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Artist: ANGAIAK, JOHN
Title: Im Lost in the City
Format: CD
Label: Future Days
Country: USA
Price: $17.00
"Officially licensed reissue. Featured on Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. Remastered from the original analogue master tapes. Expanded gatefold edition with John Angaiak painting. Im Lost in the City (1971) is the sole vinyl LP offering from Yupik singer-songwriter, John Angaiak. Born in Nightmute, Alaska, in 1941, Angaiak began playing guitar at a young age, quickly learning the basics before serving in the U.S. Armed Forces. Stationed in Vietnam and far away from home, Angaiak forged an astute outlook on his region, his country, and the world itself. Upon his return, Angaiak enrolled in the University of Alaska, Fairbanks, where he became active in the preservation of his native language as part of the schools Eskimo Language Workshop. Inspired by the programs work and a friendship with music student Stephen Halbern, Angaiak recorded Im Lost in the City, a project that helped to document and promote the previously oral Yupik language into a written one through a series of songs. Each side of the album, which showcases Johns intimate vocal and guitar style, shares a part of Angaiaks culture and history: Side One is sung in Yupik, while the material on Side Two is delivered in English. Both are equally emotional, deeply personal and extremely affecting. Over 13 songs, Angaiak speaks to his community and also to the world. Aka Tamaani, for one, became a regional hit in Alaska and reached as far as Greenland where Angaiak later performed in concert. Though Im Lost in the City garnered a small mention in industry bible Billboard, regardless of the albums cultural value, it sold poorly outside of Alaska and other northern communities, never finding a broader audience. In addition to his work as a painter and author, Angaiak is a proud family man and a source of great knowledge of his people and the changes they have faced over the years, shifting from a subsistence hunting, fishing, and sharing lifestyle to an increasingly urban influenced cash-based existence. An important statement on indigenous life and the human condition, Im Lost in the City showcases Angaiaks first hand perspective on this challenging transition, something that we can all learn a great deal from." - Future Days.

Artist: ANGAIAK, JOHN
Title: Im Lost in the City
Format: LP
Label: Future Days
Country: USA
Price: $44.00
"Officially licensed reissue. Featured on Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. Remastered from the original analogue master tapes. Expanded gatefold edition with John Angaiak painting. Im Lost in the City (1971) is the sole vinyl LP offering from Yupik singer-songwriter, John Angaiak. Born in Nightmute, Alaska, in 1941, Angaiak began playing guitar at a young age, quickly learning the basics before serving in the U.S. Armed Forces. Stationed in Vietnam and far away from home, Angaiak forged an astute outlook on his region, his country, and the world itself. Upon his return, Angaiak enrolled in the University of Alaska, Fairbanks, where he became active in the preservation of his native language as part of the schools Eskimo Language Workshop. Inspired by the programs work and a friendship with music student Stephen Halbern, Angaiak recorded Im Lost in the City, a project that helped to document and promote the previously oral Yupik language into a written one through a series of songs. Each side of the album, which showcases Johns intimate vocal and guitar style, shares a part of Angaiaks culture and history: Side One is sung in Yupik, while the material on Side Two is delivered in English. Both are equally emotional, deeply personal and extremely affecting. Over 13 songs, Angaiak speaks to his community and also to the world. Aka Tamaani, for one, became a regional hit in Alaska and reached as far as Greenland where Angaiak later performed in concert. Though Im Lost in the City garnered a small mention in industry bible Billboard, regardless of the albums cultural value, it sold poorly outside of Alaska and other northern communities, never finding a broader audience. In addition to his work as a painter and author, Angaiak is a proud family man and a source of great knowledge of his people and the changes they have faced over the years, shifting from a subsistence hunting, fishing, and sharing lifestyle to an increasingly urban influenced cash-based existence. An important statement on indigenous life and the human condition, Im Lost in the City showcases Angaiaks first hand perspective on this challenging transition, something that we can all learn a great deal from." - Future Days.

Artist: FAMILY OF APOSTOLIC
Title: s/t
Format: LP
Label: Future Days
Country: USA
Price: $12.00
"Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. “You had to do the creation ahead of time, which is not my idea of a good time,” he says now. "You had all this stuff to play with, and you werent allowed to play with it.” When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, “everybody”. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create “primitive performance art” from surrealist happenings. "The idea of Apostolic was that the whole operation was a family,” says Townley. “Anybody could do anything if they participated.” Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townleys desire for each song to be “like just a natural happening. We were trying to get a very close, upfront, live feeling.” Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrixs multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curates egg, but one filled with delights. Opening track Redeemer asks, "O say, are you a true believer?” By the time youve listened to our deluxe reissue, you will be." - Future Days.

