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The record would achieve deafening acclaim, and impact other artists even to this day. But as influential and significant as Cardinal seemed, their musical output totaled that lone, brilliant self-titled record, as Matthews moved home to the West Coast while Davies remained out East.\u003c\/p\u003e\n\u003cp\u003eThe two embarked on individual solo careers, Davies remaining on Flydaddy, home to the Cardinal album, and Matthews on Sub Pop, and soon many, many years had passed. Miraculously though, what may have seemed to be the end of the story, was not the closing chapter for Cardinal. A reconnection between the two musicians ' an on-again\/off-again chronicle of creating new music ' a bi-coastal recording process ' took hold. 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Nick Hill, An old buddy from Brooklyn, had an important radio show there as well as harbouring tremendously good taste. Once when the odds were tremendously against Howe making a plane outa NY on time, he turned the car around and fetched a 2 man kayak. They went kayaking in the Hudson river instead. \"Have you ever seen New York city from a kayak? nothing but stunning. And wonderfully spooky, zipping under those giant rotting piers too. That was Nick Hill.\" He was the fellow responsible for presenting this record and getting it recorded and broadcasted way back when.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis collection of songs was recorded by WFMU over two live sessions for 'The Music Faucet' show in the summer of 1994 and 1995. 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Once not remembered fondly by Giant\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSand's Howe Gelb, time has been kind and his perception has softened with the memories\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eof Vic Chesnutt's contrbution.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Another live record. but this sound was bloated from euro touring and was supposed to\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ebe a reection of only how it was sounding then. Later, that made less sense to me since\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eevery tour the band sound would change anyway. 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The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums - an impressive haul when considering Howe's equally prolific output under other projects including Black Ranchette and Arizona Amp \u0026amp; Alternator as well as his solo releases.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\r\n\u003cdiv\u003e1. Slander\u003c\/div\u003e\r\n\u003cdiv\u003e2. Bender\u003c\/div\u003e\r\n\u003cdiv\u003e3. Swamp Thing\u003c\/div\u003e\r\n\u003cdiv\u003e4. Santana, Castanada \u0026amp; You\u003c\/div\u003e\r\n\u003cdiv\u003e5. Blue Lit Rope\u003c\/div\u003e\r\n\u003cdiv\u003e6. Overture (Part 1)\u003c\/div\u003e\r\n\u003cdiv\u003e7. Rice Road Rumba\u003c\/div\u003e\r\n\u003cdiv\u003e8. Slice \u0026amp; Dice Blues\u003c\/div\u003e\r\n\u003cdiv\u003e9. High Lonesome Curl\u003c\/div\u003e\r\n\u003cdiv\u003e10. New Carjack City Blues\u003c\/div\u003e\r\n\u003cdiv\u003e11. Owed Ode\u003c\/div\u003e\r\n\u003cdiv\u003e12. Overture (Part 2)\u003c\/div\u003e\r\n\u003cdiv\u003e13. Here On The Planet\u003c\/div\u003e\r\n\u003cdiv\u003e14. Elevator Music\u003c\/div\u003e\r\n\u003cdiv\u003e15. Song For The Accountants\u003c\/div\u003e\r\n\u003cdiv\u003e16. Dock Of The Bay\u003c\/div\u003e\r\n\u003cdiv\u003e17. Tripping Moon\u003c\/div\u003e\r\n\u003cdiv\u003e18. Dance Of The Cicadas\u003c\/div\u003e\r\n\u003cdiv\u003e19. Disclaimer\u003c\/div\u003e\r\n\u003cdiv\u003e20. Smokey Joe's Deep Blue Pancakes\u003c\/div\u003e\r\n\u003cdiv\u003e21. Thin Lizzy Tribute-Personality Flaws-Last..\u003c\/div\u003e","brand":"Fire Records","offers":[{"title":"CD","offer_id":897618781,"sku":"FIRECD174","price":7.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0238\/8053\/products\/Giant_Sand_-_Purge_Slouch.jpg?v=1571438646"},{"product_id":"giant-sand-ramp-25th-anniversary-edition","title":"Giant Sand 'Ramp (25th Anniversary Edition)'","description":"\u003cdiv\u003e\"Ramp\" was originally released in 1991 and is the seventh Giant Sand reissue in the series from Fire Records. \u003c\/div\u003e\r\n\u003cdiv\u003e\u003c\/div\u003e\r\n\u003cdiv\u003eFor 'Ramp', Giant Sand ushered in several new members to the fold, \"including young bassist Joey burns, the stunning voice of 74 year old Pappy Allen, and our sweet, sweet friend Victoria Williams .. we had begun recording in Tucson and finished it back in Venice, CA at mad dog studio again .. the first track was produced by Dusty Wakeman and featured the late great Duane Jarvis\".