This incredibly rare LP from 1959 is a radio play about the life of French pilot and writer Antoine de Saint-Exupéry, based on the 1956 book by Luc Estang on the subject. During his long and illustrious career, the French composer and musique concrète pioneer Pierre Henry created a large amount of incidental music to accompany literary texts, both on record and for the stage, from Jules Verne to Victor Hugo, from Lautréamont to Antonin Artaud. Fantôme Phonographique present a reissue of Luc Estang and Pierre Henry's Saint-Exupéry, originally released as a 10" in 1959. This cover image was also used (on a black field) for an edition of the album briefly pressed in conjunction with Alternative Tentacles in the '80s."
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This new edition, which has been re-cut and includes a free MP3 download coupon, features the DC Flag stars and bars (on a red field), an image so associated with DC punk that many mistake it for a made-up symbol for straight edge. Over the years there have been 4 different covers, the violin, the wheat field, the DC Flag and the blurry man. The first pressing featured a generic stock cover with a classical music theme chosen from the pressing plant's catalog. One of the unique features of the album over the years has been its revolving front cover image. This album has remained in print, first on LP and later on CD, and has remained a perennial must-have for each new generation of kids looking to re-trace the roots and ethos of DIY punk. The compilation features 32 songs by 11 DC area bands and went a long way towards 'putting DC on the map' as one of the era's great punk scenes. " Flex Your Head was first released in January 1982 and was the first full-length album released by Dischord Records. 'This is where the soul of man never dies,' he'd memorably declared of the six-foot-six gravel-voiced force of nature, a description that could just as easily be applied to so many of the artists whose records Shipp is now spinning over the air."Ģ021 restock. Now, two decades later, having revolutionized the music world with Sun Records and its holy trinity of Elvis Presley, Jerry Lee Lewis and Johnny Cash, the Wolf still remained Phillips' favorite. With an audience that spans the width and breadth of the Bluff City, from truck cabs to taxi stands, from Mid-Town to Orange Mound, from the Peabody Hotel to Payne's Barbecue, if you're a fan of Memphis's thriving gospel scene, you're locked into 'Juan D' at K-WAM, 'the Mighty 990,' the very station that -twenty years earlier, during its first incarnation as KWEM across the river in West Memphis, Arkansas - had first brought blues wizard Howlin' Wolf to the ears of recording engineer Sam Phillips. Shipp crackles over the AM airwaves with an electrifying array of the latest and greatest in gospel quartet sounds. "Memphis, Tennessee, 1972: Seated behind a primitive mixing board in a tiny Quonset hut at 64 Flicker Street, just a stones' throw from the Illinois Central railroad tracks, Pastor Juan D. However despondent the singer's words became, the tone, as pointed out in the original NME review of the album, never descend into 'pessimistic wallowing.' Tracks like 'Sense of Purpose' and 'Contact the Fact' still feature a sweeping urgency and highlight the tension between Borland's grim worldview and his knack for a hook." Contains hidden bonus track: "Hothouse."
A more robust recording budget allows them to explore a fuller, more cohesive sound, while Adrian Borland's lyrics are even more introspective (a jarring turn after the often political bent of Jeopardy). A relatively restrained but vital follow-up to the charged and ragged Jeopardy, From The Lions Mouth proves that The Sound's critical stature among the post-punk elite was no fluke. Now it is considered a post-punk classic. At the time, From the Lions Mouth gained great marks from the British music press, but did not break the band beyond its devoted cult of fans. The resulting album is more richly layered than their debut, fusing the band's atmospheric, affecting sound with a set of accessible yet invigorating songs. "For The Sound's sophomore LP, the group decided to work with producer Hugh Jones (Echo & the Bunnymen, The Teardrop Explodes, Bauhaus).