Sugar Daddy Live Split Series # 8(Split With Melvins)

Front:
Package comprises the  above silk-screen print, with the record behind, both housed in a clear polyvinyl sleeve.

Back:
The print has the 'series number' (8) stamped on the reverse. The polyvinyl sleeve allows the record to be seen.

Stats:

Tracks:

Side 1: 21st Century Cling-Ons  - Performed by FU

Side A: Rat Faced Granny (Live) - Performed by Melvins

Released: 2013
Label: Amphetamine Reptile Records  Scale 133
Matrix A: 12-0604 A K SST NOISELAND MPO
Matrix B: 12-0604 B K SST NOISELAND MPO
Pressing Info: 700 copies
Inserts: No regular insert
Variants: No variants



Notes:

21st Century Cling-Ons - Announcement on LFG (Feb 26 2013):
So we did that split with The Melvins and we did a new song for it, recorded maybe 2 years ago? Probably not that long ago, but long enough that I can't remember how long ago exactly. A long time. We didn't sound like this last time you heard us, and we don't sound like this anymore either, so kind of while we were on hiatus we developed a new style for a few days, wrote this song and then ditched it. Anyways, stream "21st Century Cling-Ons" on Pitchfork HERE.

Sugar Daddy Live (From Wikipedia):

Sugar Daddy Live is a live album by the American band Melvins. It was released on May 31, 2011. The songs are taken from their 2008 tour, with the majority of the tracks coming from their two most recent studio albums at the time. All thirteen songs were released as split 12" singles with bands selected by the Melvins for a split series. Though some of the bands are submitting new material, others like The U-Men and the Cows are submitting previously released material due to being defunct bands. Off! was the first band in the series to have new material submitted with Butthole Surfers (Although their tracks are unreleased live songs) being the second. Die Kreuzen, Negative Approach and The Necros are all on one split under the title "Midwest Hardcore". 

Sugar Daddy Splits vol. 8 w/Fucked Up  (From Am Rep Shop):

The eighth release in this 13 volume series has Melvins "Rat Faced Granny" (live from Sugar Daddy LP) on the A-Side and Side One with Fucked Up's "21st Century Cling-Ons".
Mackie designed silk screened sleeve by Obsolete Industries. Hand stamped Vol. # on back side. This comes in a heavy duty 8mil polyvinyl sleeve (made for picture discs so you get to view your purdy splat color vinyl).

Screen shot - Am Rep shop

''Here Lies Are''(Split with Serena Maneesh)

Once you saw the ripe fruit / Now all you see are the flies... 

Sleeve - FU Side:
Photograph taken by Sandy Miranda

Sleeve - Serena Maneesh Side

Vinyl - FU Side

Vinyl - Serena Maneesh Side

Stats:
General:
Tracks: Here Lies Are / Opium Priest (Performed by Serena Maneesh)
Released: 2010
Label: Best of Both Records: BOBR1003
Pressing Info: 1000 *See insert note

'Norwegian / Euro Version':
Matrix A: 108922 A1 KM
Matrix B: 108922 KM B1

'Canadian / North America Version'
Matrix A: AR-16928-A
Matrix B: AR-16928-B

Inserts:
Norwegian version: 2 inserts - a hand-numbered picture-card and an A4 photocopied lyric sheet
Canadian version:  1 large insert on glossy paper, combining the info / text of the above.

*The insert in the Norwegian version is numbered out of 1000; it's unclear if there were 1000 of each version or if there were 500 of each and the Norwegian inserts were intended to be numbered only as far 500/1000.



Variants:
Norwegian Version
Canadian Version

Sleeve Variants:
Left: Norwegian sleeve is slightly smaller and the print is less sharp
Right: Canadian sleeve

Inserts  - Norwegian Version:
Top: Photocopied A4 sheet with lyrics and credits (single sided)
Bottom: Small card with toddler image

Inserts  - Norwegian Version:
Top: As above (reverse of sheet is blank)
Bottom: The picture cards are numbered on the reverse out of 1000

Insert - Canadian Version (front):
Glossy paper with same image as Norwegian card

Insert - Canadian Version (back):
Lyrics / credits - the original version is not much easier to read...