\u003c\/div\u003e\r\n\u003cdiv\u003e\u003c\/div\u003e\r\n\u003cdiv\u003e\n\u003cbr\u003eHowe describes that the experiment with 'Ramp' was \"to record an electric song live in the studio and have the pre-recorded acoustic bridge be slotted in by DAT machine while then starting up again with the electric part live at the same pace as before the DAT take was applied with its different beat. What made this tricky was the mechanical delay of the play button on the state of the art day machine...you can hear the result in \"warm storm\".\u003c\/div\u003e\r\n\u003cdiv\u003e\u003c\/div\u003e\r\n\u003cdiv\u003e\n\u003cbr\u003e\"Giant Sand is a mood,\" says Howe' of Giant Sand, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalogue of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970's, it wasn't until he moved to Tuscon, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums - an impressive haul when considering Howe's equally prolific output under other projects including Black Ranchette and Arizona Amp \u0026amp; Alternator as well as his solo releases.\u003cbr\u003e\u003cbr\u003e\r\n\u003cdiv\u003e1. Warm Storm\u003c\/div\u003e\r\n\u003cdiv\u003e2. Romance Of Falling\u003c\/div\u003e\r\n\u003cdiv\u003e3. Wonder\u003c\/div\u003e\r\n\u003cdiv\u003e4. Welcome To My World\u003c\/div\u003e\r\n\u003cdiv\u003e5. Anti-Shadow\u003c\/div\u003e\r\n\u003cdiv\u003e6. Jazzer Snipe\u003c\/div\u003e\r\n\u003cdiv\u003e7. Z. Z. Quicker Foot\u003c\/div\u003e\r\n\u003cdiv\u003e8. Neon Filler\u003c\/div\u003e\r\n\u003cdiv\u003e9. Seldom Matters\u003c\/div\u003e\r\n\u003cdiv\u003e10. Resolver\u003c\/div\u003e\r\n\u003cdiv\u003e11. Nowhere\u003c\/div\u003e\r\n\u003cdiv\u003e12. 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It features the popular single 'Uneven Light Of Day' and a cover of Robbie Robertson's 'The Weight'.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"Giant Sands is a mood,\" says Howe's of Giant Sands, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalogue of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970's, it wasn't until he moved to Tuscon, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums - an impressive haul when considering Howe's equally prolific output under other projects including Black Ranchette and Arizona Amp \u0026amp; Alternator as well as his solo releases.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHowe, though, is definitely not content to rest on his laurels. Giant Sand's 2000 album Chore Of Enchantment has been declared one of the Best 1000 Records Ever Made and scooped up plaudits from NME and The Guardian amongst others, with the former insisting the record cemented his reputation as \"a founding father of modern Americana\". His most recent solo project, meanwhile - 2006's 'Sno Angel Like You - earned a 5 star review in Mojo and was described by Q as \"showcasing an immense generosity of spirit and poetic warmth\". \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003eRather than retrospect, then, this is a time for celebration. Howe and his band marked the 25th anniversary of the release of Valley Of Rain by hosting a very special evening of brand new collaborations and performances. They played some of their choice cuts from their back catalogue, and were joined by Kristin Hersch, guitarist and founder of the seminal art-rock band Throwing Muses. \"I'll jump at any chance to be on stage with the wild and wacky, kooky and cozy Howe,\" says Hersch. \"With Howe, I never know exactly what will happen, but it's always great to be a part of it.\"\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\r\n\u003cdiv\u003e1. 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Let's Go Eat The Factory is much more than a mere return, however: sprawling, variegated, heavy, melodic, and yet still recognizably and coherently Guided By Voices in both its literal and mythic senses.\u003cbr\u003e\u003cbr\u003e\"At first I said: no reunion, period,\" explains Pollard about the decision to revive Guided By Voices. \"And definitely no record or re-formation. But the tour went so well; the response was really unexpected. I thought at some point that a lot of people would like to hear new GBV music. The chemistry was still there.