December 10 street date. Originally released in 1995. The trio of Jim Sauter (reeds), Don Dietrich (reeds) and Donald Miller (guitar) are practically an American institution at this point. For the better part of two decades they have raised the mantle on intense improvisational sound parameters into one of the most unique sound configurations heard on planet earth. Heavy noise, deeply coiled feedback manipulation, hair-raising electronic squeal, and the ultimate in air propulsion explosiveness, all initiated by humans. Pretty much every home could use at least one Borbetomagus recording; this CD is a reissue of their debut album from 1980, with the addition of Brian Doherty on electronics. Includes a previously-unreleased track.
February 18 street date. CD reissue of what was the fourth Borbetomagus album, originally released on LP by Agaric way back in 1983. The trio of Jim Sauter (reeds), Don Dietrich (reeds) & Donald Miller (guitar). Recorded at In-Roads, NYC, May 7, 1982. "Recorded at In-Roads on Mercer Street, Barbed Wire Maggots documents a gorgeous evening of extreme sonic dialogue. Sauter and Dietrich's reeds skinny-dip into virtual classicist free mode at times (think 'Trane having an erotic dream of Frank Wright), but more often they tangle like electric eels dropped like tampons from the poop hatch of a 747. Upper register bowel tingling never felt so good. Miller's guitar joins them up in the stratosphere, plugging raw current into metal bowls, sizzling like a wok full of stewardess jiz, just creating and distorting and worrying the fabric of the cosmos like some idiotic terrier-god from a lost part of the Upanishards. Everything just moves so beautifully here. All of the early Borbeto hallmarks are on display: the ducks-attacked-by-lawnmowers thing; the Wilhelm Reich Busts Another Cloud scenario; the angel-wire-thimble connection ; the part about the cop car getting crushed by a bulldozer inside a maelstrom in a sewer drain -- it's all here. What is most remarkable about the music on BWM is how fresh it still sounds. There're no clichés brunted about here, nothing that's time-coded in the least; it's even difficult to really categorize the music inside any genre. Jazz, industrial, rock, free...there are elements of all of those here. And they are blended and/or smashed together in ways that will make yr hair feel lighter than feathers, lighter than maggots, lighter than anything." --Byron Coley
December 10 street date. 1990 reissue of the trio's self-titled third LP. "There's something very exhilarating about music that revels in its own sheer noisiness. Borbetomagus sustain their caterwaul of sound with admirable stamina. The trio's interplay, as Jim Sauter has explained, is aimed at a total group sound in which individual parts merge into the whole. They get it. The bent notes, thick textures and quasi-feedback squeals of the saxophonists blend with Donald Miller's industrial strength electric guitar. Miller apparently gets his rough and grainy sound by severely overloading his amplifier and using controlled feedeback. The result is distortion so radical it makes individual notes all but impossible to pick out. You can trace some of these sounds back to conventional guitar techniques, but to list them would miss the point." --Kevin Whitehead
April 29 street date. Reissue of this classic Purge/Sound League LP by Borbetomagus, recorded 12/6/1987. "Seven Reasons for Tears beautifully documents the most simultaneously fierce and accessible periods of the band's history. Converts and heathens can both bathe luxuriously in the radioactive improv-beauty-stream that lights up a room when the record is played at 'special' volume. Tears is the living spirit of Borbetomagus' numbered days as a quartet with bassist Adam Nodelman. Days to be cherished. The brobdignagian wall-motion of Jim Sauter and Don Dietrich's free-roving horns and Donald Miller's evil-minded guitar-abuse have always had a tendency to hit me above the belt. The textured furrows their howl historically carved into my flesh began at the navel and trailed bloodily up into the aether. Nodelman's terricolous presence gave them full access to listener's aesthetic genitals for the first time and Tears proves they can wreak remarkable damage in this area. It would be the height of irresponsibility for me to suggest that any of this disk's spontaneous outpourings might encourage some sorta social action. Not even the most extreme hippie-style derv-jerk includes a language of gestures explosive enough to coexist with the same incredible buckling of sonic structures here. Still, something like the intro to '7b' has the same semblance-of-approachability that makes even 'outside' rock music a relatively populist proposition. And you could certainly splice chunks of '3' and '6' onto a live tape of MC5 doing a Sun Ra cover without making John Sinclair roll over in his bathtub. So 'mere' rock fans have nothing to fear. Which isn't to say that Tears doesn't have spurts of unprecedented density. I thought they had closed the book once and for all on overtones and 'found' feedback harmonics with their previous record, New York Performances (Agaric 1986), but there are sections here that sound like a dozen distinct and angry zebra trying to burst out of Ed Koch's lower bowel. But it's only the four of them. And they're humans. They're just so goddam intent on what they're doing and so capable of transporting themselves through their hands and brains and lungs that their one beats yr three. It's a simple matter of shamanism -- a quality sadly lacking in most everything you hear today. Imagine this record as a log that's been sharpened by magic, hardened by fire and is just aching to drive itself through yr chest." --Byron Coley, Forced Exposure, 1987