Artist: FAMILY OF APOSTOLIC, THE
Title: s/t
Format: Double LP
Label: Future Days
Country: USA
Price: $31.00
Double LP version housed in a deluxe gatefold tip-on jacket and limited to 1000 copies. "Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. “You had to do the creation ahead of time, which is not my idea of a good time,” he says now. “You had all this stuff to play with, and you werent allowed to play with it.” When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, “everybody”. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create “primitive performance art” from surrealist happenings. “The idea of Apostolic was that the whole operation was a family,” says Townley. “Anybody could do anything if they participated.” Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townleys desire for each song to be “like just a natural happening. We were trying to get a very close, upfront, live feeling.” Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrixs multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curates egg, but one filled with delights. Opening track Redeemer asks, “O say, are you a true believer?” By the time youve listened to our deluxe reissue, you will be." - Future Days

Artist: FAMILY OF APOSTOLIC, THE
Title: s/t
Format: CD
Label: Future Days
Country: USA
Price: $17.00
"Apostolic was many things: a label, a collective, a state of mind even. But before all of that, it was a recording studio set up by New Yorker John Townley. As a member of the Magicians, (you recognize that name from the Nuggets albums), Townley worked in some of the finest studios in the USA, but he felt he was on a conveyor belt. You had to do the creation ahead of time, which is not my idea of a good time, he says now. You had all this stuff to play with, and you werent allowed to play with it. When Townley came into an $85,000 inheritance he immediately invested in a loft building on 10th Street, New York, against the advice of, well, everybody. But there were fellow believers. Friends Matt Hoffman and Michael and Danny Weiss, heirs to the Weiss jewelry fortune, helped assemble the studio, which was built to bleeding-edge specifications and even had a 12-track recorder. Soon, it was attracting likeminded souls such as Frank Zappa, whose Mothers Of Invention recorded several landmark LPs at Apostolic. But the greatest example of the output of this artistic community is the sprawling double LP The Family of Apostolic. A utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera, it was made by a cast of 19, bonded by a desire to create primitive performance art from surrealist happenings. The idea of Apostolic was that the whole operation was a family, says Townley. Anybody could do anything if they participated. Despite the possibilities opened up by the studio and the chance to treat the desk as an instrument, The Family Of Apostolic is nonetheless a folk record at heart, and sounds downright spare in places. The experimentation was there in subtle ways, per Townleys desire for each song to be like just a natural happening. We were trying to get a very close, upfront, live feeling. Released under a deal with Vanguard, the rambling album proved too difficult to market. Singles were released under different artist names, serving only to confuse the public more. Soon the studio was heading down the tubes, thanks in part to Jimi Hendrixs multi-track studio Electric Lady opening two blocks away. And before long, the Apostolic dream was over. The album remains a curates egg, but one filled with delights. Opening track Redeemer asks, O say, are you a true believer? By the time youve listened to our deluxe reissue, you will be." - Future Days.

Artist: GOLDBERG
Title: Misty Flats
Format: CD
Label: Future Days
Country: UK
Price: $17.00
"Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed. In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didnt know where it was heading, it was the fumes of Watergate days, says Goldberg now. Id just left my band, and I didnt know where I was heading either. And thats what Misty Flats represents: neither high road nor low, but somewhere in between. Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: I wanted to make the first punk rock album, and if Id recorded those songs with a band, maybe thats what it wouldve been, Goldberg says. The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LPMicrominiature Love, playing guitar, bass, harmonica, and vocals between them. In it, we hear echoes of Goldbergs childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. Hollywood and Stars In The Sand dream of LA life, where Pop And Ice has a narrative straight from hard-edged 70s cinema about a drummer whos drafted into the army. Never Came To Stay details his return to Minneapolis, where he remains to this day, working as an administrator for the Minnesota Twins baseball team. Back in 74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and GoldbergsMisty Flats, which was pressed in a run of just 500. We were into art, not commerce, notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day;Misty Flats, however, is finally widely available in this first-ever reissue." - Future Days.

Artist: GOLDBERG
Title: Misty Flats
Format: LP
Label: Future Days
Country: UK
Price: $24.00
Pressed on 180-gram vinyl and housed in deluxe tip-on gatefold jacket. Includes download code. "Barry Thomas Goldberg was 23 in 1974, the year his Minneapolis power pop group, The Batch, split up. Rudderless, he set about recording solo album Misty Flats, and though few would hear it in its day, he hit on something very special indeed. In 1974, the world was weary, the Vietnam War was ending, America was at this place where it didnt know where it was heading, it was the fumes of Watergate days, says Goldberg now. Id just left my band, and I didnt know where I was heading either. And thats what Misty Flats represents: neither high road nor low, but somewhere in between. Where The Batch were a harmony-drenched power pop band in the mold of Big Star and The Rubinoos, Misty Flats was an album of ecstatic desolation, an unhinged loner-folk gem that came from a unique place: I wanted to make the first punk rock album, and if Id recorded those songs with a band, maybe thats what it wouldve been, Goldberg says. The album was, instead, recorded in mono in a two-day recording binge on a two-track Ampex tape machine. It features just Goldberg and his friend Michael Yonkers, author of the cult 1968 LPMicrominiature Love, playing guitar, bass, harmonica, and vocals between them. In it, we hear echoes of Goldbergs childhood in Las Vegas, where trips to the movies were surrogate babysitters for his single mother. Hollywood and Stars In The Sand dream of LA life, where Pop And Ice has a narrative straight from hard-edged 70s cinema about a drummer whos drafted into the army. Never Came To Stay details his return to Minneapolis, where he remains to this day, working as an administrator for the Minnesota Twins baseball team. Back in 74, Yonkers had crushed several vertebrae at work and used his payoff to fund five albums: four of his own and GoldbergsMisty Flats, which was pressed in a run of just 500. We were into art, not commerce, notes Goldberg now, but at the time he was frustrated his album was allowed to drift off into obscurity. Goldberg forged ahead to record a 24-track rock album called Winter Summer which languishes in the vault to this day;Misty Flats, however, is finally widely available in this first-ever reissue." - Future Days.

