Category Archives: Vinyl records

Danny Brown Serenades Third Man Recs’ Pressing Plant Party


By Barbi Martinez

Pitchfork is reporting that during a private party prior to the opening of the Third Man Records (that would be, um, Jack White, in Detroit) record pressing plant (that would be the plant we reported on last week), rapper Danny Brown closed out the evening with a smoking live set. Mr. White was very pleased, toasting the assembled dignitaries with a distinctively Trumpian – just kidding! it was sincere, and inspiring – “Remember this moment, because we’re making things beautiful last for the next generation.”

That generation would be m-m-m-m-MY generation of latterday vinyl lovers. Jack, Danny, and all involved – thank you from the bottom of my analog heart, and from my bosses and contributors at BLURT. Below, some Instragram fun. Scroll to the last one to see the bros….

Danny Brown tonight.

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Earlier @xdannyxbrownx @thirdmanpressing

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The Teacher and The Student

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Video Premiere: 20 Minute Loop “Mercury Vapor”


Beloved band also playing the Noise Pop festival this week in SF.

San Francisco popsters 20 Minute Loop celebrate 20 years as a band this week with their first new album in eight years.  Feb. 24 brings the release of Songs Praising the Mutant Race, and we are honored to premiere a delightfully twisted video for the track “Mercury Vapor” for the ever-erudite BLURT readership. Check it out:

“The video for ‘Mercury Vapor’ was a fun project that I put together using found royalty-free footage from a fire safety video from the early 70s,” says Atkins. “It was fun to imagine the fire in the video as a petulant child singing ‘I don’t care if I die, if I wind up dead!’, one of the lyrics in the song’s chorus.”

The band appears this week—tomorrow, in fact, Feb. 21—at hometown music fest Noise Pop and will no doubt be showcasing a ton of new material (eight years is a long time) from the album, their sixth. But it may sound uniquely familiar at the same time: the album offers up stripped down and reinvented versions of ten favorites from the 20 Minute Loop catalog, one cover song, and one never-before-released tune.

The group was formed in 1997 by Greg Giles (vocals, guitar) and Kelly Atkins (vocals, keys, flute). Fans may have thought they’d gone away for good in recent years, something the band attributes to “impossible scheduling, newborn children, and brain-rotting graduate studies.” (We can identify with all of the above, indeed.)


Inspired by the reactions of longtime fans at a series of intimate house concerts that 20 Minute Loop performed upon initially reforming in 2014, Songs Praising The Mutant Race finds the group recording as a trio in very similar circumstances: live in the room at Ninth Street Opus studios in Berkeley. Here we have the songs and singers laid bare, accompanied by overdubs from mostly acoustic instruments, including viola, trumpet, flute, accordion, wineglass organ, and more. And its one of those longtime fans who has become a co-conspirator: Kevin Seal – “I like Radiohead more than 20 Minute Loop, and that’s basically it,” he jokes – sat in on piano and vocals for the living room shows, and has now joined in on the reinvention of these tunes in the studio. They also brought in Caitlin Tabancay Austin for a third harmony on “Mercury Vapor.”

“I don’t know why this song has a country hop to it,” Giles says, of the reimagined tune, “but let’s just say 20 Minute Loop has always enjoyed mixing jubilant music with lyrical fatalism. I guess we’re syncopating tones, sweet and sour, joy and loneliness, truck axles and eiderdown.”

Incidentally, all us vinyl-loving BLURT folks will be stoked to learn that Songs Praising The Mutant Race to be its first album issued on vinyl, and they are doing it with style. In addition to the usual formats, fans can purchase a beautiful vinyl edition of the album with a jacket illustrated by Sara Lautman.

More details online (hint: don’t go to unless you are needing financial advice – instead, go here):


Third Man Opening Vinyl Pressing Plant, Will Offer Tours


Much-needed addition to the perpetually under-the-gun vinyl industry.

By Blurt Staff

Nobody will ever accuse Jack White of failing to champion vinyl, and further evidence of him putting his money where his mouth recently arrived with the announcement of the imminent opening of Third Man Pressing, a vinyl pressing plant located in Detroit. (White first started talking about his plans in 2015.) The public unveiling is officially this week, Feb. 25, and there will be a grand opening party free to the public starting at 10AM—and with music kicking in around 2:30 with the Mummies, the Oblivians, and the Craig Brown Band.


