{"title":"Used New Arrivals","description":null,"products":[{"product_id":"glaxo-babies-nine-months-to-the-disco","title":"Glaxo Babies - Nine Months To The Disco","description":"\u003cp dir=\"ltr\"\u003eHalfway through making their debut album, Glaxo Babies lost their singer. Rob Chapman walked out of Crescent Studios in Bath in the summer of 1979 over artistic differences, and the four musicians left standing decided not to replace him. They followed the rhythm section instead. What came back sounds almost nothing like the sharp Bristol punk band that started the sessions.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eNine Months to the Disco\u003c\/em\u003e was cut in a single day, and it carries the loose, live, slightly unstable feel that implies. Tony Wrafter's saxophone and flute skid across the top while Tom Nichols and Charlie Llewellin lock into rhythms that owe as much to funk and dub as to anything on the punk shelf, with Dan Catsis and Tim Aylett filling the space between. Titles like \"Maximum Sexual Joy,\" \"Electric Church\" and \"Dinosaur Disco Meets the Swampsstomp\" give away the mood: long, loping, largely instrumental grooves that keep pushing past the point where a song would normally stop. Side A ends in a locked groove, which tells you how much faith the band put in repetition.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eReleased in March 1980, it reached number 8 on the UK Indie Chart, and then the band came apart almost immediately. Wrafter, Catsis and Llewellin went on to form Maximum Joy, and Catsis had already played bass on The Pop Group's \u003cem\u003eFor How Much Longer Do We Tolerate Mass Murder?\u003c\/em\u003e This record sits right in the middle of that Bristol crossover moment, when a handful of players turned punk energy toward jazz, funk and dub and quietly laid the groundwork for what the city became known for over the next decade.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eAn original 1980 UK pressing on Heartbeat Records, catalog HB2, engineered by David Lord with sleeve art by Danica Gacesa. Original copies do not surface often.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG\/VG\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689456877730,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_155925.jpg?v=1789939417"},{"product_id":"lite-storm-god-is-truth","title":"Lite Storm - God Is Truth","description":"\u003cp dir=\"ltr\"\u003eSometime around 1976, on the occasion of Sathya Sai Baba's fiftieth birthday, a California band called Lite Storm made him a record. The dedication runs right across the front cover: these songs are offered to \"our beloved omnipresent divine mother and father, on your 50th earth birthday.\" The back cover calls what is inside American Bhajans, which is about as honest a description as anyone could ask for.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eLite Storm had already cut one album, \u003cem\u003eGod Is Love\u003c\/em\u003e, for Beverly Hills Records in 1973. \u003cem\u003eGod Is Truth\u003c\/em\u003e finds the group, credited on the sleeve simply as John, Corey, Alex and Dave, working the seam between West Coast psychedelic folk and Hindu devotional song. Side one moves through \"Sai Rama,\" \"Vishnu Hari Om,\" \"Bliss Time\" and \"All Are Only One\" before closing on a one-minute chant credited to Sai Baba himself. Side two opens out into \"Love Is No Mystery,\" \"Blue\" and \"Love Marches On.\" About twenty minutes a side, warm and unhurried, with none of the polish a real label would have insisted on.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSai Sound Samitee was never a record company in the ordinary sense. It ran out of a PO box in Beverly Hills and published through an outfit called Divine Mother's Sound, and a samiti is a society or a committee rather than a business. Records like this one were pressed for a community instead of a market, which is why they surface so rarely. The back cover is its own reward: a dense blue photo collage of Jesus, Buddha, Shirdi Sai Baba, Vishnu, Ganesha and several dozen devotees, with a snapshot of the band and their amplifiers tucked into the middle of it.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal private pressing on Sai Sound Samitee, catalog S.S.S. 10-50.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689472508066,"sku":null,"price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_155809.jpg?v=1789940648"},{"product_id":"eddie-henderson-heritage","title":"Eddie Henderson - Heritage","description":"\u003cp dir=\"ltr\"\u003eEddie Henderson got an informal trumpet lesson from Louis Armstrong at nine years old. Miles Davis, a friend of his parents, started taking him seriously at seventeen. He then went and finished a zoology degree at Berkeley, a medical degree at Howard, and a psychiatry residency, and practiced medicine for years while playing some of the sharpest electric trumpet of the seventies. Three years in Herbie Hancock's Mwandishi band ended in 1973, and \u003cem\u003eHeritage\u003c\/em\u003e, released in 1976, is what that education turned into.