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viewing 1 To 11 of 11 items
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TDP 54010LP
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Trading Places present a reissue of Steel Mill's Green Eyed God, originally released in 1972. Fabled British prog-rock band Steel Mill was formed in Wandsworth, a working-class district of south London, during the late 1960s, after singer/keyboardist David Morris began working with saxophonist/flautist John Challenger, who had played with folk group, The Garret Singers, the initial Mill line-up was complete once they were joined by former Roadrunners band member Colin Short on drums, Derek Chandler on bass, and Terry Williams on guitar. The nascent band rehearsed for about one year, playing very few live gigs, before cutting demos in April 1970, their pensive sound miles away from the British blues blueprint that then dominated London, though there was the occasional hard-rock element beneath their pastoral prog. By the time that proper recording sessions were booked at Marquee Studios to cut a single with producer John Schroeder (who had worked with countless acts, including The Shadows and Status Quo), Short had been replaced by former Rumplestiltskin drummer Ricky "Rupert" Baer. The resultant single "Green Eyed God" surfaced on Penny Farthing in 1971 and although it only managed to reach number 51 on the British charts, the song hit number 17 in Germany. By the time further sessions were arranged at Delane Lea studios to yield a debut LP, the group's rhythm section now featured bassist Jeff Watts and drummer Chris "The Rat" Martin. Somehow, Penny Farthing wasn't very impressed by the album itself, leading to its initial release in Germany via Bellaphon; it did not receive a British release until three years later, by which time there had been further line-up changes and a shift towards glam. Nevertheless, Green Eyed God remains an enticing slice of little-known prog, unjustly ignored at its time of creation.
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TDP 54009LP
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Trading Places present a reissue of The Signal To Noise Set, originally released in small numbers in 1984 on London's short-lived Only A Revolution label. The ultra-rare various artists release showcased the Australian variant of minimalist wave, analog synth-pop. The eleven exclusives featured on the compilation are all prime examples of Australia's synth band underground, and although each group was totally unknown outside of their sphere of influence, some have gone on to attain legendary status. Opening track "The Great X1" comes from Melbourne's Infomatics, an art-school group armed with a four-track and a battery of electronic goodies, including a Roland SH- 101, a Korg MS-20, and plenty of processed guitar. Aussie techno pioneers Modern Jazz was the brainchild of the multi-instrumentalist (and future Einstürzende Neubauten collaborator) known as Ash Wednesday, a veteran of the Adelaide-born, Melbourne-based punk band JAB (as well as Models, The Metronomes, and electro group Thealonian Music); the Modern Jazz project was based on randomly generated electronic pulses, with a shifting line-up, featuring Lyn Gordon on vocals and Andrew Phillpott on synth. Experimental duo Second Glance was comprised of members of Modern Jazz and Gilded Youth, and there are tracks by Melbourne trios Shanghai Au Go-Go and Human Backs plus Adelaide five-piece Nuvo Bloc, while experimental duo Dono-Detti are allocated three songs of their own. Overall, this provides a fine introduction to a little-known Aussie fringe scene, captured shortly after its inception. Also features Software Seduction and Into The East.
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TDP 54011LP
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Trading Places present a reissue of Chris Britton's As I Am, originally released in 1969. Recording a solo album in 1969 allowed Troggs guitarist Chris Britton to take a stab at greater artistic freedom, though the presence of a familiar set of suspects meant that the resultant LP, As I Am, didn't veer too far from The Troggs' standard blend of poppy psychedelia and garage rock, constructed with a particular English bent. Producer and keyboardist Colin Frechter shaped the group's Mixed Bag release (1968), and his wistful harpsichord on tracks like "If You Really Care" lend a baroque air to the proceedings, and both bassist Tony Murray and drummer Nigel Olsson were then working as The Troggs' rhythm section (after having been in band Plastic Penny), while Olsson and fellow drummer Roger Pope were part of Elton John's band, as was harmonica player Ian Duck. Yet, with Britton composing all of the songs except one (his version of Larry Weiss's oft-covered "Evil Woman," which had also been tackled by The Troggs), the material is surprisingly varied, with opener "Sit Down Beside Me" and tracks like "Fly With Me" are rocking grooves with bright brass, Latin-esque percussion and a bit of psychedelic phasing, while "No Sense In Hiding" is a slinky blues and "Sleep My Love" is pure dreamy psych. A rare and underappreciated gem that will appeal to all Troggs fans and lovers of British psychedelia more generally.