According to Diffuser, Third Man will also be selling “a great assortment of freshly pressed Detroit-centric LPs” that will only be available for purchase at the grand opening, including exclusive colored vinyl editions of albums by the White Stripes, the MC5, and the Stooges.”

The official press release notes that TMP represents the first “fully climate-controlled pressing plant work environment in the world” with a “closed-loop, chilled-water system that maximizes water sustainability.” Not to mention adding to the limited number of actual record presses operating in the U.S.—and potentially helping to cut down on the notorious delays people have experienced the past couple of years trying to get their albums and singles pressed up. The goal will be to crank out 5,000 LPs an hour.

Incidentally, punters will be able to take tours of the facility and observe the manufacturing process. The $20 admission will include the proverbial swag bag – are we thinking limited edition swag, hmm?

More details, photos, technical specs for the plant, go to Third Man’s site.




DENNIS COFFEY – Hot Coffey In the D (LP)

Album: Hot Coffey In the D

Artist: Dennis Coffey

Label: Resonance

Release Date: January 13, 2017


The Upshot: Absolutely essential archival release for any fan of music—not just hardcore ‘60s funk and soul collectors—with “grooves” being the operative term.


Initially released this past November as part of Record Store Day’s Black Friday event (and as a numbered/limited-to-1500 copies, sweet 180gm vinyl pressing), Hot Coffey In the D has now been made more widely available on CD and digital in case you (unlike yours truly, still feeling smug) were not able to score a copy last fall.

Dennis Coffey is, of course, the Motown guitar slinging legend, but he also continues to perform; a lucky few of us (feeling even more smug; can’t help it) got to see him burn down the house a few years ago during SXSW when he was promoting his self-titled 2011 album. I suggest you avail yourself of any and all opportunities to catch him. But I digress.

The album at hand was recorded live in Detroit in ’68, at a club called Morey Baker’s Showplace Lounge, featuring Coffey, drummer Melvin Davis, and late keyboard whiz Lyman Woodard. The exhaustive liner notes (primarily penned by the ever-astute Kevin Goins) call ‘em “the Motor City’s premiere funk/jazz trio, and that billing becomes instantly obvious once the needle drops onto the grooves—“grooves” also being the operative term here.

Aiming to document their musical chemistry once and for all, Coffey, Davis, and Woodard lined up a couple of their favorite studio rats to record them during their Showplace Lounge residency. What you get here, in 2017, is an accurate representation of their setlist at the time, seven lengthy numbers that include a pair of originals from the trio alongside extended, improv-tilting covers of Jimmy Webb, Bacharach & David, Herbie Hancock, and more. Webb’s classic “By the Time I Get to Phoenix” in particular stands out, with a song-ending call-and-response segment between Coffey and Woodard that is positively smokin’. The Coffey-led “Fuzz” is also a particularly inspired number, Coffey’s guitar hewing to the title to make the trio sound more like an uncommonly gifted garage combo than the soul maestros they were already acknowledged to be. And closing tune “Wade In the Water” rises up from its traditional gospel-blues roots to become a pulsing, thrumming slab of blooze-psychedelia of monumental proportions—you can practically feel the sweat being flung from the brows and chins of each player as they push each other to the limit.

Absolutely essential for any fan of music, and not just hardcore funk and soul collectors. Especially if you can track down—smug alert!—the vinyl release.

DOWNLOAD: “Wade in the Water,” “By the Time I Get to Phoenix”


Album: Holy Science

Artist: Amirtha Kidambi Elder Ones

Label: Northern Spy

Release Date: November 11, 2016


The Upshot: A strange, haunting, spiritual journey limned in long unspooling tones. And check the gorgeous colored vinyl.


Amirtha Kidambi weaves eerie drones of harmonium and unearthly vocal croons, moans, squawks and slides into textures that are not quite jazz nor the Indian classical music she’s trained in or even an amalgam of the two, but rather an indefinable spiritual journey limned in long unspooling tones. Her four track cycle traces the Hindu cycle of Yugas or ages, the opener dedicated to the golden age of “Satya Yuga” swelling with reedy, overtone laced harmonium blares and elegiac but wordless singing.

