
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CD
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OPT4 031CD
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A major retrospective of late '80s psychedelic garage rockers Hangman's Beautiful Daughters. A mainstay of the indie and C86 scene, the London-based band were signed to Dan Treacy's Dreamworld Records. Treacy, the genius behind The Television Personalities, played a major role in the band's birth, contributing a few songs and as producer. "They all looked dead cool: Gordon played chiming 12-string guitar licks which sounded like a dirty version of Roger McGuinn's sound with the Byrds, with his long blond fringe making him look like a tougher cousin of Brian Jones. Emily [Brown] had a sensuous, husky alto voice, and looked fine with her long wavy auburn locks, suede fringed boots and mini-skirts. Phil [King] was taciturn and nonchalant; impenetrable with his shades and dark bowl-haircut and like a cuter version of Bill Wyman. Ray [Philpott] was an accomplished, energetic and handsome drummer with a ready grin and long parted wavy chestnut hair. Sandy [Fleming] was an exuberant presence, with her raven-black short spiky hair, skinny legs and leathers; she played choppy rhythm chords on a sunburst pear-drop Vox guitar, and added her voice to the mix. There weren't many women making rock music in those days, so it was very distinctive to have two women at the front." Hangman's Beautiful Daughters were described at the time as like a cross between The Jefferson Airplane, MC5, and The Velvet Underground. Touring regularly across the UK and mainland Europe, they released the EP And Love is Blue, the singles "They Fell for Words like Love" and "Darkside", plus the album Trash Mantra (1987). All of these recordings were also repackaged and released in Germany and the US. A further EP was recorded for Dreamworld but never released, with two songs from that session, "If It Means Anything" and "King of Sweden", getting their first airing on the new release. Equally adept at producing hard charging rockers or more languid, opiate-tinged soundscapes, Hangman's Beautiful Daughters were part of the DIY culture that helped shape British guitar music. Their complete recordings remastered; Includes two previously unreleased tracks. The album comes with a deluxe 12-page booklet, featuring never-seen before photos and a history of the band written by Jowe Head, of Television Personalities and Swell Maps fame. CD version marks the first availability of the material on the format.
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LP
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OPT4 031LP
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LP version. Blue swirl vinyl. A major retrospective of late '80s psychedelic garage rockers Hangman's Beautiful Daughters. A mainstay of the indie and C86 scene, the London-based band were signed to Dan Treacy's Dreamworld Records. Treacy, the genius behind The Television Personalities, played a major role in the band's birth, contributing a few songs and as producer. "They all looked dead cool: Gordon played chiming 12-string guitar licks which sounded like a dirty version of Roger McGuinn's sound with the Byrds, with his long blond fringe making him look like a tougher cousin of Brian Jones. Emily [Brown] had a sensuous, husky alto voice, and looked fine with her long wavy auburn locks, suede fringed boots and mini-skirts. Phil [King] was taciturn and nonchalant; impenetrable with his shades and dark bowl-haircut and like a cuter version of Bill Wyman. Ray [Philpott] was an accomplished, energetic and handsome drummer with a ready grin and long parted wavy chestnut hair. Sandy [Fleming] was an exuberant presence, with her raven-black short spiky hair, skinny legs and leathers; she played choppy rhythm chords on a sunburst pear-drop Vox guitar, and added her voice to the mix. There weren't many women making rock music in those days, so it was very distinctive to have two women at the front." Hangman's Beautiful Daughters were described at the time as like a cross between The Jefferson Airplane, MC5, and The Velvet Underground. Touring regularly across the UK and mainland Europe, they released the EP And Love is Blue, the singles "They Fell for Words like Love" and "Darkside", plus the album Trash Mantra (1987). All of these recordings were also repackaged and released in Germany and the US. A further EP was recorded for Dreamworld but never released, with two songs from that session, "If It Means Anything" and "King of Sweden", getting their first airing on the new release. Equally adept at producing hard charging rockers or more languid, opiate-tinged soundscapes, Hangman's Beautiful Daughters were part of the DIY culture that helped shape British guitar music. Their complete recordings remastered; Includes two previously unreleased tracks. The album comes with a deluxe 12-page booklet, featuring never-seen before photos and a history of the band written by Jowe Head, of Television Personalities and Swell Maps fame.
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7"
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ON 209EP
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Meat Whiplash's one and only single was originally released in 1985 on Creation and spent 19 weeks in the independent chart. From East Kilbride in Scotland, they morphed into Motorcycle Boy. Color vinyl; includes postcard and poster; edition of 800.