\" \u003cbr\u003e\u003cbr\u003eChoosing to eschew the recording studio, LGETF was instead manufactured in the living rooms, basements, and garages of various long-time bandmembers. Some tracks were recorded more-or-less live at Mitch Mitchell's garage, where the band would often practice back in the early- and mid-90s. These sessions comprised Mitch, Bob, and Jimmy Pollard, Bob's brother and long-time collaborator, who, though never a part of the touring ensemble, always played a crucial role on the classic-era releases. Some tracks were improvised over acoustic jam sessions at Greg Demos' house. Many were recorded at Tobin Sprout's place in Wherever, Michigan, and later lovingly fucked with in order to achieve the proper level of weirdness. Band members occasionally switched instruments (Bob plays drums; Mitch plays drums; Kevin plays drums; Jimmy Pollard plays bass; Greg plays lead guitar; Toby plays pretty much everything; etc.), and Bob gladly accepted input from other band members. Tobin Sprout wrote or co-wrote and sings on six out of the 21 songs. \u003cbr\u003e\u003cbr\u003eThe aesthetic is very much in keeping with Guided By Voices, but in some unexpected ways (more prevalent use of keyboards and samples, for one thing) the 21st century can't help but poke its nose into the resulting music. 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The album features a wonderfully eclectic collection of tracks, drawing on their post-punk and punk roots with added inspired from reggae and dance music as well as bands like The Slits, ESG and 80's girl group Humpe Humpe. This beckons a new sound for the band, with the introduction of keyboards, synth drums and more harmonious vocals. The result is a splendidly seductive, cohesive album with a summer party-time, slow-groove vibe and sprinklings of Peaking Lights and Massive Attack. \u003cbr\u003e\u003cbr\u003eTotal Exposure shows Las Kellies leaning heavily on dub influences thanks partly to the involvement of Iván Diaz Mathé (Ivi Lee), one of the most influential reggae-dub producers in Buenos Aires - having worked with the likes of Lee \"Scratch\" Perry and Mad Professor. The album also features guest appearances from another reggae legend, Dennis Bovell (who mixed their last album) as well as The Make Up\/Chain and The Gang frontman, Ian Svenonius.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLed by Ceci (guitar and vocals) and Sil (drums and vocals), Las Kellies formed in 2005 in Buenos Aires. They went on to release their raw debut Shaking Dog in 2007 (which was described by Everett True as \"entirely ace\"), followed by their Devo and ESG inspired 2009 album Kalimera and 2011 saw their first LP for Fire Records, Kellies, which received an 8\/10 in the NME.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\r\n\u003col\u003e\r\n\u003cli\u003eBoy, Sweet Boy\u003c\/li\u003e\r\n\u003cli\u003eMelting Ice\u003c\/li\u003e\r\n\u003cli\u003eGolden Love\u003c\/li\u003e\r\n\u003cli\u003eJealousy (Ft. 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Strohm (of the Blake Babies, Antenna, and Velo-Deluxe) on drums.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFrom the oddly surreal album cover image (a snapshot of friend and high school classmate Ivan Kreilkamp, originator of the name \"Lemonheads,\" clutching a box of Cheerios) to the themes of death, dreams, obsession, and mayhem that haunt the material, Creator is weird, ambitious, and markedly moodier than its predecessor - without having lost the band's irreverent sense of humour.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAlso evident in this sophomore effort is a newfound attention to idiosyncratic detail-from the precisely timed inter-song pauses and sound clips, to the carefully-crafted song order of the album's original 13 tracks. Creator finds Ben Deily once again slipping in quotations from Emily Dickinson (\"Burying Ground\") and references to Matthew Arnold (\"Come to the Window\"), while Dando breaks new ground in songwriting complexity (the rich sonic tapestry of \"Out\") as well as arrangement, ushering in the band's first-ever acoustic recording (his cover of Charles Manson's \"Your Home Is Where You're Happy\").\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAt the same time, the band still fires off blistering punk rock (\"Clang Bang Clang,\" \"Die Right Now,\" \"Take Her Down\") and finds time to lovingly trash Kiss' 1977 classic \"Plaster Caster.