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LP
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TDP 54007LP
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$19.50
PREORDER
RELEASE DATE: 7/19/2019
Trading Places present a reissue of Emmet Spiceland's The First..., originally released in 1968. Innovative folk group Emmet Spiceland was formed during the late 1960s through the merger of two acts: noted guitarist, mandolin, and bouzouki player Donal Lunny had been playing with Mick Moloney and Brian Bolgor in the Dublin-based Emmet Folk group, while brothers Brian and Michael Byrne had been active in The Spicelanders, based in Sheffield, England, which had a large following in Ireland; when Moloney left Emmet Folk to join another act, Lunny and Moloney joined the Byrne Brothers to form Emmet Spiceland, though Bolgor would not remain for long. The new group's approach to the traditional Irish folk was different from their contemporaries, since they aimed to bring the folk form into modern pop music through accessible, chart-bound arrangements, helped along by their pop-idol looks. Signing to Larry Page's Page One label in 1968, their sole album was produced by the hitmaking team of Bill Martin and Phil Coulter, who added occasional orchestration; their rendition of the traditional "Mary From Dungloe" topping the Irish charts. Though a cover of a Leonard Cohen song was also popular for the group, they disbanded shortly thereafter, leading Lunny to enjoy a long and industrious solo career as a session musician and producer that would ultimately work with Christy Moore, Elvis Costello, and countless others. 180 gram vinyl; 45rpm.
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TDP 54008LP
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$19.50
PREORDER
RELEASE DATE: 7/19/2019
Trading Places present a reissue of Judd's self-titled album, originally released in 1970. Alsatian wunderkind Mark Wirtz led many successful pop music projects during the 1960s and '70s, especially during his long tenure at Abbey Road. A gifted painter, musician and actor, Wirtz's college band was signed to EMI as Mark Rogers and the Marksmen, while Wirtz was still attending the RADA in London; by 1965 he was producing music independently and became an in-house producer at Abbey Road in 1967, working with Keith West and Tomorrow and fronting the Mark Wirtz Orchestra, AKA The Mood Mosaic. The blues and soul-tinged Judd album, issued in 1970 on Larry Page's Penny Farthing label, featured Wirtz on keyboards and rhythm guitar, fronting a studio band with bassist Roger Flavell, guitarist Roger McKew, and drummer Tat Meager (who had played on Siren's eponymous, John Peel-produced debut LP); backing vocalists such as Madeleine Bell, Doris Troy, and sisters Yvonne and Heather Wheatman, AKA Sonny and Sue, gave a more rounded sound. Much of the material was co-written by Kris Ife, who had worked with McKew in The Quiet Five, though there is also an individual cover of Creedence Clearwater Revival's "Down On The Corner", made livelier by Wirtz's piano chords. 180 gram vinyl; Gatefold sleeve.
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TDP 54006LP
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$19.50
PREORDER
RELEASE DATE: 7/19/2019
Trading Places present a reissue of Mike Cooper's Oh Really!?, originally released in 1969. The guitarist and singer-songwriter Mike Cooper was a key figure in the British blues boom of the late 1960s. Born in Reading in 1942, Cooper began playing guitar as a teen in local skiffle groups. After seeing Sonny Terry and Brownie McGhee perform in 1961, Cooper caught the blues bug and began to play the harmonica and formed The Blues Committee, supporting John Lee Hooker, Sonny Boy Williamson, Alexis Korner, and Long John Baldry, while Cooper was also performing solo. Acquiring a lap steel guitar in 1963, he studied Blind Boy Fuller's work and in 1965, teamed with Dave Hall to support Bert Jansch, Al Stewart, and others; after releasing work on the Kennet, Sydisc, and Matchbox labels, Cooper soon began incorporating country blues aspects into his work, drawing from Son House and Mississippi Fred McDowell, as well as non-blues artists such as David Bowie, John Martyn, Roy Harper, and Dave Van Ronk. Then, in late 1968, Cooper was approached by producer Peter Eden, resulting in debut album Oh Really!? for Pye; aside from agreeable covers of Son House's "Death Letter" and Blind Boy Fuller's "Bad Luck Blues", the rest of the disc is pure Cooper, with his deft picking accompanied by Derek Hall's guitar work only on "Leadhearted Blues" and "Electric Chair". 180 gram vinyl; 45rpm.
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PIC. DISC
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TDP 54002LP
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Trading Places present a reissue of Apple's An Apple A Day..., originally released in 1969. British psychedelic band Apple was formed in the industrial powerhouse of Cardiff, north Wales, in 1968 by guitarist Robbo Ingram and bassist Jeff Harrad. Joined by drummer Dave Brassington, keyboardist Charlie Barber, and singer Dennis Regan, their debut single "Thank U Very Much" (1968), arranged by session guitarist Big Jim Sullivan, sparked the interest of Larry Page, who signed them to his Page One label to cut the debut album An Apple A Day... with producer Caleb Quaye (the son of the multi-instrumentalist Cab Quaye and older brother of future singer Finley Quaye). Unfortunately, Apple's mixture of pop, psychedelia and heavy blues was probably a bit too ahead of its time; the album sold poorly on release and the group probably would have been totally forgotten, if not for belated critical acclaim, especially for Harrad's haunting "The Otherside". With rare originals incredibly hard-to-find, regularly selling for thousands of pounds, this reissue is long overdue. 180 gram, picture vinyl.
