This bundle includes the following:



Smegma "Infringements" (LP)

 **Edition of 230** This is alga marghen’s third installment of Smegma’s original “Suburban Primitive Avant-folk music” Period (1973-1975) based in Pasadena, featuring three previously unreleased tracks from the deep vault of their home recordings. In the beginning, the Band Smegma had only one rule. No Musicians.

Starting from scratch, they took the Road much less traveled. They were inspired by outsider musical artists of the time such as John Cage, Sun Ra, Captain Beefheart, Wild Man Fisher, Art Ensemble Of Chicago, etc. and they recorded every experiment with youthful enthusiasm. Mostly they only succeeded in tormenting their own friends and neighbors (except for the few who joined the band), but somehow they never chose imitation, but stumbles on a path that allowed Past (shamanistic) and Future (space) sounds to lead the way.

The titled track gently pulls you in and carries you off with a way-out inner-mind group Jamming/not-Jamming trip, featuring Prepared Piano, Modular Synthesizer, Human Mouth sounds, Pan Pipes, Tabla and Electric Bass Guitar. “Rainy Day Mushroom Pillow” (definitely not the 1960s pop Hit) rips you straight into a high energy New Year's Eve Party Jam, in a romping free jazz style with stream of consciousness vocals and exuberant alto sax solos.

Side B starts with Beatnik finger Popping and wild dogs barking from a record player, while breathless flute playing leads you down the rabbit hole of mysterious group vocalizing, including imitating the cry of the wild Tropical Parrots that lived in the palm trees in the front yard of the house in Pasadena that they had lived in.

Always out of sync with their own time, 49 years later, these tracks still throb and pulsate Beautifully with their own inner logic.



LAFMS - Los Angeles Free Music Society "35 S. Raymond Avenue" (LP)

**New edition of 100 numbered copies presented in a hand-coloured sleeve** One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning, they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Dooettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts.

Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was employed.