“Treta Yuga, “ the disc’s longest outing, follows a jazz-like groove, with Brandon Lopez picking out a rumbling upright bassline, while Mike Jaffee shuffles and reshuffles a staccato percussive groove. Kidambi’s clear voice picks syncopated paths through odd sharp-cornered melodies, stringing blank syllables (“fa,” “te”, “me”) together in unexpected rhythms and combinations. Matt Nelson interjects and contradicts her melodies playing a soprano saxophone; the two of them spin out into dissonant directions, then come together, then dart away again. The third piece “Dwapara Yuga,” is dedicated to a decadent third age and also to Black Lives Matter martyr Eric Garner; it opens in melancholy contemplation, but soon stirs to anger, with Kidambi’s singing growing more explosive, Nelson’s sax blurts more fractious, as the piece develops. “Kali Yuga” ushers in the final age of destruction, which sets the stage for eventual rebirth, and I’d guess that’s about where we are now. It moves again to the slow reverberations of harmonium, the low notes massing like sea fog, while the higher tones trace ritual patterns. It echoes, more than the others, the themes of the opening “Yuga” coming full circle towards resolution.

Powerful stuff.

DOWNLOAD: “Dwapara Yuga (for Eric Garner)”


CHESTER HAWKINS – Natural Causes (LP)

Album: Natural Causes

Artist: Chester Hawkins

Label: Intangible Arts

Release Date: January 06, 2017  /


The Upshot: One of more satisfying electronic recordings in recent memory, a deft balancing act between ambient experimental music, dark psychedelia and pulsing Krautrock.


Background info first: Until a few years ago, Chester Hawkins operated under the nom du rawk of Blue Sausage Infant, a well-regarded though very much under the radar D.C. experimental outfit that commenced operations around 1985 (specialty: musique concrete and loop-collage, we are advised) and ultimately closing up shop with 2012’s Manitou CD. By that point, Hawkins had expanded his palette considerably, delving into kosmiche psych, drone, ambient, and noise, elements that continue to inform him as a solo artist. 2014 and 2015 saw the release of Semisolids and Apostasy Suite, respectively, via his own Intangible Arts imprint. Now comes Natural Causes, Hawkins’ soundtrack to the Tim Ashby-directed 2016 indie film Pale Trees, which describes as “Liv spitefully digs up the details about her mother’s early days in Hollywood, a reality the b-list female action figure buried long ago. The consequences of Liv’s mischief are not just haunting, but incapacitating, and cause profound transformations throughout the family.”

As of this writing, there doesn’t appear to be a trailer posted to YouTube for the film, but it must be said, knowledge about, or even an awareness of, the film is definitely not necessary for a full appreciation of the soundtrack, which comprises two long (21 minutes plus) tracks, each titled “Pale Trees” and taking up sides A and B of this vinyl album. (Hashtag “#vinyl” of course/)

For one thing—just to single out the first side—the music has a slow-building intensity, ebbing and flowing in places but steadily pushing the bar forward. Midway through, a series of ominous pulses, radar-type pings, and almost hymnal-in-tone drones shimmer into earshot, elevating the psychological tension; after that, there’s a lengthy denouement wherein the components gradually slip away, leaving only an echo of a pulse and a haunting synth swirl. Side B picks up where A left off, to a degree, although this time some of the motorik pulsing has a cello-like texture (it’s possibly a “violated lapsteel” if one is to believe the credits), and the track gradually shifts its POV to more of a space-rock, almost Prog, vibe—the listener feels as if he or she has been cast adrift from a interplanetary vessel, floating alone in the vast cosmos. It all builds to a thumping, percussion-infused climax (closing credits sequence, perhaps?) that leaves you perspiring and realizing you’ve been holding your breath for an unknown number of minutes.

One reviewer’s highly subjective descriptors aside, Natural Causes is ultimately one of more satisfying electronic recordings in recent memory, a deft balancing act between ethereal ambiance and liberating rock. “Natural,” indeed.

DOWNLOAD: At two tracks clocking in at 22:10 and 21:50, best just to grab the entire vinyl LP (a limited edition, although it’s also available digitally), and listen to it from start to finish. It’ll be the best ¾ of an hour you’ll spend listening to music in this still relatively young New Year.



Album: Space Songs

Artist: Tom Glazer & Dottie Evans

Label: Modern Harmonic

Release Date: January 13, 2017



This curio from 1961 was originally created to serve as an instructional record for children. The word that immediately comes to mind when hearing the vocals and instrumentation is “ginchy.” And while I’ll readily concede that “ginchy” is not a real word, it somehow seems to encapsulate the vibe of Space Songs.

