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Cash, Johnny [Greatest!]

August 18 street date. Greatest! is the fourth album by American singer-songwriter Johnny Cash, released on the legendary Sun Records in 1959. The tracks on the album were recorded between July 1955 and July 1958. Six out of the twelve songs became singles, with “Get Rhythm” topping the Country charts and becoming the most successful one.
Crusades [This Is A Sickness and Sickness Will End (colored vinyl/gatefold)]

Please note: new street date is August 4. CRUSADES’ new LP, titled This is a Sickness and Sickness Will End, was recorded by Mike Bond at Wolf Lake Studios in Lac-Des-Loups, QC, with additional recording by the band's own Jordan Bell at Atomic Audio in Ottawa. It was mixed by Matt Bayles (who has worked with a veritable who's-who of heavier punk/hardcore: Tragedy, Mastodon, Botch, Murder City Devils, Isis, From Ashes Rise, and many other notable artists including Pearl Jam, Deftones, Alice In Chains, etc.) at his own Red Room Recording in Seattle, WA and mastered by Martin Bowitz (of anarcho-hardcore luminaries The Spectacle and brilliant indie-pop outfit Cold Mailman) at Strype Audio in Oslo, Norway. Musically, the band wanted to expand further upon its earlier output by incorporating more influence from artists whose music is as emotive and dynamic as their lyricism - Cave In, Sunny Day Real Estate/The Fire Theft, Peter Gabriel, Tiamat, Concrete Blonde, etc. - thus broadening song structures with more complex instrumentation and arrangements, coupled with a heavy, vibrant production.
Fall [New Facts Emerge (2x10")]

July 28 street date. The Fall’s 32nd new studio album, New Facts Emerge, will be released on Cherry Red Records on 28th July. The album comprises 11 tracks and is being released on CD and limited edition vinyl. New Facts Emerge was produced by Melling/Smith and engineered by Ding. The artwork is by Pamela Vander. The Fall is noted for its prolific output: in addition to the studio albums they have released more than triple that, counting live albums and other compilations. Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and has existed ever since. Musically, there may have been several stylistic changes over the years, but it is often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith’s distinctive vocals and often cryptic lyrics. The current line-up is as follows: Mark E. Smith (lead vocals); Peter Greenway (guitar, synth, backing vocals); Dave Spurr (bass, Mellotron, backing vocals); Kieron Melling (drums).
Fall [Perverted By Language]

July 14 street date (date change). Originally released in 1983 on Rough Trade • First time available on vinyl in North America. The Fall returned to Rough Trade in 1983 to release a pair of singles (“The Man Whose Head Expanded” and “Kicker Conspiracy”) and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band’s shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become. The emergence of Brix Smith is often cited as the impetus for The Fall’s move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on “Hotel Blöedel,” where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song’s cold romanticism in his unmistakable brand of strange. “Garden” provides a new take on The Fall’s stretched-out tendencies—using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, “Eat Y’self Fitter,” is wholly classic Fall: a playfully circular bass line drives the album’s strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song’s spiteful decree with equal parts glee and scorn. Superior Viaduct’s edition is the first time that Perverted By Language has been available on vinyl domestically.
Guided By Voices [How Do You Spell Heaven]

August 11 street date. Latest album follows up critically acclaimed August By Cake with same killer line-up! Guided By Voices is on a roll. One could argue that GBV is never not on a roll, that Robert Pollard’s output plows past the word “prolific” like prolific is standing still in a snowbank; and that’s true, but this new version of the band (Doug Gillard, Bobby Bare Jr, Mark Shue, Kevin March) has given Pollard new tools to complement his song-hammer. Thus, ergo, quod erat demonstrandum: roll. Hot on the heels of the smothered-in-plaudits double album August By Cake comes this hot and heavy fifteen-tune long player, a melody-dense thwack to the earholes that will both energize and deplete your body of its remaining music-appreciation enzymes. Recorded by the band in New York, and by Pollard in Ohio, How Do You Spell Heaven capitalizes on the current incarnation’s tour-buffed shine without sacrificing eternal verities such as but not limited to: off-kilter rhythmic jolts; krazy chords; purposefully imperfect harmonies; and fragmented structures that start and stop on a coin of small denomination and go somewhere else, and quickly. There’s more, much more—the easiest, laziest way to sum up this latest album is the most obvious: How do you spell heaven? Shout it from the rafters: G-B-V!
Neurosis [Word As Law (Ltd/Clear vinyl)]

