Archive for the ‘music’ Category

Wishing The Distractions good luck in meeting their finance goal on Pledge Music and releasing their vinyl record / re-mastered CD / book project in the near future. They’ve almost reached their goal, so head on over and pledge at least $15 to download their 10 song sampler immediately and/or pre-order a version of their book-set collection, hand numbered and possibly autographed.

This project comprises 1 x vinyl + 3 x CDs housed in a 100+ page 12” hardback book, which includes virtually all of #1 Distractions music unavailable for decades (99% of it has never been digitized). That’s all sorted now, they’v gone back to the original analog reels and found the first generation masters as well as outtakes / alternative mixes / demos and some long-forgotten tracks as well. Only 500 copies of the Parabolically Yours book-set will be made available, a seriously limited edition that you’re not going to find anywhere other than Pledge Music (for pre-ordering) or if any left at, meaning it won’t be possible to order via any other entity (eg Amazon or similar). By including more recent studio and live recordings, this will bring The Distractions story up to date. A goodly portion of everything collected for this project has never been heard before. A collector’s edition? It will be for me.

And my commercial for the much sought after but unavailable…“AND THEN THERE’S… THE DISTRACTIONS”

Original and unplayed, New Old Stock vinyl in near mint condition
Import 45rpm single (small hole)

“Twenty Four Hours”
“Ghost Of A Chance/Love Is Not For Me”

Distributed by Rough Trade / Pinnacle
British Import 1981
7” 45rpm Single (small hole)

A recently found warehouse discovery of a few unplayed and very collectible copies of The DISTRACTIONS single on That Records.

US$ 13.99 + shipping

To buy this 7″ 45:


The Distractions – one of the great ‘lost’ Manchester bands of the late 70s and early 80s; sharing stages with the likes of The Buzzcocks, Magazine and Joy Division. Their debut EP, You’re Not Going Out Dressed Like That, released in 1979, led to a deal with Factory Records, who released the follow-up, Time Goes By So Slow. And then they went on to sign with Island Records.

As I plagarize from Wikipedia, what can I say about The Distractions: this fantastic band was originally formed in 1975 by college friends Mike Finney (vocals) and Steve Perrin (guitar), alongside Lawrence Tickle (bass) and Tony Trappe (drums).

The band changed tack with the advent of punk in 1977 and Finney and Perrin recruited a new line-up of Pip Nicholls (bass), Adrian Wright (guitar), and Alec Sidebottom (drums, formerly of The Purple Gang), mixing punk rock with sixties influences.

In a 1979 newsletter, Tony Wilson described the band: “Reminds the management of AustinTexas 66, but take your choice”. The band had already signed a deal with Island Records in September 1979, before the Factory single was released, according to Wilson “due to irresistible desire to play the game”. Two further singles were issued – It Doesn’t Bother Me and Boys Cry before the release of Nobody’s Perfect, the groups first album that, ultimately, received significantly more media plaudits than it achieved sales.

Shortly after the album’s release Perrin quit the band to be replaced by former Ludus guitarist, Arthur Kadmon. The group continued to tour (including playing shows in New York) but eventually disbanded in 1981. Before their end, the band included another latter member, Debbie Shure.

After the band imploded, Finney went on to work with the Secret Seven and the Art of Noise; Kadmon played briefly with The Fall and later went to work in Kiss Kiss Bang Bang, who released a single in 1987; Pip Nicholls went to play drums in Glass Animals, alongside Miaow singer Cath, while Sidebottom founded and continues to lead the Republic of Swing samba band.

During early 2010, Finney and Perrin revisited material that had been recorded during a brief reunion in the late ’90s (when they also played selected shows in Manchester and Liverpool) resulting in their Black Velvet EP which was released via Occultation Recordings.

Perrin and Finney were back in the studio in June 2010 to record new material – this time for a 12″ vinyl EP, Come Home featuring “Lost”, “Nicole” and “Oil Painting”. The session was recorded at Parr Street Studios, Liverpool and engineered by Rich Turvey of The Wild Swans, who also played guitar and keyboards. Stuart Mann played drums on the recording, which was issued by Occultation in November 2010.

The following summer, and following some geographically-challenged songwriting, Perrin and Finney alongside Arash Torabi together with producer Nick Halliwell (The Granite Shore) entered a studio in Exeter. Four days later, they’d cut the basic tracks for a new Distractions album; at that time simply entitled 2.