October 28 street date. Reissue of Snuff Jazz, a vicious installment originally released on LP in 1990, with one previously unreleased track and an untitled track previously released on COS tapes in 1990. Jim Sauter and Don Dietrich on saxophones, Donald Miller on guitar. The first three selections were recorded at the art gallery and performance space ABC No Rio in New York's lower Lower East Side on November 24, 1988. The occasion for the concert was the opening night of an exhibition of paintings by Carl George and Valerie Caris. The fourth selection was recorded at DC Space, in Washington, DC on August 25,1989. "It is hard to believe that it has been twenty years since my ass warmed a bench in the dungeon at ABC No Rio. Back in the day, it was dicey on the streets of the dank and decaying Lower East Side, streets riddled with drug dealers and abandoned buildings. A couple of drinks at the opening, and it was high time for a good aural irrigation. The boys gently ascended to their cruising altitude, and the sonic bursts pierced the damp masonry walls and every human eardrum in reach. The fans drooled, and the uninitiated, like the soccer players of Chernobyl, stared in awe of this enfolding, life-threatening disaster and grit-crunching ass-kick machine. The dogs were howling this night! Remove all other living critters from the house, pour yourself a double single-malt scotch, turn the volume of your stereo to twelve, and enjoy as your ears are acid-etched." -- Michael Hanke
May 13 street date. 2003 release from the trio of Jim Sauter (saxophones), Don Dietrich (saxophones) and Donald Miller (guitar). For over two decades, Borbetomagus have raised the mantle on intense improvisational sound parameters into one of the most unique sound configurations heard on planet earth. Heavy noise, deeply coiled feedback manipulation, hair-raising electronic squeal and the ultimate in air propulsion explosiveness, all initiated by humans. This CD features live performances in Glasgow and London 1999.
Available now. 180 gram vinyl in an edition of 500. Dancing Wayang present a rare studio album by US noise legends Borbetomagus titled The Eastcote Studios Session. Recorded in the studio in 2014, it unites fire-breathing saxophonists Jim Sauter, Don Dietrich and face-flaying guitarist Donald Miller, whose releases over the last forty years have been taken from live recordings. The Eastcote Studios Session is a work by musicians who know their instruments and how much they can subvert, distort and reverse engineer them. Housed in customary hand-screenprinted wrap-around sleeve featuring artwork by Richard Wilson. Liner notes by Edwin Pouncey (Savage Pencil, The Wire).
May 14 street date. Jim Sauter (tenor saxophone), Don Dietrich (tenor saxophone) and Donald Miller (guitar); recorded live at Instants Chavires Montreuil, France, December 19, 2009. "What is there to say about Borbetomagus, apart from trotting out all those tired old lines about high-octane, earwax-melting balls-on-the-line free improvisation at cow-rending volume (thanks to Byron Coley for those last two)? If you want meat, details of the history of the group and their various escapades during the past three decades, generously seasoned with Messrs Sauter, Dietrich and Miller's wry humor, I respectfully suggested you go to paristransatlantic.com. But the chances are you've been there, or someplace like it.... So let me assume instead you know precious little about the Instants Chavires in Montreuil, just outside Paris, where this concert took place on December 19th 2009, and the last leg of a tour organized by the Instants' Jean-Francois Pichard to celebrate 30 years of Borbetomagus.
February 5 street date. Like worms through an hour glass, so are the days of our live recordings-such as JIM SAUTER, DON DIETRICH, and DONALD MILLER's final concert of their 2009 tour of Europe. Performing at Instants Chavires in the land of la vache qui fond, the trio celebrates thirty goddamn years of impossibly loud and uncompromising screech, pioneering unique strategies such as bells together, extended, flexible mouthpieces, open mouth wah wah, and never ever conserving a single volt of energy. "You know that bit at the end of the Monterey concert where Hendrix sets his guitar on fire?" guitarist Donald Miller famously asked. "That's what we do. For a whole hour." With BORBETOMAGUS, bigger is bigger, better is better. It's not up for debate.