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe band is remarkable even by the standards of the era. Julian Priester covers alto, tenor and bass trombones, Patrice Rushen is on electric piano, clavinet and synthesizers, Hadley Caliman plays bass clarinet, soprano saxophone and flutes, and the rhythm section is Paul Jackson and Mike Clark, the same pair driving the Headhunters. Mtume adds congas and percussion, with Woody Theus and Billy Hart taking the drum chair on the back half. Mtume's \"Inside You\" opens, Priester wrote \"Acuphuncture,\" Rushen contributed \"Kudu,\" and \"Dr. Mganga\" and \"Dark Shadow\" each stretch past six minutes on side two, where the record really opens up.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eSkip Drinkwater produced, Fred Catero engineered at Wally Heider in San Francisco, and Doug Sax mastered it at The Mastering Lab in Hollywood. It lands at the exact point where Henderson's post-Mwandishi music tightened into something you could dance to without giving up the outer-space harmony. Blue Note has since brought it back in their Classic Vinyl series, which says plenty about where it stands now.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal 1976 US Blue Note pressing, catalog BN-LA636-G.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG+ vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689477193890,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_154752.jpg?v=1789941723"},{"product_id":"eddie-henderson-sunburst","title":"Eddie Henderson - Sunburst","description":"\u003cp dir=\"ltr\"\u003eLook at who Eddie Henderson got into Wally Heider's studio in San Francisco in March and April of 1975. George Duke on Fender Rhodes, clavinet, Mini-Moog and two different ARPs. Bennie Maupin on tenor, saxello and bass clarinet. Julian Priester on alto trombone and post horn. Alphonso Johnson on electric bass, Harvey Mason and Billy Hart splitting the drum chair, Buster Williams on upright, and Bobby Hutcherson on marimbas. That is not a session, it is a summit.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eSunburst\u003c\/em\u003e was Henderson's first record for Blue Note, and he handed most of the writing to the room. Duke's \"Explodition\" opens it, Alphonso Johnson brought \"The Kumquat Kids\" and \"Involuntary Bliss,\" Harvey Mason wrote \"Hop Scotch,\" and Maupin closes the album with \"We End In A Dream.\" Henderson's own \"Sunburst\" and \"Galaxy\" are the center of gravity, all trumpet and flugelhorn riding over Duke's banks of synthesizers. It has been a jazz-funk and rare groove staple for decades.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eHenderson is one of the more unusual figures in the music. He took an informal lesson from Louis Armstrong at nine, met Miles Davis at seventeen through his parents, then finished medical school at Howard and worked as a physician for years alongside a recording career that included three years in Herbie Hancock's Mwandishi band. He has taught at Juilliard and Oberlin since.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe sleeve deserves a mention too. Bob Cato art directed a Ren Deaton photograph that was run through what the back cover calls a computer conversion, credited to C. D. Taylor. In 1975 that was close to science fiction, and it still looks like nothing else on the label.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal 1975 US Blue Note pressing, catalog BN-LA464-G.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689477226658,"sku":null,"price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_154905.jpg?v=1789941800"},{"product_id":"miles-davis-get-up-with-it","title":"Miles Davis - Get Up With It","description":"\u003cp dir=\"ltr\"\u003eDuke Ellington died in May 1974. Miles Davis answered with just over thirty minutes of organ drone, Pete Cosey's guitar smeared across the top, and almost nothing you could call a melody. He named it \"He Loved Him Madly,\" after the line Ellington used to give audiences from the stage, and it takes up the entirety of side one.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eGet Up With It\u003c\/em\u003e is the double album Columbia assembled at the end of 1974 out of four years of sessions, 1970 through 1974, and it plays less like a record than a survey of everything Miles had been doing while nobody at the label could work out what to call it. \"Maiysha\" is almost gentle. \"Rated X\" is a wall of jammed organ clusters. \"Calypso Frelimo\" runs thirty-two minutes and fills side three. \"Red China Blues\" is the closest thing here to a straight blues, and \"Mtume\" and \"Billy Preston\" are named after the men playing on them. The personnel shifts from session to session and takes in John McLaughlin, Herbie Hancock and Pete Cosey along the way.