Triplett Twins (Leon & Levi Triplett) - Betsy
Triplett Record Corporation; SS-36324-01
Chicago, IL (?), year unknown
private press

A: Betsy (vocial)
B: Betsy (instrumental)

Produced: Leon Triplett & Martin Dumas
Executive Producer: Leon Triplett
Arranged: Leon Triplett & Martin Dumas
Engineered: Lee Simons

Obscure synthy-soul stomper cut from brothers Leon and Levi Triplett out of Chicago, IL. An outstanding track in its own right, certainly owing to the vocal strength and studio agility of the Tripletts.  But the production might of Martin Dumas - best known for his work on the highly sought after 'Attitude, Belief & Determination' - alongside that of Leon Triplett makes this undocumented entry in the Triplett catalog something uniquely extraordinary.

BANTU-DOUBLE SURE-SHOT – Black Is (Apple Brothers Music, 1984)

Bantu-Double Sure-Shot - "Bantu-Maxi-Single"
Apple Brothers Music ‎– AB-1002
USA, 1984
private press

A1. Black Is
B1. Questions
B2. Babylon Warriors Unite

Written by Elliott Mills, Brion Mills and Terry Mills
Co-produced with Kim Fowler

Recorded at Apple Bros. Studios in Carson, California
& Piper Recording in Torrence, California

West Coast [electro X proto-rap X synth funk X history lesson] from the Willis brothers on their private label Apple Brothers Music featuring untrained vocals, deep bass synth runs, flourishing guitar licks and crisp claps.

JOÃO DE BRUÇÓ/R.H. JACKSON – Caracol (Fonopress, 1989)

João de Bruçó/R.H. Jackson – Caracol
Fonopress Indústria Fonográfica Ltda. – CLP-001
Brazil, 1989
private press

A1 Instante de Gelo
A2 Dona Roxa
A3 Das Matas
A4 Påntano
B1 Here We Go Again
B2 Cabarecht
B3 Terra Batida
B4 Caracol

João de Bruçó – percussão, voz, sanfona
R.H. Jackson – programação eletrônica, guitarra, voz (em Here We Go Again)


BILLY LARKIN/CHRIS DAHLGREN – ekimi (Krysdahlark Records, 1986)

ekimi – ekimi
Krysdahlark Records – LP KDL-1001P
US, 1986
private press

A1 Ekimi
A2 Che Wa Sha Wo
A3 The Ballad Of Dirty Harriet
B1 Family
B2 Trans
B3 First Snow

Billy Larkin – piano
Chris Dahlgren – acoustic and electric basses
special guest: Kathy Wade – vocals (B3)!6tpAHQpK!5vHbt57q9waqbmlFHofAhjBHDV21uvfcgEA8oqFKOpc 

MOVIMIENTO – Primer Movimiento (Discos Redondel, 1982)

Movimiento – Primer Movimiento
Discos Redondel - RL-11001
Argentina, 1982

A1 Al pie de la cordillera
A2 Por cuestas del Velazco
A3 Chacarera del Domingo
A4 Cosas del Rio de la Plato
B1 Toda la pampa
B2 Fusiones sin confusiones
B3 Palsaje puneño
B4 Por sendas humahuaqueñas

Oscar Alem
Angel "Cacho" Ritrio
Horacio Corral
Juan Alberto Pugilano
Ricardo Dominguez
Norberto Minichillo

guitarras acústicas, guitarras eléctricas, guitarras españolas, charangos, piano acústico, piano Yamaha CP30, Piano Rhodes, sintetizador Roland, sintetizador Arp Oddissey, sintetizador Arp Omni-2, marimba, vibrafón, voces, sikus, bajo acústico, bajo eléctrico, treebell, batería, tumbadora, rototones - timbaleta, chaschas - casacabeles, bombo legüero!C4gkHQJD!OAAwcQWEOKzUiompIB6hywYyfl4OgwhfebR0YdiMorc

STEVEN WILLIAMS – The Deadline (Deadline Music, 1985) [GUEST POST: Havana Tape Club]

