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Vinyl with a couple of light scuffs. Cover close to VG+

Celebrate Cheech and Chong's iconic 'Up In Smoke' with this new reissue, now available on smoky green vinyl.

Record is close to VG+.

Summer Eye's big gratitude song "Sankyu" has been released as a 7-inch version! ! The hip, boogie, Latin, and dubby number "Sankyu", which was released on Bandcamp at 3:09:39 p.m. on March 9th, is now available in analog form! !

Last year, after releasing the album "Daikichi", we performed live in various places. Tokyo, Hokkaido, Sendai, Tochigi, Gunma, Ise, Matsumoto, Fukui, Osaka, Nagoya, Hiroshima, Oita, Nagasaki, Kumamoto, Kagoshima, Fukuoka, Hyogo, Matsue, Naha, there may be more. I also went to Bangkok.

The people who invited me and the people who came to listen to my music generally had the same ideas as me, and I felt like they were a bit on the outskirts of society. But when I thought about it, I wondered how many people actually fit into the world. I feel like everyone is doing it in different places.

The Clash has a song called "Rudie Can't Fail." Rudy is a Jamaican slang term for a juvenile delinquent. There's also a song by The Specials called "A Message to You, Rudy." The original song was sung by Dandy Livingstone. Both songs are not boasts or praises for delinquents, but are an encouragement to the rude boys to "get serious."

As I continued my journey, I thought, ``The people who are involved with me now could be called the current Rudy.'' I want to write a song for these beloved compatriots right away that says, ``Do it as a master! Thank you! See you again!'' I'll be 39 years old soon. It was released on March 9th and sold for 390 yen, with T-shirts also selling for 3,900 yen...Wouldn't it be interesting if the title was of course the song "Sankyu"? Isn't it funny? Based on that idea, I made a demo around the latter half of January this year, and slowly completed it.

While playing around with my favorite Elektron digitakt, I came up with the breakbeat that became the basis for the song. I applied spring reverb to the snare to make it look like a DUB. The intro grooves with guitar and horns, and then the singer appears. I would be very happy if you could dance with the main character, who is a little embarrassed about turning 39 years old.

The jacket is by Maeda. It's still the best!

The release date is my Summer Eye birthday! The day before, on the 12th, we have decided to have a one-live show at Shibuya Quattro! I also go on tour. We will also visit Kyoto and Nagoya. With a band, of course. Please look forward to it.

■live info

Summer Eye

6/8 (Sat) @ Kyoto Crucifixion 6/9 (Sun) @ Nagoya Kanayama Brazil Coffee 6/12 (Wed) @Tokyo Shibuya Club Quattro

Cover with tear on the opening

First issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in-demand tracks ever to appear on Ace Records’ “Girls With Guitars” compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other.

This new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal.

An original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.

Take A Picture is Margo Guryan's one and done classic _ one of record collecting's real unheralded masterpieces _ bright, breezy, lightly psychedelic, and utterly cosmopolitan, recorded in New York City no less. Newly restored by Jessica Thompson from the original two-track safety masters, this beguilingly melodic 1968 pop tour-de-force has never sounded better.

Take A Picture is Margo Guryan's one and done classic _ one of record collecting's real unheralded masterpieces _ bright, breezy, lightly psychedelic, and utterly cosmopolitan, recorded in New York City no less. Newly restored by Jessica Thompson from the original two-track safety masters, this beguilingly melodic 1968 pop tour-de-force has never sounded better.

180 GRAM AUDIOPHILE VINYL
FIRST AND FINAL STUDIO ALBUM BY BRITISH PSYCHEDELIC ROCK
BAND VELVETT FOGG

LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON
TRANSLUCENT GREEN & WHITE MARBLED VINYL

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.” Limited green vinyl 180gr press with one bonus track for RSD 2020.

Early repress on green Vinyl!

Green translucent vinyl. Cover with OBI. close to NM

2018 Remaster

* Ultra rare U.S Powerpop album from 1982 reissued for the first time ever * A U.S. powerpop killer & D.I.Y-nugget – Original album is rare and highly in demand * Deluxe reissue housed in gatefold sleeve * Expanded with bonus tracks * Printed inner sleeve filled with rare photos * Extensive liner notes by Kieron Tyler (Mojo) * Carefully restored and remastered sound * Colored vinyl (yellow)

The Trend is high explosive, hyperactive teenage powerpop. The Trend hailed from Kennett, Missouri and was formed back in 1979. Aged fifteen to sixteen at the time, and armed with guitars, striped t-shirts, skinny ties, tambourines and colorful drainpipe trousers. The Trend (Is In) was a full on powerpop and bubblegum-explosion.