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt landed to mixed reviews and then quietly turned into one of the most influential things he ever released. Brian Eno singled out \"He Loved Him Madly\" in the liner notes to \u003cem\u003eAmbient 4: On Land\u003c\/em\u003e as a direct influence on his own ambient work, and the murk and repetition stretched across these four sides kept surfacing in other people's records for decades afterward. It was also the last studio album Miles put out before he stopped playing in public for the rest of the seventies.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal 1974 US Columbia pressing, catalog KG 33236, in the gatefold sleeve.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG+ vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689479749794,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_155220.jpg?v=1789942229"},{"product_id":"bennie-maupin-the-jewel-in-the-lotus","title":"Bennie Maupin - The Jewel In The Lotus","description":"\u003cp dir=\"ltr\"\u003eBy 1974 Bennie Maupin had played bass clarinet on \u003cem\u003eBitches Brew\u003c\/em\u003e and stayed on through \u003cem\u003eJack Johnson\u003c\/em\u003e, \u003cem\u003eOn the Corner\u003c\/em\u003e and \u003cem\u003eBig Fun\u003c\/em\u003e, and he had spent years inside both of Herbie Hancock's bands, the far-out Mwandishi sextet and the crossover hit \u003cem\u003eHead Hunters\u003c\/em\u003e. \u003cem\u003eThe Jewel in the Lotus\u003c\/em\u003e is what he made with his own name on the sleeve, and it sounds like none of them.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eRecorded in March 1974 at The Record Plant in New York and produced by Manfred Eicher for ECM. Maupin plays reeds, voice and glockenspiel. Herbie Hancock is on piano and electric piano, Buster Williams on bass, and there are two drummers panned hard to opposite channels, Frederick Waits on the left and Billy Hart on the right. Bill Summers is credited with \"percussion and waterfilledgarbagecan,\" which tells you most of what you need to know about the session, and Charles Sullivan adds trumpet to \"Mappo\" and \"Excursion.\" Every piece is a Maupin composition, and the record moves in long patient stretches of space rather than heads and solos.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt sits oddly in the early ECM catalogue, an American spiritual jazz session on a label then defined by Northern European restraint, and it has become one of the more sought-after things the label put out in the seventies. Jan Erik Kongshaug handled the mix. The cover was designed by the assemblage artist Betye Saar, with a photograph by James Lott.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal 1974 US pressing on ECM, catalog ECM 1043 ST, distributed by Polydor.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG+ vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689483747490,"sku":null,"price":105.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_153951.jpg?v=1789947901"},{"product_id":"alphonse-mouzon-mind-transplant","title":"Alphonse Mouzon - Mind Transplant","description":"\u003cp dir=\"ltr\"\u003eAlphonse Mouzon was Weather Report's first drummer, then spent two years driving Larry Coryell's Eleventh House. In December 1974 he booked five days at Wally Heider in Hollywood and made the loudest record of his career.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eMind Transplant\u003c\/em\u003e is fusion played at the volume of a rock album. Tommy Bolin handles guitar across most of it, months before he replaced Ritchie Blackmore in Deep Purple, and he is the reason this record has a following well outside jazz. Lee Ritenour and Jay Graydon take the other guitar chairs, Jerry Peters is on Fender Rhodes and Hammond B-3, Henry Davis plays bass, and Mouzon covers drums, vocals, ARP 2600 and Farfisa organ while arranging and conducting the whole thing. Every tune on the album was written by Elvena Mouzon.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eIt has been called one of the best fusion records ever made, and fifty years on it stays in demand on the strength of Bolin's playing and the sheer force of the rhythm section. Skip Drinkwater produced with George Butler as executive producer, the same pair behind the Eddie Henderson Blue Note albums from these years, and the record was cut at Wally Heider in Hollywood, remixed at Wally Heider in San Francisco and mastered at Columbia Studios.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eOriginal 1975 US Blue Note pressing, catalog BN-LA398-G.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eUsed copy: VG vinyl \/ VG+ sleeve\u003c\/p\u003e","brand":"Static ATX","offers":[{"title":"Vinyl","offer_id":47689483780258,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5024\/3490\/files\/20260920_154645.jpg?v=1789947862"}],"url":"https:\/\/staticatx.com\/es\/collections\/used-new-arrivals.oembed","provider":"Static ATX","version":"1.0","type":"link"}