October 15 street date. Recorded on October 13, 1984 at Rote Fabrik in Zurich, Switzerland. Originally released in 1985 as a double LP. "What is best about Sauter, Dietrich and Miller is that they are playing what jazz should be and not just emptying the tradition through some plastic-sounding fusion of jazz as a 'universal language.' They expand the frontiers of the trance-state without resorting to formulaic repetition and take the expressiveness so natural to jazz to new heights, turning over the conventions common to European improvised music. In short, they are a cleansing experience and force us to readjust our ears to a new sonic landscape. Borbetomagus is one of the best things to come out of the United States in a long time" --Gustave Cerutti, Editor; Jazz 360° No. 73, November 1984. Borbetomagus is: Donald Miller (guitar, alto saxophone), Jim Sauter (tenor saxophone, alto saxophone, baritone saxophone), and Don Dietrich (tenor saxophone, alto saxophone, guitar).
February 14 street date. In the mid-90s, Gary Corben lived in Rio sharing a flat with Kassin , then in an unknown local band but later to become one of Brazil's greatest producers working with Gal Costa , Caetano Veloso , and Gilles Peterson . Back then, Gary used to constantly write songs but could never be persuaded to do anything with them. But the songs would stick in Kassin's head and plague him for years. Over the following decades, Kassin would regularly ask "what about your album?" and Gary would shrug and say, "yeah, maybe, one day". Then, in 2018, Kassin played in London with members of multi-platinum Polish supergroup Mitch & Mitch and this time when Kassin posed the question, Gary said "Yes! Let's do it, but we have to do it in Poland with these guys." This led to recording Gods In Brasil at the Polish Radio Studios in Warsaw with the Mitch & Mitch guys and a bunch of classical sessions musicians and finishing off in Kassin's studio in Rio with some special guests. The record turned out so well that Gods In Brasil Vol 2 is already under way. The album touches on the classic sounds of '60s and '70s Brazilian records with nods to Gary McFarland on the way. The song "Juanito Caminante" is a favorite with Joao Donato who was a huge influence on the sound of the album. The arrangements were shared between Alberto Continentino and Ryszard Borowski of the Polish Radio Big Band . Thick cardboard cover with obi; 180 gram vinyl.
February 5 street date. No one has to tell John Corbett that Hollywood stars moonlighting as musicians don't always get taken seriously. He’s already faced crowds full of skeptics wearing expectant looks that silently challenge, "All right, actor boy, show us what you’ve got." But Corbett’s never had a problem doing just that, onstage with his band or on radio airwaves. His self-titled debut album, released in 2006, climbed to No. 42 on Billboard’s Country Albums chart, surprising even the guy who rose to fame as Cicely, Alaska’s resident radio deejay on the "Northern Exposure" TV series (and made women swoon in "Sex and the City" and "My Big Fat Greek Wedding"). With his new album, "Leaving Nothin’ Behind", on his own Funbone Records label, Corbett confirms what fans of John Corbett quickly recognized: He was never just moonlighting in the first place. Growing up in the shadow of Wheeling, W.Va.’s famed Capitol Music Hall, just a few miles from where Brad Paisley was raised, music was always Corbett’s first love. He’s been playing since he can remember. The result is an album that could easily hold its own among those from top Americana artists in Nashville, Austin or even Los Angeles.
January 20 street date. Reissue, originally released in 1986. Formed in Granada by Ani Zinc, who also recorded under the name Neo Zelanda, and Javier G Marín, Diseño Corbusier were a fascinating and unique project of avant-garde electronics. Their second LP is a marvel of sound craftwork that gathers elements of industrial music, minimal techno, and vocal manipulation through a dadaist and completely personal approach.
September 30 street date. Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield’s relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani’s house, so she grew up listening to the radio and was hypnotized after hearing ‘Remember Love’, by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, “If you’re into bands like Cabaret Voltaire or Flying Lizards, call me”. The duo recorded their debut album “Stadia” in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the ’cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier’s processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we’ve added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology. All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. “Powerful and evocative, soundtrack music for a rising storm or revolt.” Sound of Pig magazine 1985
October 14 street date. Los Demenciales Chicos Acelerados is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. A double LP rock opera in the vein of Quadrophenia by their beloved The Who. First facsimile vinyl reissue of one of the most piercing albums in Spain's rock history. Gatefold sleeve.
April 13 street date. Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single "Mucha Policía", taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, no-holds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded
as one of the essential bands of the genre all over the Spanish speaking world.
November 29 street date. Eskorbuto’s satirical rock/punk opera will be reissued on colored vinyl, LP 1 on red and LP 2 on blue vinyl! Housed in a controversial gatefold sleeve, the double LP is a political satirical work against any kind of dictatorial regime. "Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. Although "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. This is the first facsimile vinyl reissue of one of the most piercing albums in Spain's rock history, by a band whose significance has crossed all kinds of borders.