Notes:

Best of Both Records:
This label appears to be no longer operational; the following is taken from their FB Page:

About:
Best Of Both Records releases limited runs of split singles on quality vinyl 

Mission: To create a crossover between Toronto and Oslo music scenes, establishing a trans-continental link between the two communities providing larger exposure, creating a larger market, and developing diversity of alternative music in both cities. Essentially, to create links between artists and fans in both cities through any effective means available (booking, distributing records, podcasting, sharing of resources, guest bedrooms etc.). 

Company Overview: We are an independent record company based in Toronto (Canada)/ Oslo (Norway) that releases split 7" records showcasing some of the best artists from both cities. We print small to medium run limited edition vinyl with regional distribution to independent records stores offering artists locally based promotion and a more focused and personal type of international promotion.

Mixtape 4 Inlay Notes:
1) “Here Lies Are” From the split 12” with Sareena Maneesh
Here's another tasty little nugget. This was recorded forever-ago, but it still feels like a new song. Looking back at liner notes is a real time warp. This was done in November 2009, about a year after ChemCom came out, during the sessions that produced “Year of the Ox” and the Davids Plan 7”, amongst other things. A real check-off session, where after leaving songs and ideas simmer for a bit too long, you rush in and record everything at once before you have to leave again. In this case, we were cramming to get the 7” out before Christmas, since it was a holiday benefit record, and this 12” released in time to meet us for a tour in Europe. We're perpetually late on the Zodiac 12”s, so there was no real time-crime happening there, because we dust-binned the cycle a long time ago. This song was written in about 5 minutes. Every once in a while the practising and writing is at such a fever pitch that it overtakes you completely, and the only relief from writing is to also write, but of something of lesser value. Our respite from the gruelling work of doing Year of the Ox was to just bust out a really fast song and throw it on a single with a band we'd never met (but who are cool). I actually did end up meeting one of the dudes in this band, at a Carl Craig show in NY for some reason, at 4am. He was wearing a sailor hat.


Lyrics:
From the first moment I met you / I feared this day would come / When I went from your only / To the person that you shunned / Familiarity breeds contempt, and over time / No one is heaven sent / I was never heaven sent / We sit across the table / Exchanging silent stares / Now that the affair is over / There's no need to put on airs / Familiarity breeds contempt, and over time / No one is heaven sent / I never claimed to be heaven sent  / You're the one that was heaven sent / I'm not heaven sent / Once you saw the ripe fruit / Now all you see are the flies / Where once you heard the truth / Now all you hear are lies / The pendulum has swung / And we watched it as we went / As we brace for the backlash / I'm not the one who changed.





Sleeve Notes:
'Inside of fig': In ancient times the fig was a euphemism for female genitalia. Does the fig have any bearing on the lyrical themes, other than simply being 'ripe fruit'? At this stage in the discography, it's fair to wonder if the lyrics are a straight-forward 'end of relationship' type song, or is it some biblical / Jesus / original sin / loss of faith metaphor? Probably the former...

But what has the toddler on a lead / bomb-fin bollard thing got to do with anything?

Commodity Fetishism

Test Pressing - Canadian Version
Originally bought in the now defunct 'Hits & Misses' Store RIP

''Coke Sucks''

...Drink Pepsi

Sleeve - Front

Sleeve - Back

Vinyl

Stats:

Tracks:  
A: Son The Father / Magic Word / Fate of Fates /Crooked Head
B: Invisible Leader / BlackAlbino Bones / Crusades / I Hate Summer / Son Of Sam (Chain Gang)