The Distractions’ second album, The End Of The Pier was released by Occultation in August 2012. At the same point, the group played their only UK dates of the year – two sell-out shows in Salford.


“Twenty Four Hours”
“Ghost Of A Chance/Love Is Not For Me”

Original and unplayed, New Old Stock vinyl in near mint condition
Import 45rpm single (small hole)

US$ 13.99 + shipping

To buy this 7″ 45:
Or any of Sunsync’s other 45’s being offered on eBay:

Record: NM; Picture Sleeve: NM



The confluence of portable music AND headphones as a fashion statement AND high resolution music files AND HD streaming services AND the surprising resurgence of vinyl record albums AND turntables AND affordable audiophile equipment AND DIY vacuum tube rolling have coalesced into a music equipment trend hard to name. Call it personal audio or computer audiophile or desktop stereo or cutting edge portable – whether you take it with you, keep it in your office or connect it to your home system – it boils down to people hearing quality sound revealing layer upon layer of music they never truly heard before. The result is a quickly expanding market for headphones: over-ear, on-ear, in-ear, wireless bluetooth,  high-end planars, all of which need a place to rest when you’re not using them. You don’t let a $200, $500, $12oo or $5000 piece of equipment sit on a shelf getting scratched or lopsided or worn, so you need a place to store them when you’re not using them. Many digital audiophiles own multiple headphones and are already paying decent money to keep them organized.

woo heavy metal

…not to mention this market is on the cutting edge of new retail models beyond Amazon or brick/mortar stores:

and the venerable Etsy:

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Plus the Silverstones:

Nuggets: Original Artyfacts from the First Psychedelic Era is a groundbreaking compilation album of American garage rock singles released in the mid-to-late 1960s. It was assembled byJac Holzman, founder of Elektra Records, and Lenny Kaye, later lead guitarist for the Patti Smith Group. The original double album was released on LP by Elektra in 1972 with liner notes by Kaye that contained one of the first uses of the term “punk rock“. It was reissued with a new cover design by Sire Records in 1976 and more recently as an expanded four-CD box set in 1998.

Jon Savage, in his history of the UK punk rock scene, England’s Dreaming, cites Nuggets as a major influence on punk bands and includes it in his essential punk discography, alongsideIggy and the Stooges‘ Raw Power.

Many other compilation albums took their cue from Nuggets, including the PebblesRubble – 20 volumes of mainly UK psychedelia released in the 1980s – and Back From the Grave series.Nuggets spawned an entire cottage industry of small record labels dedicated to unearthing and releasing obscure but worthy garage and psychedelic rock music from the 1960s.

In 1998 Rhino brought the original LP to CD, reproducing the original song sequence and liner notes. However, rather than releasing a single-disc release of the original LP, Rhino put the original disc in a box set with three other discs, an extra 91 songs in total that were not on the original LP. Contrary to popular belief, many of the songs were American Top 40 hits: more than a third of the original Nuggets would fall into that category, while Rhino’s expanded set featured such smash hits as “Incense and Peppermints” by Strawberry Alarm Clock (#1), “Louie, Louie” by The Kingsmen (#2), “Wooly Bully” by Sam the Sham and the Pharaohs (#2), “Little Bit o’ Soul” by The Music Explosion (#2), and “Time Won’t Let Me” by The Outsiders (#5). “Louie, Louie” and “Farmer John” are the only recordings that fall outside the set’s stated time frame of 1965-1968; one having been released in 1963 and the latter having been released in 1964.

In 2006 in Europe (and again in 2012 worldwide), Rhino released a remastered version of the original album on a single compact disc in a miniaturized replica of the original gatefold sleeve. This version was also released (in 2012) in double album LP and digital formats. The 2012 version included updated release notes from Kaye and Jac Holzman.

In 2003, the album was ranked number 196 on Rolling Stones list of the 500 greatest albums of all time.[3]

In the mid-to-late 1980s, Rhino released a series of fifteen albums that bore the Nuggets name. The first twelve of these albums each focused on either a specific garage-rock subgenre or location, while the last three took a more global approach. This series provided much of the source material for the box set.