April 13 street date. Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single "Mucha Policía", taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, no-holds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded
as one of the essential bands of the genre all over the Spanish speaking world.
April 21 street date. Includes a big poster. Munster Records reissues Eskorbuto's first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes. The LP showcases what they are known for: radicalism, a self-taught style and crude lyrics -- the first blow from their anti-everything stand.
Available now. ESKORBUTO revived. “Demasiados Enemigos” (Too Many Enemies) is not just the title of another disc by the blazing band from Santurce but the album with the difficult duty of putting an end to a legendary combo as we knew it. ESKORBUTO was a band of its time and that is shown in every chord every chorus branded in fire through the years by those who danced and vibrated around the flames of this cursed band. This is a unique album. Special due to its legacy and the circumstances under which it was recorded. Now it is reissued in vinyl. If you didn’t get it at the time or you were too young to know, now you have the chance to request the max from your turntable not giving a damn if volume affects the structure of the building.
April 26 street date. We proudly present ESKORBUTO's first album from 1985 in its original sleeve artwork, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. Possibly one of the most influential punk albums in the Spanish and Latin American scenes.
April 26 street date. We proudly present ESKORBUTO's first album from 1985 in its original sleeve artwork, which showcases what they are known for: radicalism, a self-taught style and crude lyrics. Possibly one of the most influential punk albums in the Spanish and Latin American scenes.
March 10 street date. Black vinyl. Includes a big poster. Munster Records reissues Eskorbuto's first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes. The LP showcases what they are known for: radicalism, a self-taught style and crude lyrics -- the first blow from their anti-everything stand.
Available now. Available in 2 version, with alternate cover art. This is the "suicide" cover-art edition. On Murky Green Vinyl !! Reissue of "Eskizofrenia", Eskorbuto's first LP from 1985, one of the most influential punk albums in the Spanish and Latin American scenes. The LP showcases what they are known for: radicalism, a self-taught style and crude lyrics. The first blow of their anti-everything stand.
Available now. Vinyl reissue - as rock’n’roll liturgy deserves - of the fifth album of an independent and combative band like no other. The last of the independents as the band stubbornly testified throughout its intense career. On July 1988 the most obscure record of ESKORBUTO’s discography was released. Vomited from the entrails with the boredom of a life blackened by the soot pouring from the nozzles of the factories of the beaten left bank of the Nervion river. Time had already hardened them and their attitude was plain, above all they were “anti-everything”. “Las más macabras de las vidas” (the Most Macabre Of Lives) is a timeless record and paradoxically sounds fresh again in this genuine and until now missed vinyl. It is a great opportunity to taste again the subtle shades of exasperation that hang around the grooves of the bitterest record of the band. ESKORBUTO inoculates in the listener harder than ever the rage and the nihilist-agent of which they were transmitters.
Available now. New pressing on TRANSPARENT VINYL ! Reissue of this 1986 cassette by Eskorbuto, one of the most influential punk bands in the Spanish and Latin American scenes. Its original release was part of their campaign to enter the Spanish general elections as a political party. They didn't achieve it, but the songs here told more truths that any political speech. These six tracks offer what they are known for: radicalism, a self-taught style and crude lyrics. Another blow of their anti-everything stand. Includes insert.
April 13 street date. Following the line started by Ellington-Mingus-Kirk, their music travels fast on the highway of Jazz, with a capital J, far from niches, imposed thematic restrictions, and derivative styles. The sound of this group -a sound that blends with freshness all languages of jazz- brings us, in 'FrEAKS', an array of new sensations with extremely original textures, arrangements and atmospheres. Never foregoing a constant demand for creativity, the compositions of the Bronner-Brandily-Fossati trio give priority to their most communicative side, and show solid structure, always interesting developments, and a hint of descriptiveness that will carry the listener to other worlds which, as the poet would say, are actually within our own. Ramon Fossati's great skill as an instrumentalist really adds to the imaginative prowess of these tunes; his excellent work as a trombonist is complemented by his subtle blowing of conch shells. Not less remarkable is Olivier Brandily's excellent work, be it with alto sax,
bass clarinet or flutes. Meanwhile, the elegant and inventive pianist Laurent Bronner, who also plays a prepared piano, shines as a soloist while he pushes with strength a remarkable rhythmic section including Nicolas Rageau, double bass, and Luc Isenmann, drums. Finally, double bassist Giulia Valle and saxophonist Martí Serra, in their role as guest stars, bring precious notes of color to a fantastic album that you will devour from start to finish, as you would a good film.