One self-released (and nowadays mega-rare) album in 1982 and a just-as-hard-to-find 7-inch single from the previous year was all that The Trend unleashed on record during their short lifespan. Since then, appearances on compilations like Yellow Pills and Numero’s Buttons have made sure The Trend is in high demand amongst powerpop aficionados all over the world.

Trend’s debut 45 “She’s Hi-Fi” b/w “Lucky Day” is blistering class AAA powerpop that will most likely make anyone with the slightest interest in the genre strip off all clothes and do the helicopter. “The Girl At The Holiday In” shows that The Trend had moved on since the single. So much so that “The Girl I Used To Know” could have been recorded by one of the then contemporary Paisley Underground bands from Los Angeles. “Real Cheap Thrill” is raging Merseybeat-pop-mayhem bordering to killed by death-punk. “Two Plus Two” is suffused with the spirit of late 1960s Paul McCartney. Above all, The Trend is about direct, driving upbeat pop. “Go For Broke” could have clicked as a single, while “Southsiders (Waiting To Go Northside)” caught The Trend’s outlook in a nutshell: “power pop, bubblegum, punk rock, here we come.”

Housed in a deluxe gatefold sleeve that comes with a printed inner sleeve richly illustrated with rare and previously unpublished photos. In the extensive liner notes The Trend’s main man and song writer John McMullan tells the full story to Kieron Tyler (Mojo Magazine).

The Trend is finally in!

Faded label on side A.
Record plays with faintt surface noise but is still enjoyable.

The 4th album "next DOOR," released in 1983 and heavily influenced by early 80s American pop, will be reissued as a limited edition on clear green vinyl. This city pop album exudes an urban atmosphere throughout.

Severed Heads are one of the longest standing bands to have emerged from the Australian post-punk and experimental scene. They began in Sydney in 1979, and were an early outfit to incorporate elements of 'industrial' noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed, song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. After many line-up changes featuring Gary Bradbury and psychedelic guitarist Simon Knuckey, Severed Heads became the solo vehicle for composer Tom Ellard.

In 1983 they released a C-60 cassette called “Since The Accident” that grabbed the attention of Ink Records, a subsidiary of Virgin in the UK. Ellard added a throwaway track at the last minute to fill out the cassette, not wanting to leave an unseemly gap on a C60 tape. This track, “Dead Eyes Opened” was catchy enough to get a lot of airplay on the main non-commercial radio station in Sydney. The band was asked to make this song into a 12” single. For this extended version, Tom Ellard and producer Patrick Gibson went to M Squared studio and passed the multitracked recordings through various EQ's and delays. “Dead Eyes Opened” features samples from a radio program narrated by Edgar Lustgarten, a crime journalist from England, referencing a double murder case that occurred in 1924. The rhythms are made by a TR-808 drum machine and an SH-1 synthesizer. A KORG PolySix was used for strings and additional atmospheric elements. The lead solo was a Casiotone run through an Octaver foot pedal. On the B-side are two solo compositions “Bullet” and “Mount” that Ellard recorded at Terse Tapes in 1982.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring the iconic photograph of a girl with a painted face wrapped in some cloth by Juilee Pryor. Each copy includes a fold-out newsprint poster with a large photo of the band wearing Art Unit skull shirts on one side and liner notes and press clippings on the other. 30 years later Severed Heads are still paving the way for powerful, imaginative, and challenging music.

Fun Boy Three was formed by Terry Hall, Lynval Golding and Nevile Staples after leaving The Specials in the Summer of 1981. Taking on a more pop sensibility, the band went on to have 8 hit singles between 1981 and 1983. Tracks including: ‘It Ain’t What You do (It’s the Way That You Do It)’, ‘Our Lips Are Sealed’, a cover of the old Gershwin classic ‘Summertime’ and ‘The Lunatics (Has Taken Over The Asylum)’, which was recently re-recorded by The Specials on their 2019 album Encore. This RSD exclusive is a newly remastered version of their 1984 Best of release made available on green vinyl.