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TDP 54003LP
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Trading Places present a reissue of Sandy Coast's Shipwreck, originally released in 1969. Pioneering Dutch quartet Sandy Coast formed in the town of Voorburg, near Den Haag, in 1961. Early work found release on a series of singles on the Delta label during the mid-1960s. referencing an American pop-rock sound, framed by choral harmonies; soon, the evolving close harmony of songs like "We'll Meet Again" saw them edging towards the realm of the Moody Blues, while "Milk And Tranquilers" was based more strongly on a rhythm-and-blues framework. Moving to the Relax label in 1967, they began issuing spacious psychedelic songs such as "Capital Punishment", and their debut album From The Workshop (1968) was thoroughly in psychedelia mode. Larry Page issued sophomore album Shipwreck in 1969, the disc is an early concept album focusing on a lengthy suite that recounted a doomed voyage, captained by one Derrick Holmes in 1779. Much of the rest of the album recalls the spacey sounds of King Crimson, but there is also raw blues, psychedelic pop-rock, and an individual reading of Paul McCartney's "Eleanor Rigby". 180 gram vinyl; gatefold sleeve.
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TDP 54001LP
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Trading Places present a reissue of Zior's self-titled album, originally released in 1971. British blues-rock quartet Zior had their roots in the bourgeoning R&B scene that arose during the late 1960s in the southeast coastal city of Southend; they built a strong reputation in live performance, opting for "happenings" in the style of Hawkwind and Pink Floyd that went beyond mere musical events. By the time they recorded their self-titled debut album, issued on Larry Page's short-lived Nepentha label in 1971, they were clearly influenced by the emergent hard rock/heavy metal scene of the West Midlands, drawing from Black Sabbath's discordant riffs and occult influences, along with shrill vocal attacks in Led Zeppelin mode; there were shades of Steppenwolf and the odd Doors-sounding keyboard riff as well -- and the Black Sabbath link was heightened by an album design from Keith McMillan, who was responsible for Black Sabbath's debut cover too (1970). The resultant Zior is a varied ride through different kinds of rock terrain, from blues rock to hard rock and on to whimsical psychedelia and prog-rock, making it hard to classify. Though this debut LP should have heralded a bright beginning, misfortune seemed to dog the band from the start; other recordings were released under the name Monument, the band members listed under aliases, and a second album, Every Inch A Man, was issued in Germany after Zior's breakup in 1973 without the band's knowledge or permission. 180 gram vinyl; gatefold sleeve.
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LP
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TDP 54004LP
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Trading Places present a reissue of Irma Thomas's In Between Tears, originally released in 1973. Known as the "Soul Queen of New Orleans", Irma Thomas was born Irma Lee in the town of Ponchatoula, Louisiana, in 1941. After singing in the local Baptist church, she auditioned for Specialty Records on the cusp of her teens; working as a waitress, she occasionally sang with blues veteran Tommy Ridgley, who helped broker a record deal with the short-lived independent, Ron Records, for her debut single, "Don't Mess With My Man" released when she was only 18 years old, which reached the number 22 position on the Billboard chars. The singer's tumultuous private life sometimes disrupted her career; by the age of 19 she had four children and had already been married twice, the last name of her second ex-husband becoming her permanent stage name. In 1961 she signed with the Minit label, where she worked closely with gifted arranger Allen Toussaint, and when the Hollywood-based Imperial took over Minit and then became part of Liberty Records, her profile increased dramatically; "Wish Somebody Would Care" was an outstanding chart-topper that led to her debut album and her scorned original, "Time Is On My Side", inspired an enduring hit interpretation by the Rolling Stones. Sophomore album Take A Look surfaced on Imperial in 1966, but unfortunately, subsequent work for Chess was far less successful. After signing to the Canyon label in 1970, Thomas cut a couple of singles in Macon, Georgia, with Jerry Williams Junior, a singer and producer from Portsmouth, Virginia that issued gritty, lewd funk under the alias Swamp Dogg; though the singles sold well in the south, they were largely overlooked elsewhere. Nevertheless, Williams brought Thomas to Muscle Shoals, Alabama to record the album that would eventually surface as In Between Tears, but the collapse of Canyon delayed its release until 1973, when Williams issued it on his Fungus label. This long-awaited vinyl reissue comes complete with four bonus tracks. 180 gram vinyl.
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TDP 54005LP
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Trading Places present a reissue of The Larry Page Orchestra's Kinky Music, originally released in 1965. Aspiring Welsh pop singer Leonard Davies became Larry Page in the mid-1950s, when Columbia Records issued his material on 78s and 45s, including a cover of Buddy Holly's "That'll Be The Day"; he also played banjo in the Crane River Jazz Band. Known as "Larry Page the Teenage Rage", he toured Britain with Cliff Richards and regularly appeared on national television. Shifting to a management and record production role in the early 1960s, he struck gold in 1964 upon signing a management contract with a band called The Ravens, who he re-named The Kinks, which swiftly became one of the most popular acts of the day. Noting that Rolling Stones producer Andrew Loog Oldham had formed his own orchestra to cut orchestrated versions of Stones hits, Page put together the Larry Page Orchestra for debut disc, Kinky Music, which similarly reconfigured the Kinks' work. A pleasant romp through first-phase Kinks classics, it is also noteworthy as an early showcase for future Led Zeppelin guitarist, Jimmy Page. 180 gram vinyl.
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