Released: 2011

Label: Chunklet CHKLP005

Matrix A: LET'S REPEAT THE NON-CONFORMISTS OATH.. I PROMISE TO BE DIFFERENT  Ⓤ   L-19719m-A CHK LP-005    

Matrix B: I PROMISE TO BE UNIQUE! I PROMISE NOT TO REPEAT THINGS OTHER PEOPLE SAY. Ⓤ L-19719m-B-RE-I CHK LP-005  

Inserts: No regular insert

Variants:
White sleeve - 6 different coloured vinyl variants
Black Sleeve - April Fools edition


Pressing Info:

Kickstarter copies:

Red translucent - 200

'Sellable' copies (900 total):

Salmon - 300

Gold translucent - 200

Black - 200

Black / White split - 100

Blue translucent - 100

April Fools Edition - 30 (of above?) black vinyl with black sleeve.

Pedantic Nerd Note:

Some sources state 100 copies on black. Presumably this arose from confusion over the statement  on the Chunklet site (page no longer available, but text copied below in Notes), which refers to 900 'sellable' copies, then goes on to give the breakdown below:

*200 Red (exclusively for Kickstarter contributors)
100 b/w split
300 Salmon
200 Gold
100 blue
the rest on black
*The Kickstarter copies were not 'sellable', hence ''the rest on black'' = 200

Variants:

Red Translucent :Given to Kickstarter Contributors (200 copies)

'Salmon' - marbled opaque vinyl:
300  copies - supposedly, but this one seems to be less commonly available in the second hand market than most of the other variants

Gold translucent:
200 copies

Black:
200 copies

Black / White split:
100 copies

Blue translucent:
100 copies

Sleeve Notes:
May be a homage to the Ergs...

Notes:

Text copied from post on Chunklet site:
A 12" special live set recorded by these Canadians in Atlanta at the EARL last year. They barrel through a ton of originals and a cover of "Son of Sam" by Chain Gang. Also on the bill were Carbonas, Bukkake Boys and American Cheeseburger. Damian espouses his love of Pepsi versus Coke and dedicates way too many songs to record collectors. Running time: 37 min.

Recorded to multi-track by Curt Wells.

Mastered by Jeff Capurso.

Lovingly messed with by Henry Owings.

Note: Any crackling or hissing you hear is completely intended. Limited to 900 sellable copies.

COLLECTOR SCUM ALERT: Buy more than one copy of each color and your order will be voided and you won't be notified.


BREAKDOWN:
200 Red (exclusively for Kickstarter contributors)
100 b/w split
300 Salmon
200 Gold
100 blue
the rest on black

Commodity Fetishism:

From Chunklet Site - page no longer exists, so via Vinyl Collective:

The Fucked Up 12" that we released this month has a special version that is going to be sold on April Fool's Day and on April Fool's Day only (starting at midnight EST). It's the "Coke Sucks Drink Pepsi" LP, but it's with a special silkscreened sleeve (by our homies at Bearded Lady in Austin) with a black vinyl record. ONLY 30 COPIES EXIST! So weird, the black is the rarest of all the editions we've got for sale. Can't believe more people don't want it.

Note:

(The comment black vinyl is the rarest of all the editions contradicts the maths used to come up with 200 copies above, however if it's the rarest, that would mean less than 100 and that doesn't really make sense either; there are certainly more than the 30 used for the April Fool. If you're a collector, consider yourself messed with).

'April Fools' Sleeve
Black sleeve with white lettering

From Chunklet Site -  via Vinyl Collective:

Got a special version of the Fucked Up 12" that is gonna be available for a grand total of 24 hours via the Chunklet site starting tonight at midnight. 30 copies. Similar sleeve to the test pressing, but it's white ink on a black jacket instead of silver.....Just to mess with record collectors. Any excess copies will be sold on eBay to benefit Doctors Without Borders.

Chunklet 'tweet' March 31 2011
To those that love Fucked Up and April Fool's Day, a special edn of 30 of the new "Coke Sucks" 12" is for sale TOMORROW ONLY!

Test Pressing Sleeve:
Silver lettering; otherwise same as April  Fools sleeve

Test Pressing:
Purple 'belly-button-fluff' colour splatter

''Bruises''

Bruises are a universal language...