In 2001, Rhino released Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964-1969, a four-CD box set. While the original Nuggets focused on the American scene, the second compilation shifted its focus to the rest of the world, collecting cuts from the United Kingdom (such as the Pretty Things and Small Faces), Australia (The Easybeats), New Zealand (The La De Das), Canada (The Guess Who and The Haunted), Japan (The Mops), Iceland(Thor’s Hammer), Peru (We All Together) and Brazil (Os Mutantes).

In 2004, Rhino released two more compilations using the Nuggets title, Hallucinations: Psychedelic Pop Nuggets from the WEA Vaults and Come to the Sunshine: Soft Pop Nuggets from the WEA Vaults. Both discs were released through Rhino’s internet-only label Rhino Handmade in limited pressings of 7500 each.

Rhino also released a four-CD set of recordings by bands influenced by the original Nuggets, titled, Children of Nuggets: Original Artyfacts From The Second Psychedelic Era, 1976-1995, in late 2005.

I love dropping this… the drums and the flutes are just nuts!! Not to mention its a hometown tune and just funky!! Trouble is, this was recorded in 1970 and 43 years later, we still got no home rule in Washington, D.C. thanks at first to the southern, Dixiecrap Senators, and now to the Republicans, ’cause they never like black people…’ but at least we got the  “taxation without representation” motto on our official DC license plates for our cars. -sunsync

Lloyd McNeill

Often referred to as a “Renaissance man,” Lloyd G. McNeill is a flutist, composer, poet, teacher, and artist whose paintings and drawings have been exhibited in the Smithsonian’s National Collection of Fine Arts, the Phillips Gallery in Washington, D.C., the Studio Museum in Harlem, and New York’s Whitney Museum of American Art.

Born in Washington, D.C. in 1935, McNeill earned his bachelor of arts degree in art and zoology from Morehouse College and a master of fine arts degree in painting and printing from Howard University. McNeill also studied lithography in Paris, animation and sound recording at New York University, and calligraphy at the Kampo Cultural Center in New York.

A lifelong educator, McNeill taught at Howard University, Spelman College, and Dartmouth College before teaching for 32 years at Rutgers University’s Mason Gross School of the Arts, where his areas of expertise ranged from drawing and painting to Afro-American music history and flute technique.  Since 1992 he has been a lecturer and advisor to students at the Gallatin School of New York University.

Performing extensively with jazz groups nationally and internationally, McNeill’s discography includes music recorded by The Lloyd McNeill Quartets and Quintets and albums and film productions on which he has performed as a flutist. This gifted and creative artist and musician has also published two volumes of poetry: “Black Line, A Collection of Poems, Drawings and Photographs,” in 1983 and more recently “After the Rain, A Collection of New Poems.”

McNeill lives in New York City. The 2009 Kwanzaa stamp is his first project for the U.S. Postal Service.

My father released a wonderful jazz flute album, by Lloyd McNeill, in the early ’70s, which is as good as any major jazz flutist of the day or any day.

• Lloyd McNeill, piccolo & flute
• Gene Rush, piano
• Steve Novosel, bass


Lloyd McNeill (born in Washington, D.C.) is a Jazz flutist and visual artist currently based in New York City. He is generally recognized as a jazz flutist of eminent ability, alongside James NewtonYusef LateefSam Rivers and Eric Dolphy.[1]

Having studied Art and Zoology in Morehouse College, Atlanta, he moved on to be the first recipient of Howard University‘s MFA degree. in 1963. In 1964-5, he did further study in Lithography at Paris’ L’Ecole Nationale Des Beaux Arts. During his residence in France, he spent a considerable amount of time with Pablo Picasso and his wife, Jacqueline in Cannes. He has also studied music composition privately with the composer Hale Smith, music theory and flute technique with the jazz musician Eric Dolphy, and classical flute technique and repertoire with Harold Jones. McNeill taught at several institutes of higher education, and is Professor Emeritus of Mason Gross School of the Arts, at Rutgers University, New Jersey, having retired in 2001. Through the 1970s, and in addition to his position in Art, McNeill also taught Afro-American Music History, private flute lessons, and was instrumental in launching the Jazz Studies Program at Rutgers University.

McNeill has exhibited his paintings and drawings at several galleries and colleges in the U.S. Northeast. He published two volumes of poems: Blackline: A Collection of Poems, Drawings and Photographs and After the Rain: A Collection of New Poems. In 2007, Lloyd McNeill was chosen by the USPS to design a postage stamp for the celebration of Kwanzaa 2009.[2]