Hard-core Bakersfield honky-tonk, in the manner of Buck Owens and Merle Haggard.
TC’s third and best LP.

‘The Voice of the People’.

Following Alan Lomax, Daptone placed a small local ad, asking singers to show at Mt Marian Church a certain Saturday. This marvellous record of acappella gospel is the result, including everyone who showed up.

Politically indignant, sorely poignant, musically prodigal — Tex Mex through cartoon-Chinese reggae through Brecht ‘n Weil — elegy for local LA neighbourhoods like Chavez Ravine, swept away by 1950s capital.

Street pranks and put-ons — ‘terrorizations’ — from early sixties San Francisco; also a DVD of the pair’s The Impostors TV show, too far ahead of its time to get past this ‘64 pilot.

Refreshing, rootedly odd, mostly unaccompanied four-part-harmony singing recorded in Govan Old Parish Church, Glasgow, by members of Trembling Bells and Muldoon’s Picnic. Elements of Sacred Harp, Gregorian chant, medieval madrigal and English folk, with poetic influences including Maya Deren, Saint John The Divine and Dennis Potter — a unique blend of the visionary and the earthly, the intimate and glorious.
Silk-screened sleeve.

Her legendary, heart-wrenching recording for Capitol in 1969; now remastered all-analogue-style from the masters; with a decent booklet.

‘As always, there is a true touch of otherness to Delphine’s voice and approach. While most of the melodies are homespun, there is an abiding oddness to the electronic squiggles, keyboard swathes and found sounds that sit behind everything. At times it sounds as though she’s reciting nursery rhymes from another planet… and there’s an lazy jazziness to Mocke’s guitar playing that sets everything off quite beautifully’ (The Wire).

The CD is remastered, with an expanded booklet.

‘Home to Cuca Records and hundreds of Nashville-fantasizing pluckers and singers, Wisconsin’s Driftless region was a hotbed of country music in the 1960s. Influenced by old-timey ethnic songs, Bakersfield outlaws, countrypolitan rainbows, and the lonesome twang of every rural route roadhouse, these seventeen Driftless Dreamers washed up at Jim Kirchstein’s Sauk City record plant with little more than $100 and a longing.’

The debut album — overflowing with spirited, raw and youthful performances, most of them interpretations.

An awe-inspiring collection, including fifteen songs previously unreleased, from the early 60s. Just listen to the excerpt from his song about the racist murder of Emmett Till.