Sleeve - Front
Sleeves are hand-screen printed on brown heavy-stock paper

Sleeve - Back

Vinyl:
Left: 'A' Side
Right: 'B' Side
Some labels are pure white, overs are cream coloured; one of each is shown above.

Sleeve - Folded Out
(Reverse is blank)

Stats:

General:
Tracks: 'A' Side - Fate of Fates / Police 'B' Side - Ban Violins / JTGA / Reset The Ride
Released: 2009
Label: Slowboy
Matrix A: BRUISES-A ...we will go and eat so much chocolate!... MMP VINYL
Matrix B: BRUISES-A ...bruises are a universal language... MMP VINYL

Pressing Info (Figures based on considered interpretation of conflicting information)
Black Vinyl

Total Press of 800:

600 in Brown 'regular sleeve'

100 in White 'show sleeve'

100 in Red 'mail-order sleeve' 

5 test presses

White Vinyl

Total Press of 50, Mixture of above sleeve colours, hand-stamped and numbered. Kept by label mostly for trading.

5 Test Presses

Inserts: 

No regular insert. Some have gig tickets from Düsseldorf show.

Variants: 
Brown Sleeve (Regular Sleeve)
White Sleeve (Show Sleeve - Sold at Fucked Up show in Düsseldorf, Dec 3 2009)
Red Sleeve (Mail Order Sleeve)
White Vinyl (For Trade) 

Sleeve Variants:
Top: Brown - Regular sleeve
Bottom Left: Red - Mail Order sleeve
Bottom Right: White - Show sleeve: Some copies come with the red 'insert' shown top left and right; these are tickets from the show at which the red-sleeve version was sold 

White Vinyl Variant:
White vinyl with pink(ish) swirl, white labels stamped as per the black vinyl version.
Mixture of sleeve colours.

White Vinyl Variant:
As above. The sleeves have the FU logo stamped on the reverse and are hand-numbered out of 50.

Notes:

Recorded live at Gleis 22, Münster.

From 'Münster Maritim' Tumblr:
Gleis 22, Münster (Jan 3 2007): This was one of the first shows of their second Euro tour. On this tour they came over with a complete lineup, unlike the first tour, where Damian had been replaced by the singer of Urban Blight. Also the “Bruises” live LP was recorded during this show. 

LFG Post (July 21 2009)
A few years ago we played a show in Munster Germany. It was the first time we ever got a hotel to stay at after the show. Plus the spread they gave us before the show still ranks with the best we've ever had. Before our set, I remember doing an interview with Ox Fanzine that took about 3 hours to do. We started before the show, had to move it into the van outside when the first band started, and then finished up just as we were about to play - you can hear sections of this interview on the 3rd Mixtape we did. It was funny and informative. That afternoon, or the next day, we had to take Damian to the hospital because he had some severe problems with his vocal chords - these were the days before we'd get him honey on every tour to leave on the floor of the van and never use, you see. Anyhow it was a busy day. We just got a board recording of the show, which was also notable because we set up behind a curtain that was dramatically pulled aside to reveal the band as we started into our first song. It was our first show in Germany with the full band (minus THE BEAV) and we all thought we played a pretty good show, but no one in the audience was doing anything - not moving, not singing, not really clapping. We were all confused when we had to do an encore after no one left at the end of our set. Some of the songs were a bit out of tune, I'm realizing now after listening to this recording but the set stands up, despite the old timey choice of songs.  It may one day get released on a 12" by some stand-stills in Germany.

German stand-stills at the Gleis 22 show - picture borrowed from Münster Maritim  

Sleeve Notes:

Jacobs Ladder (Image on Front of Sleeve)

Memento Mori? Image on Reverse of Sleeve & Ticket

Commodity Fetishism

Black Vinyl Test Pressing #04/05

White Vinyl Test Pressing #05/05

White Vinyl Test Pressing #05/05

''Year Of The Tiger''

So filled with sorrow, so filled with hate, otherwise empty, a relic of grace...

