This is one of the first records I bought and I’m amazed it hasn’t been worn out yet. Originally released as a CDr back in 2002 by Baker’s imprint Arcolepsy Records, it was reissued on vinyl in 2008 by Basses Frequences based out of France. Aidan Baker makes up one half (with Leah Buckareff) of the drone duo Nadja. Although initially a side project for Baker, who still releases solo work at a staggering rate, he has been touring with Nadja more as of late. This CDr from 2002 was his second release, but fans of Nadja might recognize some sonic elements which carry through to his later collaborations. Those interested in listening to more Nadja should check out Radiance of Shadows. Baker was classically trained on flute, but has taught himself the guitar, various percussion instruments, as well as the use of various electronics and tape manipulation techniques.

After releasing a few singles, Saturndust’s first full length release came out earlier this year and it more than delivers. Hailing from Sao Paolo, they wrote to a blog called The Sludge Lord and described their background

We’re trying to “stand our ground” in the underground, but it’s hard to find Sludge or Psychedelic Doom bands in our country. Maybe we’re the only ones. And the “scene” here is still growing with the rest, which all goes influenced by bands like Clutch, that it’s not of our business.”

I think they’ve done more than stand their ground with their self-titled debut, which can be purchased digitally at the band’s Bandcamp or on vinyl at Helmet Lady Records. Drifting between space-y ambience and riff-laden doom I read that this record was like visiting a swamp in space and that is better than I ever could have said it.

Based out of Olympia, WA, Wolves in the Throne Room have been fusing black metal with doom and ambient influences with their own dark magic since their 2005 untitled debut, which they self released and sent to retailers like Aquarius Records wrapped in fur with a moss insert. Dia Artio is the more ambient lead track off their 2007 release Two Hunters, which was their first with Southern Lord. For Two Hunters they tapped Randall Dunn to produce the record and the band introduced analog synthesizers to their drums and guitars, which have remained in the band’s sound ever since. Two Hunters was the first in a trilogy of releases that concluded with 2011 Celestial Lineage. Their whole catalog is available to purchase and stream on their Bandcamp while physical releases can be found on Discogs and at Southern Lord.

Although this novelty hit was credited to The Marathons, this ode to everybody’s favorite nut-based spread was actually recorded by the members of a group called The Vibrations. Lead vocalist Jimmy Johnson, along with Don Bradley (bass), Carl Fisher (tenor), Dave Govan (baritone), and Richard Owens (first tenor), met while students in an LA high school and began recording as The Jay Hawks. Johnson, along with manager Al Curry and Ernetstine Smith (who was a teenager when she helped pen the song) recorded a minor hit in 1956 with “Stranded in the Jungle.” The song would become even more well-known after a version by The Cadets, came out later that year. The New York Dolls recorded their own version for their 1974 album Too Much Too Soon.

In 1961, the group charted again with “The Watusi” under the name The Vibrations, which they would use for much of their career. They also recorded Peanut Butter, which had been written by H.B. Barnum, who has written songs and produced records for the likes of Count Basie, Frank Sinatra, Etta James, Aretha Franklin, and The Supremes. What possessed him to create this ode to what is admittedly a delightful spread remains shrouded in mystery. Regardless, he thought the Vibrations would sound great for his peanut butter song. The group had to record under another name in order to avoid being found in breach of their contract with Checker Records, who had just released Watusi. Perhaps the success of Peanut Butter caught all parties off guard, but the ruse was quickly found out and Checker was able to release copies of Peanut Butter in addition to Arvee Records, which had released the Marathons version. Arvee actually recorded a whole album to support Peanut Butter, putting together a new lineup to record the other tracks.

While the “original” Marathons were short lived, The Vibrations continued recording into the 60s. Their best known single from this period was 1965’s “My Girl Sloopy”, which became a number one hit for The McCoys later in the same year. They continued to record throughout the decade, recording an uptempo version of “Over the Rainbow”, a nice ballad “Oh Cindy”, and “Don’t Say Goodbye”, among many others. In 1972 the group recorded “Ain’t No Greens in Harlem” before disbanding.

This track comes off Numero Groups phenomenal Home Schooled: The ABCs of Kid Soul, which features a ton of great groups of kids singing soul music that didn’t create a weird Peter Pan-inspired ranch or show their nipples at the Super Bowl later in their lives (as far as I can tell). This is my favorite track on this comp and it comes from a group out of Silver Spring, Maryland. They were discovered performing in a Holiday Inn ballroom as the Gerladets by Robert Hosea Williams, who wanted to market the group to adults after the Jackson 5 exploded in the early 70s. Williams originally wanted to call the group Kiss, but had to change the name to Promise after a certain long-tongued, platform-booted outfit of the same name was given a record deal in 1973.

Though the group only recorded two singles for New Directions Records, both of which received little airplay and attention, they did open for Stevie Wonder, James Brown, and the Supremes, which is more than most children can (probably) say. I couldn’t find much in the way of information about this group short of reading the bio from Numero’s website, but I’ve spent plenty of time imagining choreographed routines to this song in this style to more than make up for the lack of information:

Created with a mixture of tape loops, acoustic bass, percussion, and a Japanese instrument known as a Shakuhachi, Untold Story: The Edge of Sleep is part two of a five part composition by Paul Dresher and Neal Rothenberg on their Opposites Attract record from 1991. Both artists were classically trained in composition, though Rothenberg has been influential in the free improvisation school. Both draw on both the Western canon as well as non-Western influences like the Shakhuachi (played by Rothenberg) and Gahanian percussion and Hindustani classical music, which Dresher studied after studying composition under the influential electronic composer Pauline Oliveros. The record was released by New World Record, which aims to release the work of American composers who find difficulty realizing their work through commercial labels. The story of how the label started is pretty sweet:

The company was founded with a grant from the Rockefeller Foundation with a mandate to produce a 100-disc anthology of American music encompassing the broadest possible spectrum of musical genres. This set of recordings, together with their extensive liner notes, provides a core curriculum in American music and American studies. In 1978 the Anthology was completed and distributed free of charge to almost 7,000 educational and cultural institutions throughout the world.

Dresher has not released anything since 2004, while Rothenberg has remained prolific throughout the 1990s and 2000s. His most recent release was entitled World of Odd Harmonics, which was put out by the avant garde label Tzadik.