August 25 street date. Limited CLEAR vinyl pressing! “I still remember the first time I heard The Word As Law, shortly after it was released in 1990. From the first chords of “Double-Edged Sword” I was hooked—the sounds seemed to send some sort of powerful electrical current coursing through my body—and by the time the feedback faded out at the end of “Blisters” I was emotionally spent. I had never heard anything like it: it completely changed my understanding of three different musical genres—punk, hardcore, and metal. The record blends elements of all three. There is the raw moodiness of punk. The ferocity and anger of hardcore. The musicianship and dynamics of metal. But the album transcends all those labels, in the process creating something utterly unique. (...) The Word As Law was a massive influence on an entire generation of bands including my own, Econochrist. It’s the bridge to what Neurosis would become in later years. So put it back on your turntable. Step to the front the falling is today.” —Ben Sizemore
No Use For A Name [Rarities Vol. 1: the Covers]

August 11 street date. When it comes to CLASSIC Fat Wreck bands NO USE FOR A NAME certainly need no introduction, but here’s the scoop: NO USE FOR A NAME were one of the first bands on Fat Wreck Chords and remain a cornerstone of the label roster. Their unique take on California punk emphasized equally innovative and catchy melody, paired with top-flight musicianship. Despite the tragic passing of singer and songwriter Tony Sly in 2012, their presence can still be felt today, as their influence is evident in the work of many other artists. Over the course of their more than 20 year career, NO USE FOR A NAME amassed an impressive catalog of albums packed with hit songs. From their debut Fat release The Daily Grind almost 25 years ago, to their final studio album The Feel Good Record of the Year in 2008, NUFAN has and always will be a Fat Wreck staple. Along with their massive catalog of classic originals, NUFAN has always been keen to a good cover song. You can find a handful of them on various comps, and 2001’s Live In A Dive. But there is more... So much more. We have combed through NUFAN’s entire recording archive to bring you a collection of every non-album cover song ever recorded. Rarities Vol. 1: The Covers has a bunch of tracks the die-hard NUFAN fans will be familiar with, but many more rare tracks which have been buried for decades. From KISS, to THE MISFITS, to DEPECHE MODE, to CHEAP TRICK; NUFAN can put their stamp on just about any genre. They even covered “The Munsters” and “Leverne & Shirley” theme songs. No Shit. Move aside Gimmes, There is a new cover band in town. As the title suggests, stay tuned for the release of Vol. 2 in the near future. (Vinyl includes download)
Oh Sees [Orc (2LP/Download)]

August 25 street date. The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, and wouldn’t ya know it, they’ve clawed even farther up the ghastly peak last year’s A Weird Exits stormed so satisfyingly. The band is in tour-greased, anvil on a balance beam, gut-pleasingly heavy form, nimbly braining with equal dashes of abandon and menace on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect from, ahem, Oh Sees. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet footing shifting ground to pinion Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer towards the violence of their live shows, with a few tasty swerves into other lanes… heavy to lush, groovy to stately… throughout it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues… they hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. Ew. More evil…more complex… more narcotic… more screech…. more blare…. more whisper… there’s even more Brigid. Less “Thee”, but more of everything else.
Pickett, Wilson [Sings Bobby Womack]

August 4 street date. Between 1966 and 1968, soul great Wilson Pickett recorded no less than 17 songs written by a young, up-and-coming singer/songwriter with whom he had much in common stylistically. Bobby Womack’s own time as a regular hit-maker was still a few years off and it was largely the popularity of Pickett’s versions of several of his songs which set him on his way to soul superstardom. For years both Pickett and Womack fans have been hoping for a collection which brings together all of their collaborations. Finally such a collection has arrived. As well as the 17 Womack compositions, by way of a bonus it includes Pickett’s version of Womack’s mentor Sam Cooke’s classic ‘Bring It On Home To Me’ and both sides of Womack’s own lone Atlantic 45, recorded during the same period as these tracks. Recorded in Memphis and Muscle Shoals with the leading studio musicians of the day - including Womack on guitar and backing vocals on many of the tracks - “Wilson Pickett Sings Bobby Womack” is in many ways the great lost Pickett album, and one which stacks up favourably against any of his official Atlantic releases of the period. Extensively annotated, handsomely illustrated and with a cover design that pays homage to those late 60s Atlantic albums, it’s a compilation no Pickett fan can afford to be without.
Scott-Heron, Gil [The Revolution Will Not Be Televised (1974 compilation)]

