New record pressing – Oshkomp is a bold, genre-blending compilation by Tsurumi Records that brings together a diverse lineup of artists from the heart of the underground music scene in Oshkosh. This collection embodies the raw energy, experimentation, and individualism of these artists, each track pushing sonic boundaries and challenging genre conventions. Featuring tracks that range from post-punk art rock to experimental folk punk, Oshkomp captures the unique voices of its contributors, creating an auditory collage that reflects the spirit and ingenuity of Oshkosh’s musical underground. With influences spanning punk, jazz, krautrock, and beyond, each song on Oshkomp is a distinct and immersive experience, packed with memorable moments, evocative lyrics, and dynamic instrumentation.
(Gotta Groove Records offers vinyl record pressing and EcoRecord manufacturing for independent labels, musicians, and artists – this post features one of the many records pressed at Gotta Groove in the past month).
New record pressing — Third World War vocalist/chopper guitarist Terry Stamp’s criminally obscure and exceptionally brilliant debut solo album is back in print for the first time since 1975. Recorded in October 1974, about 15 months after his previous outfit, Third World War, finally called it a day. Terry is backed by a killer crew of ringers consisting of his old TWW cohort, bassist Jim Avery (ex-The Attack, Thunderclap Newman), in addition to lead guitarist Ollie Halsall (Timebox, Patto, Boxer), pianist Mike Moran (David Bowie) and the latter-day T. Rex rhythm section with Herbie Flowers (he of “Walk On The Wild Side” bass line fame) and drummer Tony Newman (Sounds Incorporated).
This album didn’t have much of a chance upon its original release in July 1975: no promotion, no label support, and Terry had already bailed the UK for the greener pastures of America by the time it was released. This album is another case of Just Add Water Records having the chance to right history’s wrongs by shining a light on a very deserving release that was literally ignored/shunned upon its initial release. We also changed the running order, because the original one is baffling at best and Terry didn’t agree with it. It flows much better now. Opening track, “Itchy Feet”, wasn’t even supposed to end up on the finished album as it was deemed a bit too raw for the label’s taste. It was eventually tucked away as the last track on the original album. What you are hearing is literally a live run-through with what were intended to be scratch vocals, that’s why you hear Terry shouting instructions like “Bridge!” and “Solo!” to indicate where the changes are. Ollie Halsall was indeed that great of a guitarist to make up a solo like that on the fly. As the story goes, first there was Hendrix, but Ollie wasn’t too far behind. Just when you think the song is finished, Ollie calls out, “Again. Yeah, yeah!” and launches into another blazing solo and uses what must be every note on his entire fret board. Just as in his days with THIRD WORLD WAR, Terry isn’t beholden to any one style. This album has it all – from pub rocker “Motor Head”, the boozy plaintive cry of “Town Drunk”, to Terry’s best ballad this side of “Stardom Road Part 1”- the closing title track, “Fatsticks”. Liner notes by Terry himself!
(Gotta Groove Records offers vinyl record pressing and EcoRecord manufacturing for independent labels, musicians, and artists – this post features one of the many records pressed at Gotta Groove in the past month).
New Record Pressing — Julian Velard is a classic entertainer – a rare combination of Nilsson-meets-Newman, piano-driven singer-songwriter sensibility and razor-sharp comedic timing. His versatile stage presence makes him equally comfortable in the spotlight or as a sidekick – a modern-day Paul Shaffer. He’s become a cult sensation in America and Europe, and an in-demand performer in his homebase of Los Angeles. All those facets are on display on his newest album In the Middle of Something, an introspective song cycle about the pitfalls and promises of middle age.
New Record Pressing — AJ Lee & Blue Summit are an award-winning, energetic, and technically jaw-dropping bluegrass band quickly rising on the national roots music scene. Based in Santa Cruz, California, the group met as teenagers, picking together as kids at local bluegrass festivals until one day, they decided they would be a band. Their Signature Sounds debut, City of Glass is a spellbinding collection of original songs and covers that’s just as much country soul and gritty, bluesy Americana as it is rock club and festival-ready string band fare, all framed through a California folk lens.
City of Glass not only focuses on AJ Lee’s songwriting and once in a generation voice, but also features the Bakersfield sound of guitarist and second lead vocalist Scott Gates on three tracks along with the guitar wizardry and indie rock influence of Sullivan Tuttle, the younger brother of Bluegrass superstar Molly Tuttle. “I Can’t Find You at All” features Molly Tuttle singing a verse and harmonies.
New record pressing: The third and final LP in 36’s synth trilogy is now available. Reality Engine continues the melodic, melancholy machine sound started with Wave Variations and Symmetry Systems, exploring the blossoming dynamics of artificial intelligence and the ever-changing definition of reality.
Over the course of the five years gracing our roster, the multifaceted essence of 36’s sound reverberates with unmistakable diversity. His sonic repertoire, rich in variation and innovation, has consistently evolved, leaving an indelible mark on Past Inside the Present and 36’s musical journey together.
His latest offering continues his legacy on our imprint and we are honored to issue this incredible long player.
This one goes deep… 36 touches on themes of sound machines that create immersive digital experiences, augmented reality engines that overlay digital content onto the real world, and powerful forces that shapes emotions, perceptions, and connections.
New Vinyl Pressing: 2022 marks 60 years of Jazz Samba – the landmark 1962 album by Charlie Byrd and Stan Getz that launched Bossa Nova to international stardom.
Nate Najar pays homage to the spirit and iconic repertoire of Jazz Samba with Jazz Samba Pra Sempre (Jazz Samba Forever!), a loving “reimagining” of this seminal album. Playing Charlie Byrd’s own guitar, Najar is joined by Jeff Rupert on tenor sax, Herman Burney on bass (playing Keter Betts’ bass played on the original Jazz Samba) and Chuck Redd on drums (previously of the Charlie Byrd Trio) navigating the track list with equal parts reverence and invention. Brazilian vocalist Daniela Soledade guests on two tracks, Joao Gilberto’s O Pato and Ary Barroso’s É Luxo Só, with her own unmistakeable warmth and intimacy.
Our hearts are heavy learning of the loss of Abdul Wadud. He was an extraordinarily talented musician, opening the ears and eyes of the world to a sound and sight never before encountered, and we are honored to have known and worked with him.
Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks.
Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers—singers Thomas Gatling, George Marage, and Dennis Bailey—released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz.