Steven Williams - The Deadline
Deadline Music
US, 1985
private press

A1 A Little Business
A2 The Deadline
A3 Our Last Time 'Round
A4 Long Parade
A5 The Second Chace
A6 I Got Some News
B1 Back In "B" Town
B2 Screamin' At Me
B3 Your Downfall
B4 Realize It's Me
B5 Ain't Holdin' Back
B6 This Time Is For Real

all songs written by Steven Williams
Terri Williams - vocals
Joe Truttmann - vocals
David Potts - DMX
Bill Engel - guitar
Doug Flory - drums

thanks to Havana Tape Club (St. Louis, MO) for the music rip and images!vp4wSQzT!8eEs0L1HBi0y-8jLhB0glFA1bIkBUcEPqYsIlVWGJA8

O'MAR – You've Got The Makings (Chrome, 198?)

O'mar – You've Got The Makings
Chrome Records – CR-61214
US, 1980s
private press

A1 You've Got The Makings
B1 Let's Be Lovers

Produced and Written By Don O'mar Boddie

Durius Montgomery
Jimmy Hinds
Oliver Sain
Philip Westmoreland
John Selders
David Foote
St. Louis Horns
Paula Smith

art by Helen Gamel / photos by Elcardo
Chrome - The Sound of St. Louis!C45hFLyT!RFICi8pfqbu8-DAt6gM_N8_fLsRvSRXO1S72MMnBeFE

MIKE ZIKOVICH – Makin' Waves (Golden Eagle Records, 1978)

Mike Zikovich – Makin' Waves
Golden Eagle Records - R 1014
US, 1978
private press

A1 Makin' Waves
A2 To See You Again
A3 Pied Piper
A4 Got To Be In You
B1 You Are So Beautiful/Everytime You Touch Me
B2 Rock Island Rocket
B3 I'm So Lonesome I Could Cry
B4 Big Band Medley
B5 This Girl I Knew

Mike Zikovich – Hammond B-3, Hohner Clavinet, Fender Rhodes, Mini-Moog, Arp Omni, Arp Axxe, Art Pro Soloist, Arp String Ensemble, acoustic piano
Jim McCury – drums, congas, timbales, bell tree, triangle, cow bell!6thywADS!v-6cOqg_BL5JJxSCaK3rLEDpBDMKZv781JOYpYHECPM 

ROBERT AARON - Datura (Artichoke, 1980s)

Robert Aaron - Datura
Artichoke Records - Artichoke 201
US, 1980s
private press

A1 Crystal and Infrared
A2 Network in Shade
B1 Agent Grapefruit
B2 Jungle

ROBERT AARON/MICHAEL CURRAN/KEITH NICOLAY - The Last Ten Minutes (Artichoke Records, 1985)

Robert Aaron - Michael Curran - Keith Nicolay – The Last Ten Minutes
Artichoke Records – 202
US, 1985
private press

I Interruption
II Grand Finale
III Conclusion

Robert Aaron - siel synthesizer, tack piano
Michael Curran - piano, fender-rhodes, kalimba
Keith Nicolay - acoustic guitar, flute, piano

"The Last Ten Minutes may (1) refer to the fly with its head trapped in the vortex, pictured on the front cover, (2) depict an apocalypse in which case 'Grand Finale' (side 1, band 2) should be retitled 'Disquiet at the Council of Trenton', or (3) represent the last ten minutes (in the mundane sense) of anybody the listener knows, described either (a) inappropriately or (b) with an obscuring plethora of detail.
The synthesizer mediates among sounds which parallel, without imitating, those of the guitar and sometimes multiphonic flute, sounds of purely electro-mechanical nature, and keyboard-related sonorities.
In 'Grand Finale', the three keyboards sometimes behave as one multi-stopped instrument, sometimes quarrell.
In 'Conclusion', the keys of the processed Kalimba (African thumb-piano) are most-often snapped upside-down.
In all three pieces, discourses are frequently polyrhythmic and often disruptive.  All ratios are intentional, no matter how irrationally described mathematically.  The harmonies, while quite chromatic, combine in the spirit of harmolodic improvisation.  From time to time, they allude to modes, while avoiding their syntax.
Both group improvisations on side one were accomplished in a single sitting, while side two discreetly adds overtracks as it progresses." – Robert Aaron!3pxwWYpQ!mZEV6V4rblizI5rxlbzGgxL6fBXjwfumhTKQEPmBkNw