July 14 street date. A compilation of Gil Scott-Heron’s best-known works for the Flying Dutchman label on CD and LP. Originally released to capitalise on the success of Scott-Heron’s then-current hit ‘The Bottle’ and his subsequent signing to Arista, this 1974 compilation has since become the definitive distillation of his early work. Contained within the original 11-track selection were the title track, ‘Whitey On The Moon’, ‘Home Is Where The Hatred Is’ plus eight more. The expanded CD version offers a more rounded view of Scott-Heron’s work with the addition of nine tracks among them ‘When You Are Who You Are’, used in a recent television commercial, ‘I Think I’ll Call It Morning’ and the original spoken-word version of ‘The Revolution Will Not Be Televised’. By way of a bonus, edited versions of several of his poems are also included. The CD version includes copious illustrations and an extensive liner note. Replicating the original 11-track running order and packaged in a heavy duty sleeve, the vinyl reissue features the original LP’s inner gatefold artwork on the inner bag.
Sheer Mag [Need To Feel Your Love]

July 14 street date. SHEER MAG has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system. Both brazen and discrete, loud yet precise, familiar but never quite like this—SHEER MAG crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose. What is it? By making a music both painfully urgent and spiritually timeworn, SHEER MAG speak to a modern pain: to a people that too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat. With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that's poisoned our world. However, it is in our ability to love—our primal human right to give and receive love - that the damage of such toxicity is newly explored. Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond. But where are we headed? On Need To Feel Your Love, they make their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: It is love.
So Much Light [Oh, Yuck]

August 11 street date. In a small suburban bedroom, So Much Light was born, an amalgam of man and character, story and history, natural and manipulated. Using his voice as a tool for progress, Verrett effectively pushes the boundaries of what pop music should sound like--and what it should say. Combining Drake’s vulnerability, the vocal affectation of The Weeknd and Jack Antonoff’s musical production prowess, Verrett created a socially conscious full-length debut, Oh, Yuck. Utilizing both acoustic and electronic sounds, Oh, Yuck is wrought with textural soundscapes grounded by programmed orchestral compositions, sprightly guitar lines and thrashing drums. Lyrically, Verrett puts traditional R&B tropes in a funhouse mirror and warps the genre’s bravado into a parody of itself.
soundtrack [The Matrix : Music from the Motion Picture (2LP ltd red & blue vinyl)]

August 4 street date. Limited red & blue pill 2LP vinyl edition. Every decade or so a science fiction film comes along that captures the Zeitgeist and simultaneously casts a searchlight into the murk of what’s to come. Such a film was The Matrix. Released in 1999 to a public already grappling with huge technological change and subject to Y2K hysteria whipped up by the media, The Matrix wove such au courant tropes as Japanese animé, Hong Kong martial arts films, cyperpunk sci-fi, and hacker hero worship into a tale of druggy paranoia whose vision of a grim future marked with universal surveillance and pathological interconnectedness actually looks less paranoid by the day. And its soundtrack was similarly forward looking. Instead of offering the blues-based, heavy metal rock that might have populated the score had the movie been made a decade before, The Matrix tapped into the new, breakbeat electronic sounds making inroads into popular music. The result was a propulsive audio ride perfectly mated to the film’s cinematographic “bullet time” innovations, a doom-laden, neck-snapping blend of stoner metal, hip hop and electronica. Now, Real Gone Music is proud (in fact, we’re pinching ourselves…is this some machine-made illusion?) to present, for the first time EVER on vinyl, the original soundtrack to The Matrix in a limited (what else?) “red and blue pill” vinyl edition. The 2-LP set comes in a newly-designed gatefold package featuring stills from the original film production and is limited to 1500 copies…like Morpheus says, this is your last chance!
soundtrack [True Romance: Motion Picture Soundtrack (white & red splatter vinyl)]