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded in one coherent series of sessions-unlike its predecessor, Hate Your Friends, and its follow-up Lick - Creator is, for all its musical schizophrenia, arguably the most coherent of the Lemonheads' TAANG-era recordings. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBONUS TRACKS:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003eThis Fire Records re-issue features bonus tracks including never-before-released live tracks from a 1988 radio session (featuring a never-before-heard configuration of the band, including guitarist Ben Deily on bass and vocals); also includes an original song (\"Cease to Exist\") never released on any album, and a performance by Juliana Hatfield. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\r\n\u003cdiv\u003e1. Burying Ground\u003c\/div\u003e\r\n\u003cdiv\u003e2. Sunday\u003c\/div\u003e\r\n\u003cdiv\u003e3. Clang Bang Clang\u003c\/div\u003e\r\n\u003cdiv\u003e4. Out\u003c\/div\u003e\r\n\u003cdiv\u003e5. Your Home Is Where You're Happy\u003c\/div\u003e\r\n\u003cdiv\u003e6. Falling\u003c\/div\u003e\r\n\u003cdiv\u003e7. Die Right Now\u003c\/div\u003e\r\n\u003cdiv\u003e8. Two Weeks In Another Town\u003c\/div\u003e\r\n\u003cdiv\u003e9. Plaster Caster\u003c\/div\u003e\r\n\u003cdiv\u003e10. Come To The Window\u003c\/div\u003e\r\n\u003cdiv\u003e11. Take Her Down\u003c\/div\u003e\r\n\u003cdiv\u003e12. Postcard\u003c\/div\u003e\r\n\u003cdiv\u003e13. Live Without\u003c\/div\u003e\r\n\u003cdiv\u003e14. Sunday (1987, Live on WERS)\u003c\/div\u003e\r\n\u003cdiv\u003e15. Cease To Exist (1988, Live on WERS)\u003c\/div\u003e\r\n\u003cdiv\u003e16. Burying Ground (1988, Live on WERS)\u003c\/div\u003e\r\n\u003cdiv\u003e17. 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It is also the finest Pollard-related record to come out in this or several years, aural evidence of a rock mage reinvigorated by the fact, according to the man himself that he's \"finally figured out how to write a song after 55 years.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhich may come as a surprise even to casual fans of Pollard's thousands-strong catalog, and fair enough, Bob's certainly hip to the irony, but it's no joke. While he's explored pretty much every highway, toll road and dark alley of songcraft in his long career, including spontaneous \"drum contests\" where every member of Guided By Voices would be given the opportunity to come up with a drumbeat, over which he would then improvise a spontaneous melody based on semi-random lyrics from his ever-present notebook (for example), he's never before applied one consistent approach over the course of even one record. The new technique is considerably more disciplined: he first collects - in the (figuratively) selfsame notebook - phrases and titles, bits of overheard conversation, snatches of misheard movie dialogue, thus providing an assortment of lines all of which he considers strong enough to serve as potential song titles. He then assembles these song titles into lyrics, which because each line is strong enough to stand on its own, contain neither bloat nor the least misstep. When he's happy with the lyrics, he writes a melody for each lyric. He then sits down with the guitar and figures out chords that fit the melodies.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSounds pretty straightforward, but for Pollard the result provides a structure uniquely suited to his muse. The proof is in the \"excellent cake, so happily done, and quick to bake,\" as he sings (recalling to those with long memories the \"freedom cake\" of Propeller's classic \"Weedking\") on \"Tea People,\" represented in sixteen exquisitely crafted slices on Blazing Gentlemen. From the rollicking Anglophilic \"Extra Fool's Day\" to the pithy, elegiac \"This Place Has Everything,\" Blazing Gentlemen is no mere confectioner's conceit. Veiny with Pollard's signature depth-charged melodic inventiveness, multiple listens reveal multiple meanings, shape-shifting moods, and lyrical twists that will delight even the word-shyest rockphobe.