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7"
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ON 208EP
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The Die Young EP was released on the Metro Trinity's own Cafeteria label, released early 1987. "Michael Fury" was inspired by James Joyce's short story The Dead. Only previously available on a four-track 12". This 7" version comprises three of those four tracks. Metro Trinity were a short-lived Manchester based indie band that included Jon Male, later of Soul Family Sensation and Republica fame, drummer Colin Rocks, bass player Tim Whiteley, and Doves guitarist Jez Williams. Metro Trinity's only other release came as a split with the Inspiral Carpets on Dave Haslam's Debris fanzine. It featured the track "Stupid Friends". Andy Williams of Doves joined the band later on, but does not feature on this EP. The band split up shortly after. Color vinyl; Includes postcard and poster; edition of 800.
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2LP
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OPT4 026LP
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Storyteller, which saw release in February of '88, arguably is the best album to come from the generation of indie pop bands to which Razorcuts belonged. Most of their peers tended to falter beyond the convenient restrictions of singles and EPs, but Storyteller, whether by luck or design, hangs together as a complete work, not a moment of its 35 minutes wasted or excess to requirements. Indeed, there are few lovelier songs from that year than "Brighter Now", "Jade", and the title track. Includes original album plus eight additional tracks on the second disc. Remastered. Includes a 16pp 12"x12" color booklet with sleeve notes by Popkiss author, Michael White and Tim Vass; Presented in a gatefold sleeve with reverse board printing; Pressed on color vinyl, disc one on white vinyl and disc two on transparent pink vinyl, in a limited edition of only 200.
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2LP
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OPT4 027LP
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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; Pressed on color vinyl, disc one on white vinyl and disc two on transparent green vinyl; edition of 200.
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7"
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ON 211EP
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Fourth and final single from the James Dean Driving Experience. Originally released in 1990 on El Records as a 12" EP and now highly sought-after. All four tracks are included here for the first time as a 7" single on silver vinyl. Includes postcard and poster; edition of 800.
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7"
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ON 207EP
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Originally released in 1985 on Creation Records and arguably one of the best from that era. This version is backed with "Your Door Shines Like Gold" which appeared on the 12" but not the 7". Color vinyl; includes postcard and poster; edition of 800.
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7"
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ON 210EP
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Exceptional second single from The Wedding Present that was originally released on Reception Records in 1985. Reissued here on white vinyl. Includes postcard and poster; edition of 1000.
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7"
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ON 212EP
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Impossibly rare 1984 UK 7" vinyl single, written by a pre-Bachelor Pad's Martin Cotter. One of only three releases by the short-lived Glasgow based indie label Bogaten, although redolent of early Orange Juice in the sound of the A-side, also looks forward to shoegaze, with a reverb-drenched cover of The Velvet Underground's "Waiting For My Man" on the B-side. Color vinyl; includes postcard and poster; edition of 800.
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7"
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ON 204EP
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Released in 1984 and the second release on Creation Records. Flowers In The Sky Is a perfect piece of '80s psychedelic pop. The band was formed in 1983 by Andrew Innes, who had previously played guitar for Alan McGee's band The Laughing Apple, and also contributed to McGee's later band, Biff Bang Pow! The band also featured Innes's girlfriend Christine Wanless on vocals, Ken Popple (also of Biff Bang Pow!) on drums, and part-time contributions on guitar from Alan McGee. Color vinyl; Includes postcard and poster.
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7"
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ON 205EP
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Originally released in 1987 on Australian label Big Home Productions both tracks were later re-released in 1990 on Sarah Records together with the "Goes So Slow" single as a five-track, 7" EP titled Nothing Ever Happens. This is the first time that the single has been released in the UK in its original format. Even As We Speak is an indie band from Sydney, Australia. Formed in the mid-1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass), Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals). After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band's Goes So Slow Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records. The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993. Color vinyl; includes postcard and poster; Edition of 800.
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7"
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ON 203EP
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This is the original version of The Primitives' Thru The Flowers that was released in 1986 on Lazy and not the re-recorded version. Previously only available as a 12". All four tracks appear for the first time here as a 7" single. Color vinyl; Includes postcard and poster.
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7"
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ON 202EP
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The debut single from the House Of Love is reissued on 7" for the very first time and contains all three tracks that were on the original 12". Although a newly recorded version of "Shine On" was released in 1990 and became a massive hit, this is the first time that the original version has appeared in this format. Color vinyl; includes postcard and poster.
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5x7" BOX
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OPT4 025EP
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The Pooh Sticks's self-titled release, present here as a 5x7" box set with five different color 7" singles and a 24-page booklet. This release includes the original five tracks, and for the first time, five tracks on the flipsides. All of the B sides were recorded in 1988 and four of them have never been available before; the other track "Hard On Love", was released in 1989 on a flexi-disc and has never been available in any other format. Originally released in 1988 on Fierce Recordings as a collection of five one- sided singles in a 7" cardboard box (etched on B-sides), with information insert, and hand-drawn designs on the box and labels. The original now sells for £250 if you are lucky enough to find a copy.
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