July 7 street date. Though it was directed by Tony Scott, the 1993 film True Romance displayed all the signature themes and images of its writer, Quentin Tarantino, from its grisly violence to its B-movie homages to its gleeful amorality. And the same could be said of the soundtrack; alongside composer Hans Zimmer’s riff on Carl Orff (which itself was an homage to another violent road movie, Badlands), True Romance offered a playlist that smacked of Tarantino in its embrace of rockabilly (Charlie Sexton, Chris Isaak), grunge (Soundgarden), honky-tonk (Shelby Lynne), and romantic machismo (Robert Palmer’s take on [Love Is] The Tender Trap).Vinyl would seem a natural for such a “warped” soundtrack; yet, outside of a very limited South Korean edition of dubious origin, the soundtrack to True Romance has never made it to LP. So how does a reissue label rectify this grievous oversight? With a bang! Real Gone Music and Wargod are proud to announce the first ever legitimate release of the True Romance soundtrack on vinyl, housed inside a gatefold album jacket featuring commissioned, custom artwork by Rafal Wechterowicz. This artwork is exclusive to this album’s initial manufacturing run and will never be reprinted. What’s more, our release of True Romance comes in pillow feather white with blood red splatter vinyl limited to 2000 copies! Consider this our own homage to one of the greatest cult classic films of all time…don’t miss out on this limited edition.
Sweet Apple [Sing The Night In Sorrow (ltd orange haze vinyl)]

July 28 street date. SWEET APPLE, the band of rockers featuring J Mascis (Dinosaur Jr., Heavy Blanket), Tim Parnin (Cobra Verde, Chuck Mosley), John Petkovic (Cobra Verde, Death Of Samantha, Guided By Voices) and Dave Sweetapple (Witch, Eerie) once again collaborated across several state lines to create their new album, Sing The Night In Sorrow. The record explores themes such as longing and escape, darkness consumed by endless daylight, love amid lovelessness, faulty memory, alienation and distance, all set to a musical palette that mixes atmosphere with impact. Three years in the making, Sing The Night In Sorrow rolls out insurgent guitars, glitter-stomp, and orchestrated pop, at once timeless and contemporary. Sing The Night In Sorrow is the follow up to SWEET APPLE's critically acclaimed 2014 release, The Golden Age Of Glitter, which was hailed as "throwback power pop that should soothe the soul of just about any riff-loving rock fan" by Esquire and one of the "Best Albums of 2014" by ABC News. Guest musicians on Sing The Night In Sorrow include Mark Lanegan (Screaming Trees, Queens Of The Stone Age), Robert Pollard (Guided By Voices), Rachel Haden (Haden Triplets) and Doug Gillard (Guided By Voices, Nada Surf). For Fans of: Dinosaur Jr., Guided By Voices, Pavement, Yo La Tengo and Sebadoh
Teenage Bottlerocket [Stealing the Covers]

July 14 street date. Since their breakout Fat Wreck release They Came From the Shadows in 2009 followed by Freak Out TEENAGE BOTTLEROCKET have been on a relentless (and successful) mission to bring their frenzied and fun-filled brand of music to the masses. After a brief stint on Rise Records and the release of their highly acclaimed album Tales From Wyoming; TEENAGE BOTTLEROCKET have returned home to Fat, and their homecoming gift is a doozy. With Stealing The Covers TEENAGE BOTTLEROCKET have put their pogo-punk stamp on 14 cover songs. Instead of going the traditional route of covering well-known hits, TBR take the opposite approach on Stealing the Covers by putting their unique twist on songs from obscure and unsigned bands that have caught their fancy over the years. The result is just as satisfying as any of their original work, packed with pop-punk power and ear catching melody from start to finish. With worldwide touring planned and new material in the works, 2017 promises to be a big year for TBR.
Teenanger [Teenager]

July 14 street date. The fifth Teenanger album “Teenager”, is a collection of thirteen songs, a thinly-veiled investigation into Canada’s Telecom stranglehold and its effect on consumer spending, an ode to simpler and more violent times, proof that climate change exists, a fraudulent scheme to ensure maximum ROI, and more than anything, a fantastic piece of future punk history. Eight months, five studios, eighteen take-out meals, three positive Yelp reviews and one misdiagnosed case of the mumps later, they had a record. “Teenager” combines all of punks best sub-genres: art-punk, post-punk, ambient-punk, synth-punk, peace-punk, garage-punk, bunk-punk, punk-core, plaid-punk, nu-punk and of course, punk-punk. The album was was mixed by James Toth (Soupcans, Plasmalab.) Darby Milbrath created the artwork by hand.
Toro Y Moi [Boo Boo (2LP)]