It’s easy enough to conjure a mental image of Tom Glazer and Dottie Evans when listening to the record. Tom has a neat gray flannel suit, tortoise shell glasses, Brylcreamed hair, and probably a pipe. Dottie has a simple white or off-white dress, probably a modest pearl necklace. They’re both white. Really white, in fact. But they’re nice, wholesome, well-meaning folks, and they’re here to teach.

Bits of spoken word – mostly by Glazer; this was 1961, after all – serve as intro/bumpers for most of the songs. Glazer provides some basic contextual information about the topic at hand – helpfully defined by each song’s title – and then he and Evans launch into song. “Constellation Jig” is a wonderfully descriptive title: the music is a sprightly jig, and the lyrics list some of the more well-known constellations visible in Earth’s nighttime sky: Sagittarius, etc.

Technology gets some time as well, and cute little tunes like “Beep Beep (Here Comes the Satellite).” It’s worth remembering that – Cold War notwithstanding – in 1961, the United States was in a largely optimistic frame of mind, and science was viewed as a force for good. Against that backdrop, which is embodied in many of these tunes, it’s more than a little sad that in 2017 we’re living in a society led – for the moment, at least – by climate science deniers and traffickers in “alternate facts.”

Real facts are at the heart of “Why Does the Sun Shine? – The Sun is a Mass of Incandescent Gas.” Tell that to the four percent of Americans who are unaware that the Earth revolves around the Sun. Clearly they didn’t listen to Space Songs. As Glazer and Evans guilelessly intone, “It’s a Scientific Fact.”

Everything about Space Songs conveys a kind of charming innocence. But there’s a nicely world-music (1961 edition) to many of the songs; that’s a clearly Parisian vibe to “Longitude and Latitude,” set to the tune of childhood favorite “Did You Ever see a Lassie?” But the kids of ’61 could trill along to the tune and learn about the Prime Meridian and other useful bits of information.

Musically, the most interesting tune is the opener, “Zoom a Little Zoom (Rocket Ship),” Glazer and Evans chirp away in perfect harmony as they sing, “Soon we’ll see if the moon is made out of green cheese ha ha ha.” How can you not love that? The musicians aren’t credited beyond a note that the music is played by the Tony Mottola Orchestra, but whomever is playing is doing a swell job.

Sundazed Records associated label Modern Harmonic has reissued this odd little record, recorded in 1959 and originally part of a series called “Singing Science Records.” The vinyl is translucent red. Casting a (shall we say) very wide conceptual net, this release can be viewed as part of a collection of other related items including a Sun Ra Arkestra 2CD live set (At Inter-Media Arts 1991), and the instrumental gem Attilio Mineo Conducts Man in Space with Sounds, originally released in conjunction with the 1962 World’s Fair in Seattle, Washington. I’ll cover each of those Modern Harmonic reissue titles in separate reviews.

PETER HOLSAPPLE – “Don’t Mention the War” 45

Album: “Don’t Mention the War" b/w "Cinderella Style"

Artist: Peter Holsapple

Label: Hawthorne Curve

Release Date: February 03, 2017


The Upshot: Against richly melodic backdrops, the dB’s member offers up character studies of poetic intent. Oh, and by the way: Support the home team, folks.


Despite being one of North Carolina’s most prolific and respected songwriters, Winston-Salem ex-pat (and current Durham resident) Peter Holsapple actually hasn’t released that much under his own name. There was early 45 “Big Black Truck,” a primal slab of psychobilly punk garage, released in 1978 at the tail end of his stint with the H-Bombs and serving as a segue into his lengthy tenure with the dB’s; a limited edition Australian-only cassette titled Live Melbourne 1989, which documented a solo radio station session; 1997’s gorgeous Out Of My Way CD; and let us not overlook his 1991 collaboration with dB’s songwriting foil, Chris Stamey, nicely titled Angels, and several accompanying Stamey-Holsapple singles.

Longtime Holsapple watchers, of course, know simply to scour record credits if they want to unearth a wealth of Holsapple material, from the dB’s albums and EPs (include, in this tally, the Chris Stamey & Friends Christmas Time album) and his work with the Continental Drifters, to the very early Rittenhouse Square album and the (possibly apocryphal) Great Lost H-Bombs Double EP 10”—not to mention a number of online-only tracks he’s slipped into the digital realm on occasion.