September 14 street date. 2018 release from the veteran singer/songwriter. Big City Cat - My Life in Folk-Rock is singer/songwriter Steve Forbert's exceptional new memoir, co-written with Therese Boyd in which he most candidly reflects on those specific circumstances that first brought him to the public eye. Sharing reflections and journals he kept at the time, he weaves an absorbing narrative that fully addresses the trials, travails and triumphs that would eventually play out over the course of his prolific 40+ year career including encounters with the Ramones, Sam Phillips, Keith Richards, Doc Pomus, Levon Helm and other notables along the way. The book is accompanied by it's own soundtrack as well, an evocative album entitled The Magic Tree that offers a series of songs gleaned from previously recorded acoustic demos, augmented with new backing tracks and fleshed out as a series of songs that ring with the verve and vitality that Forbert's fans have always come to expect. Consistently upbeat and optimistic, they convey a firm sense that age ought not diminish a lust for living. Then again, that's been Forbert's mantra ever since the beginning: honoring his past while plowing his way towards the future in a mindful, soulful and revelatory way.
March 3 street date. New album from one of the many "new Bob Dylan"'s from the 70's. With a career that spans nearly three decades, Steve Forbert remains a master of songs with insight through plain spoken, heartfelt eloquence.
Available now. 180g vinyl reissue of Steve Forbert's 1979 album "Jackrabbit Slim". Includes the hit "Romeo's Tune". All songs written and performed by Steve Forbert. Remastered for vinyl by Ted Jensen of Sterling Sound.
Available now. Singer-songwriter Steve Forbert's 16th studio album was recorded in Woodstock and Cape Cod and produced by Forbert along with John Simon (who helmed Forbert's breakthrough sophomore album, 1979's Jackrabbit Slim), Compromised is anything but what its title suggests. Its aggressive, roots-rock stylings are reminiscent of Forbert's 1992 album The American in Me.
May 13 street date. 2022 release from veteran folk/rock singer/songwriter Steve Forbert. He's been a pioneer of the folk, roots-rock sound for more than four decades, navigating the twists and turns of an acclaimed career that's taken him from gold records to Grammy nominations, from New York City's CBGB to Nashville's Bluebird Cafe, from his 1978 debut album and now to his 22nd studio album, the vital and versatile "Moving Through America".
May 13 street date. 2022 release from veteran folk/rock singer/songwriter Steve Forbert. He's been a pioneer of the folk, roots-rock sound for more than four decades, navigating the twists and turns of an acclaimed career that's taken him from gold records to Grammy nominations, from New York City's CBGB to Nashville's Bluebird Cafe, from his 1978 debut album and now to his 22nd studio album, the vital and versatile "Moving Through America".
July 24 street date. Following his acclaimed 1978 debut, Alive on Arrival, singer-songwriter Steve Forbert had a rocky ride, enjoying a hit single with "Romeo's Tune" in 1980 but having an album denied release in 1984. Following long-running contractual disputes, he was finally ready to launch a comeback in 1988, with the release of the superb Streets of This Town album, produced by Bruce Springsteen's bassist Garry Tallent. This stunning live set was taped for broadcast on WNEW-FM, and finds him performing almost all of the album, as well as a selection of other songs. It's presented here with background notes and images.
September 14 street date. 2018 release from the veteran singer/songwriter. Big City Cat - My Life in Folk-Rock is singer/songwriter Steve Forbert's exceptional new memoir, co-written with Therese Boyd in which he most candidly reflects on those specific circumstances that first brought him to the public eye. Sharing reflections and journals he kept at the time, he weaves an absorbing narrative that fully addresses the trials, travails and triumphs that would eventually play out over the course of his prolific 40+ year career including encounters with the Ramones, Sam Phillips, Keith Richards, Doc Pomus, Levon Helm and other notables along the way. The book is accompanied by it's own soundtrack as well, an evocative album entitled The Magic Tree that offers a series of songs gleaned from previously recorded acoustic demos, augmented with new backing tracks and fleshed out as a series of songs that ring with the verve and vitality that Forbert's fans have always come to expect. Consistently upbeat and optimistic, they convey a firm sense that age ought not diminish a lust for living. Then again, that's been Forbert's mantra ever since the beginning: honoring his past while plowing his way towards the future in a mindful, soulful and revelatory way.
October 1 street date. One of the most successful Bay Area thrash metal bands, Forbidden earned a loyal fanbase in the underground music community as well as critical acclaim for their 4th album "Green", on which they experimented with alternative and groove metal elements.
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