Sleeve - Front

Sleeve - Back

Vinyl - 'A' Side

Vinyl - 'B' Side

Inert - Front:
Tiger image by Rico White

Insert - Back:
Lyrics & credits

Stats: 

Tracks: Year Of The Tiger B/W ONNO
Year: 2012
Label: 
Matrix A: L-20653M-A OLE-974-1 ⓤ
Matrix B: L-20653M-B OLE-974-1 ⓤ
Pressing Info: 
TBA

Inserts:
Lyric sheet as above

Variants:
No variants



Notes:

Promotional info:
Since 2006, Fucked Up have been releasing an annual 12" single on each Chinese New Year. "Year Of The Tiger" is an anthemic progressive rock masterpiece featuring guests Jim Jarmusch, Annie-Claude Deschênes and Austra. The 15-minute long track features the band's familiar layers of guitar and roaring vocals, taken to a new level with the addition of piano, Jarmusch's dark recitations and Deschênes's gorgeous crescendos, in this menacing but uplifting story about the predation of predators. $1 from the sale of each record donated to the Save The Tiger fund.


It's about a Tiger (From Pitchfork review):
Total running time of Year of the Tiger: 37:35. Total running time of the Ramones' debut album: 29:04. Total running time of Nick Drake's Pink Moon: 28:22. Total running time of Fela Kuti's Expensive Shit: 24:13. Let's call this an album, OK? In any case, Fucked Up have been releasing long songs for each year of the Chinese Zodiac since 2006, although they're running a little behind at the moment. (The Year of the Tiger ended in February 2011; we've passed through the Rabbit Year and are now in the Dragon Year.)

Year of the Tiger is a pair of tracks that have been around for a while-- the band claimed to have finished the title song almost two years ago. It's the first music we've heard from the band in a while that doesn't have some formal connection to their David Comes to Life project. "Year of the Tiger" itself is a 15-minute song with a very long lyric (apparently by guitarist Mike Haliechuk) about an aging tiger approaching his death.

Julius Evola 'Tiger Riding'  reference from "Looking For Gold"

''Year Of The Ox''

I'm the ox who broke my chains, so I could fly away...

Sleeve - Front:
Merge Records Press

Sleeve - Back:
Merge Records Press

Vinyl - 'A' Side

Vinyl - 'B' Side

Lyric Sheet - Front:
Year of The Ox

Lyric Sheet - Back:
Solomons Song

Stats #1 - Merge: 

Tracks: Year Of The Ox B/W Solomon's Song
Year: 2010
Label: Merge Records
Matrix A MRG-391-A WG/NRP
Matrix B MRG-391-B WG/NRP

Pressing Info: 
First Pressing: 2175

Test Pressings: 5

(Thank you to Wilson Fuller for the pressing info!)

Inserts:
Lyric sheet as above

Stats #2 - Matador: 

Tracks: Year Of The Ox B/W Solomon's Song
Year: 2010
Label: Matador Records
Matrix A OLE947-1 BA13859-01 A1 MRG-391-A
Matrix B OLE947-1 BA13859-01 B1 MRG-391-B

Pressing Info: 
TBA

Inserts:
Lyric sheet same as Merge but slightly different paper

Variants:
1. Merge Press
2. Matador Press

Sleeve Front:
Matador Press (Top) has brighter print + different text at bottom

Sleeve - Back:
Matador Press (Top) has brighter print, different text at bottom and barcode sticker.

Label - 'A' Side:
Matador Press (Left) has different address on LHS 

Label - 'B' Side:
Different logos at top

Notes:

Promo Info (Merge Records): 

Recorded over 6 months by Jon Drew at Giant Studios in Toronto, Year of the Ox is the band's fourth record in the continuing 12 year cycle and adds to its evolving retinue of guest musicians. The patient and building Year of the Ox features Nika Rosa Danilova of Zola Jesus for a guest vocal passage and Toronto's string quartet, New Strings Old Puppets. The b-side "Solomon's Song", a gothic vampire love tribute to Twilight, features a 5 minute saxophone solo from Aerin Fogel of the Bitters and heavy synthing from Trust.