July 7 street date. Vinyl Includes download. "By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward. The artists that were influencing what I was making included everyone from Travis Scott to Daft Punk, Frank Ocean to Oneohtrix Point Never, Kashif and Gigi Masin. I recognized that the common thread between these artists was their attention to a feeling of space, or lack thereof. I decided that I wanted to make a Pop record with these ideas in mind. That idea for a record is what eventually became Boo Boo."
V/A [Marylebone Beat Girls 1964-67]

July 14 street date. This follow-up to our recent “Love Hit Me! Decca Beat Girls” and “Scratch My Back! Pye Beat Girls” releases comprises superior 60s she-pop from the EMI group of record labels – Parlophone, Columbia and HMV – headquartered in Marylebone in the heart of London’s West End. The collection is available in 12-track LP and 24-track CD formats. The LP edition is pressed on 180g orange vinyl in a heavy duty sleeve with comprehensive notes and rare photos on the inner bag. The CD version comes with a bumper booklet featuring expanded notes and extra photos. Most of the female acts signed by EMI were teenagers completely tuned in to the current pop trends. Scottish duo the McKinleys, R&B club habituée Julie Driscoll (cover star of the vinyl version), talent show winner Billie Davis (the CD cover girl) and Midlands pub singer Beverley Jones took original material from London’s Tin Pan Alley and American covers and gave them an abrasive, vigorous kick that made for fabulous 45s. They may not have had quite the polish of their US counterparts, but the rough’n’ready sound of the Marylebone Beat Girl was precisely her appeal. Among the many highlights are ‘Dancing Yet’, a Dobie Gray-style discotheque number by Liza & the Jet Set; ‘Like The Big Man Said’ by Toni Daly, a cover of Italian star Caterina Caselli’s ‘L’uomo D’oro’ with edgy English lyrics by Peter Callander; and Billie Davis’ groovy gender-switched update of Chuck Willis’ R&B nugget ‘Whatcha’ Gonna Do’. Compilation and notes by Ace Records’ in-house girl-pop buffs Mick Patrick and Sheila Burgel.
V/A [Girls With Guitars Take Over!]

August 4 street date. A deluxe vinyl-only collection of guitar-toting all-girl bands, drop-dead female frat rock and axe-centric she-pop. Pressed on 180g mandarin-coloured vinyl in heavy-duty sleeve, with a swanky inner bag sporting a fact-filled 3500-word note and many rare photos. The eye-grabbing front cover features a great shot of Girls Take Over (sisters Cindy, Rinie and Wendy Wilhelmi and their pal Geri Gibson), who open the show with their fabulously raw and pounding version of ‘Hi Heel Sneekers’, recorded in “some guy’s attic” in Milwaukee circa 1969. Other highlights include the jangly ‘He’s Not There Anymore’ by the teenage Chymes from the suburbs of Los Angeles, ‘Little Latin Lupe Lu’ by genre favourites the Debutantes of Detroit, and Karen Verros’ much-prized freakbeat bauble ‘You Just Gotta Know My Mind’. Compilation and notes by garage girl nuts Mick Patrick and Matt Meek.
Waxahatchee [Out In the Storm]

July 14 street date. Out in the Storm is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out in the Storm is a self-reflective anchor in the story of both Katie Crutchfield’s songwriting and her life. The album tells the story of taking control of a volatile situation, embracing flaws, and exploring a new sonic freedom. The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. For Agnello, it was Crutchfield’s voice that drew him in. “The first demo song I heard was ‘Fade’. The melodies, the way she sings it, the way she turns the melody, and the way she goes note to note is literally beautiful. Singers—you either have it or you don’t. She has it.” Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date.
X-Ray Spex [Germfree Adolescents (Ltd Test Tube Clear w/ Blue Splatter Vinyl)]

August 4 street date. Real Gone Music is proud to present Germfree Adolescents, one of the signature albums of the early (1978) British punk movement, in the format (vinyl!) it belongs and in a color mix (test tube clear with blue splatter!) it demands. The one and only LP release from X Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, and for this reissue, we’ve done it right; besides the colored vinyl, we’ve reproduced the inner lyric sheet, where you can read Poly’s brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone); this is not only one of the most penetratingly observant punk records, it’s also one of the most passionate, and, surprisingly enough, catchy. Check out “The Day the World Turned Day-Glo” and “Germ Free Adolescents” if it’s hooks you’re after; if it’s righteous anger and a noisy racket you’re seeking, every track will do ya. Limited edition of 1000!

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