All of which is to say, a new Peter Holsapple record makes for a special event, one which we fans don’t take lightly. The fact that the new item is a mere two-songer potentially allows each track the kind of proper consideration that might’ve been elusive if placed in the context of a full album. The A-side, “Don’t Mention the War,” finds Holsapple joined by Mark Simonson from the Old Ceremony on drums and acoustic guitar and James Wallace (Phil Cook’s band) on piano and drums, plus tuba textures courtesy Mark Daumen. Holsapple handles guitars and organ while spinning a 6 ½ minute tale in which the narrator observes and comments upon a beloved uncle’s return home and subsequent battle with PTSD (“he sweats and he shouts and he turns white as a sheet… he opens his eyes, he’s still seeing the dead… he hasn’t picked up a guitar in nearly three years, I can scarcely recognize the same man”). Midway through the song the drum pattern turns overtly martial, underscoring the implicit tension in what’s otherwise a richly melodic, midtempo slice of pure pop; the tune’s subtly contrasting sonic elements help lend gravitas to the unsettling lyrical character study.

Meanwhile, “Cinderella Style” has a gentle, nocturnal vibe primarily wrought by Holsapple’s acoustic guitar, bass, and organ, with Simonson adding delicate touches of vibraphone and Skylar Gudasz contributing flute flourishes. “Love can mend a dress,” he sings, going on to describe the creation of a physical garment of calico, gabardine, satin, silk, and velveteen while hinting at the metaphorical implications of the act. The tune is relatively brief, deliberately restrained, and perfectly poetic in its imagery.

Holsapple recently told me that he opted for doing a single because he wasn’t quite sure he should thrust a full album’s worth of new material into the market, given music consumers’ relatively short attention spans and tendency to favor tracks over albums nowadays. Fair enough. But the critic – and yeah, the fan – in me think he’s underselling himself. I told him as much, too. All that music mentioned at the top of this review (not to mention his contributions to other artists’ work, such as R.E.M. and Hootie & the Blowfish) comes stamped with the Tarheel TMOQ, so I have no doubt whatsoever that we fellow North Carolinians would be first in line for a Kickstarter-type campaign and any resulting record store product. People vote with their wallets, after all.

And while I’m loathe to invoke any electoral notions considering what we’ve all gone through recently… could I nominate Peter Holsapple for Minister of Music? Poobah of Power Pop? Raconteur of Rock? Hmmm…. why the hell not?

DOWNLOAD: The vinyl 45 comes with a free download code, so your choice is obvious. Incidentally, you can check out the video for the A-side here.



SUN RA AND HIS ARKESTRA – Live At Inter-Media Arts April 1991 (3LP or 2CD)

Album: Live At Inter-Media Arts April 1991

Artist: Sun Ra and his Arkestra

Label: Modern Harmonic

Release Date: November 26, 2016


The Upshot: Ra archival gem offers high fidelity and superb performances for a collectible item both fans and novices will appreciate. Originally issued as limited edition vinyl for the Record Store Day Black Friday event, it’s also out as a 2CD set.


Sonic explorer Sun Ra was quite prolific during his lifetime; in fact, archivists – those you’d expect to know – can’t accurately tally just how many albums the man released. And long after his death, reissues and newly-discovered recordings come out with surprising regularity.

Sadly, some of the latter tend toward poor fidelity; their importance may not be thusly diminished, but their utility tends more toward historical import than anything approaching listening pleasure. Which isn’t to say that Sun Ra was ever what anyone would call “easy listening.” His admixture of bluesy, swinging jazz, electronics and avant-garde textures can be foreboding for the musically timid or unadventurous.

Thank goodness this new release scores high marks on all counts. It’s weird, to be sure – this is Sun Ra, after all – but it’s a superbly-recorded live date, one in which all of the instrumentation and vocals are crystalline. In fact, the New York City performance was broadcast over the air on WNYC radio.

Longtime Sun Ra associate June Tyson provides here soulful and nimble vocals, sometimes harmonizing with Michael Ray, abetted by several male vocalists. A sixteen-piece band takes the assembled audience on a musical trip through Sun Ra’s cosmos. It’s several minutes into the set before we’re treated to a solo, but it – and the others that follow – is worth waiting for.