Solomons Song (LFG Post Aug 09 2010):
It's not really about vampires, but we told everyone that it was. What it's really about is sex, and we copped the lyrics straight from THE BIBLE. You can read them when you buy the record, ok?


An interpretation (From Guest Review on American Aftermath):
The A-side is the title track, which opens with a strings, both haunting and hollow sounding, repetitive and tense.

More weight on the back of the aging ox (Youtube screenshot)

The lyrics revolve around life of work-ox. Plugging ahead, never falling out of line. The riff plugs along with the ox whose days are all the same and has no identity beyond labor value. Over time, the need to increase productivity forces more weight onto the back of the aging ox and that increased tension is shown brilliantly through the music. But, like Boxer, the Ox “Will worker harder.”

The Ox displays self-awareness in the second verse where he realizes that “the turning world rests on my heels.” Economic progress is in the hands of the workers and by the fourth verse, the Ox realizes the tyranny of work and breaks free.

The freedom is not without pain as he looks back at the world he’s left. However, in the absence of the yoke, the Ox grows wings and flies away from the brutality of his masters. The strings return playing a celebratory tune of emancipation and promise for a better world.

The climax of the story takes place over the bridge where Abraham is joined by Nika Roza Danilova (AKA Zola Jesus), the haunting voice of freedom, whose clean female vocals contrast Abraham’s brutal intensity and collide before the Ox’s majestic declaration of independence from his masters.

The ox flies away and the track closes with the familiar strings.











Sleeve Notes:

Front: 'Ox Flying Away' by Susan Gale (No other info available - assumed to have been commissioned for the record)

Back: Les trésors de Satan (1895) by Jean Deville.

(From Wikipedia): During the last decades of the 19th century, many people in the West reacted to the materialism and hypocrisy of the period by developing an interest in esoteric, occult and spiritual subjects. The enthusiasm for these ideas reached its peak during the 1890s, the decade when the Belgian painter and writer Jean Delville was at the height of his powers.



Though Delville frequently wrote about his ideas, he almost never discussed his paintings. He left the interpretations to the viewer, and as a result his best pictures have an air of mystery and intrigue.

Satan’s Treasures depicts Satan with a wild, fiery head of hair and huge red tentacles instead of wings. Scarlet waves surround his left arm, as he presides over a river of unconscious men and women. The nude bodies of these figures appear orange and yellow in reproductions, but in the original they are a subtle mixture of acid pinks and yellows, highlighted with touches of green. They lie transfixed in the centre of a luxuriant coral reef, surrounded by coins, jewels and strange fish. Beyond the reef one can see vast vistas filled with jagged rock formations, and painted in shades of orange, yellow and brown. Though the full interpretation is again left to the viewer, it clear that Satan’s Treasures is not a traditional vision of hell. It reveals a fascination with decadence and the erotic which was typical of Péladan and the period in general. At the same time, as in the Portrait of Mrs. Stuart Merrill, there is probably an underlying theme of initiation.

Delville was a great admirer of Eduard Schuré’s The Great Initiates, and it could well be that Satan’s Treasures is inspired by an episode from the Initiation of Isis in Schuré’s book. In the relevant scene, Schuré describes the novice’s failure of an early test, the temptation of the senses. Wrapped in a dream of fire, the novice becomes drunk with the heavy perfume of a seductive woman, and later falls asleep, after wildly satisfying his desire. This failure is described by his hierophant as a fall into the abyss of matter.

Delville’s vast undersea world, ruled by Satan, is almost certainly an image of the material abyss. Satan, lord of the physical realm, presides over its sleeping inhabitants. Wrapped in delusion, the dreaming men and women are mesmerised by Satan’s spell, and trapped by their own desires. Satan’s “treasures” include not only their sensuality, but also their attraction to worldly riches, represented by the pearls, coins and corals which surround them. Above all, the entranced people themselves are the treasures of Satan.