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe music itself is standard-issue Pollardian guitar wizardry, unusual chord progressions made up of unusual chords jutting against off-kilter rhythms in ways that shouldn't work but never do not, only to be overshadowed by another bravura vocal performance, occasionally larded with (unusual) harmonies or plain weird delay\/reverb\/compression effects that only ever add to the tremendous bustle of joy (see \"Lips of Joy\" for an on-the-nose demo) applied liberally like primer to the multi-hued tracks.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRobert Pollard fans are fond of making extreme statements in support of their favorite songwriter. 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The brainchild of the amiable and unashamedly charismatic Craig Dermody, Scott \u0026amp; Charlene's Wedding offer a sonically charged take on the Lemonheads' ramshackle melodicism and Pavement's lo-fi drawl.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFollowing the success of Critical Heights' recent reissues of the band's debut album Para Vista Social Club and the follow-up EP Two Weeks, the new album sees their first new recordings for over two years capturing Dermody at a pivotal time in his life. He has further developed his gloriously ragged anthems to reach new heights of nonchalant perfection.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHaving uprooted from Melbourne, Australia to New York, New York, the Big Apple has replaced Melbourne as inspiration his latest trials and tribulations. His heart-on-sleeve lyrics reveal tales of everyday Dermody life, somehow more absurdly unhinged, humorous and poignant than the lives of his peers. 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(Most people are lucky to have even one, ever). That this even needs to be expressed is evidence enough for its \"truth,\" as only obvious or obviously untrue things can ever hope to be true. Or to approach the truth. Something Pollard does with uncanny regularity, and which is further on display on every track on the gloriously unkempt, roiling-with-ideas More Lies From The Gooseberry Bush, the second record Pollard has released under the nom-de-rock Teenage Guitar. \u003cbr\u003e\u003cbr\u003eHere's a song title: \"Matthew's Ticker and Shaft a. come to breakfast b. the girl's c. division of swans d. when death has a nice ring.\" It starts with distorted guitar over a primitive snare-and-bass-drum beat (all instruments on all songs played by Pollard), shifts into an out-of-tune piano clumping along a simple seven-chord progression, lurches into a wall of distorted guitar as two tracks of Pollard wail wide-panned in each speaker, before finally resolving in a pretty harpsichord (or some synthesized version thereof) figure inelegantly trips over itself before trailing off into the next track: \"The Instant American,\" which presents a multi-tracked Pollard vocals chanting over a background of what sounds like a bunch of people at a party drinking. \u003cbr\u003e\u003cbr\u003eThese are not the two strangest tracks on the fifteen-song album, which clocks in at just over thirty minutes. 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Toth then chose his favorite ten songs for Farmer’s Corner, which is, remarkably, the very first self-produced Wooden Wand album. Abetted on the majority of the tracks by electric bassist \u003cstrong\u003eDarin Gray\u003c\/strong\u003e (On Fillmore, Jim O’Rourke, Grand Ulena, Dazzling Killmen), and guitarists \u003cstrong\u003eWilliam Tyler\u003c\/strong\u003e (Lambchop, Silver Jews, Yo La Tengo) and \u003cstrong\u003eDoc Feldman\u003c\/strong\u003e. 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This highly anticipated third installation closes the trio with 1995's Hot'which became MTVs album of the week on release, with Michael Goldbery writing 'Hot, mixes Sonic Youth-style noise, Stooges primitivism and '60s pop with excellent results. 'Lucky Ones' is a simply charming number ('A good thing just got better\/ As better as better can be') reminiscent of Jonathan Richman, while 'Drum Straight' is dose of feedback drenched skonk and 'Vampire' rocks hard liken the Sonic's 'Bull In The Heather.' \u003cbr\u003e\u003cbr\u003eFire's colossal Half Japanese series began last year with the Record Store Day exclusive of Half Gentleman\/Not Beasts', this set contains the records in their original form with extras that later appeared on CD formats available. It will also include original artwork from Jad Fair and liner notes by Half Japanese hall of famer Mark David Jickling. 'Cutting straight to the gut. 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