The set list is trademark Sun Ra: a mix of originals and his own reinventions of works by other notable composers (Duke Ellington, Johnny Mercer). And a Sun Ra favorite, “We Travel the Spaceways” closes the set and provides some conceptual continuity with two other releases from Modern Harmonic, Space Songs and Man in Space with Sounds (both reviewed separately, and neither having the slightest to do with Sun Ra).

Sometimes half the band seems to be playing a different piece than the rest of the musicians; that tonal clash is often precisely the point. At its best, Sun Ra’s music always challenged the listener’s notions about what did and didn’t “work,” and the 2CD At Inter-Media Arts 1991 is an exemplar in that regard. That it’s of such high fidelity and superb performance makes it even more highly recommended.

DOWNLOAD: All of it – it’s Ra, dude.


THE MARK III – Marvin Whoremonger

Album: Marvin Whoremonger

Artist: The Mark III

Label: Now-Again Reserve

Release Date: November 18, 2016


The Upshot: Think of it as a kind of soundtrack to a mid-‘70s Blaxploitation film that never got past the scripting stage but still holds up purely on its funky bonafides.


Rather than attempt to distill the convoluted backstory of this uber-rare funk album from Eothen Alapatt’s liner notes (which are a noble, if necessarily out there, attempt at same), I’ll just offer up the product description:

“One of the sought-after funk albums: a concept-piece executed by a Las Vegas hustler, pairing the troubled musings of a transient vocalist with the exuberant funk of a teenage trio. Embellished by session musicians in Hollywood with synthesizers and a large horn section, Marvin Whoremonger lurked behind a garish, anonymous jacket and failed immediately, despite producer Cholly Williams exhortations in his liner notes that the album would lead to international stardom for all involved. Forty years later it has aged well, and stands as an immediately accessible – yet bizarre – exercise in late-period, real funk music.”

Everybody crystal clear? No? Good. Neither am I, even after a couple of reads and multiple spins of the disc. But don’t let this journalistic discombobulation deter you from doing the proverbial run, don’t walk…  ritual to your local record emporium, because this is some seriously fonky, stanky, nasty stuff. Which of course will not surprise anyone even remotely familiar with the Now-Again label’s output—both archival (such as this release) and contemporary—to date.

The Mark III was a group in name only, and a short-lived one at that: four Vegas teens—vocalist Marvin Neroes, plus the Thompson brothers as the musical ensemble—backed up with additional keyboards and horns. Producer Williams wrote the bulk of the material, although Neroes and one of the Thompsons also receive credit; think of it as a kind of soundtrack to a mid-‘70s Blaxploitation film that never got past the scripting stage. The music holds up, though, in spades (no pun intended). Opening track “Street Scene” could be an opening credits segment, with a slinky, push-pull, urgency and exhortations of “when you get down, don’t you get up/ do it, do it, ‘til you get enough.” Up next is “Pusher Man,” admittedly not the most original of titles, but its overtones of both Curtis Mayfield (duh) and Temptations, while not ultra-original either, give it a righteous mojo. Other highlights include the pulsing, nocturnal funk of “Sex in Motion” (it has more than a passing resemblance to “Papa Was a Rolling Stone”; there’s a bonus instrumental version here as well) and—speaking of instrumentals—“Funky Heaven,” which contrasts a squonky synth melody with some terrific funk guitar licks worthy of Motor City maestro Dennis Coffey. And don’t miss “The Party’s Over,” a kind of Kool & the Gang-meets-Sly Stone throwdown that courts extemporaneous chaos but never quite loses the plot.

Marvin Whoremonger dropped much earlier last year as part of the Now-Again Reserve subscription series, deluxe, handsomely packaged vinyl repressings of rare titles (the quarterly subscription includes a gorgeous wooden box for housing each year’s four LPs). Luckily, for more budget conscious punters, the CD version arrived in November, because it really deserves to reach as wide an audience as possible—as much for its irresistibly inherent weirdness/obscurity as for the compelling funk-soul grooves that come pulsing from your stereo speakers. And as per all Now-Again releases, the packaging is immaculate; here, you get a thick cardboard mini-LP sleeve housing the CD, a 28-page booklet on thick stock paper, and an outer slipcase.

Party’s over? Naahh—just starting.

DOWNLOAD: “Sex In Motion,” “The Party’s Over,” “Pusher Man”