Artist: LOON, MORLEY
Title: Northland, My Land
Format: CD
Label: Future Days
Country: USA
Price: $17.00
"Officially licensed reissue. Includes NDoheeno as featured on Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 . Expanded gatefold edition featuring Cree language lyrics and translation and unseen photos. Remastered from the original analogue master tapes Northland, My Land is the full-length vinyl debut from Cree singer-songwriter, actor, and force of nature, Morley Loon (1948?1986). Born in Mistissini, Quebec, Loon became active in music at an early age. Drawing from his Cree culture, language, and environment, Loon developed an organic style that inspired many Indigenous musicians. News of his talent even reached producers at the Canadian Broadcasting Corporation (CBC) in the late 1970s. Two 7" EPs of original Cree language compositions were laid down first and later compiled into the Northland, My Land album, which was released to the public in 1981. Accompanied by percussion and flute, Loon taps into a spiritual place with this material, achieving a transcendent quality rarely heard in music. NDoheeno, which translates to The Hunter reflects the hunting and gathering traditions of Loons people and region. If you close your eyes and absorb the musics pulse (even without knowledge of Cree), its easy to visualize the subject of this mesmerizing song. In this quote from the original Northland, My Land liner notes, we learn more: The call of the loon--haunting, evocative, across northern lakes and rivers, has been chosen as a signature effect by Morley Loon in his first recorded appearance. Morley and his people are close to the land and to the wildlife as part of the dominant theme of nature itself. The people have great respect for the wild creatures which they hunt, but on which they also depend. This closeness to the natural world is reflected in sentiments expressed in Cree about the traditional pursuits of the Indian. Though a strict traditionalist who wore his hair and clothes in accordant fashion, Loon was also a seasoned road warrior, performing across Canada, the United States, and Europe. He approached things with a special joy, celebrating and promoting his Cree culture to all. Loon was active as a musician until his untimely cancer-related death in 1986. We are honored to help share Morleys music with the world." - Future Days.

Artist: LOON, MORLEY
Title: Northland, My Land
Format: LP
Label: Future Days
Country: USA
Price: $32.00
"Officially licensed reissue. Includes NDoheeno as featured on Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 . Expanded gatefold edition featuring Cree language lyrics and translation and unseen photos. Remastered from the original analogue master tapes Northland, My Land is the full-length vinyl debut from Cree singer-songwriter, actor, and force of nature, Morley Loon (1948?1986). Born in Mistissini, Quebec, Loon became active in music at an early age. Drawing from his Cree culture, language, and environment, Loon developed an organic style that inspired many Indigenous musicians. News of his talent even reached producers at the Canadian Broadcasting Corporation (CBC) in the late 1970s. Two 7" EPs of original Cree language compositions were laid down first and later compiled into the Northland, My Land album, which was released to the public in 1981. Accompanied by percussion and flute, Loon taps into a spiritual place with this material, achieving a transcendent quality rarely heard in music. NDoheeno, which translates to The Hunter reflects the hunting and gathering traditions of Loons people and region. If you close your eyes and absorb the musics pulse (even without knowledge of Cree), its easy to visualize the subject of this mesmerizing song. In this quote from the original Northland, My Land liner notes, we learn more: The call of the loon--haunting, evocative, across northern lakes and rivers, has been chosen as a signature effect by Morley Loon in his first recorded appearance. Morley and his people are close to the land and to the wildlife as part of the dominant theme of nature itself. The people have great respect for the wild creatures which they hunt, but on which they also depend. This closeness to the natural world is reflected in sentiments expressed in Cree about the traditional pursuits of the Indian. Though a strict traditionalist who wore his hair and clothes in accordant fashion, Loon was also a seasoned road warrior, performing across Canada, the United States, and Europe. He approached things with a special joy, celebrating and promoting his Cree culture to all. Loon was active as a musician until his untimely cancer-related death in 1986. We are honored to help share Morleys music with the world." - Future Days.

Artist: LOON, MORLEY
Title: Northland, My Land
Format: LP
Label: Future Days
Country: USA
Price: $12.00
"Northland, My Land is the full-length vinyl debut from Cree singer-songwriter, actor, and force of nature, Morley Loon (1948–1986). Born in Mistissini, Quebec, Loon became active in music at an early age. Drawing from his Cree culture, language, and environment, Loon developed an organic style that inspired many Indigenous musicians. News of his talent even reached producers at the Canadian Broadcasting Corporation (CBC) in the late 1970s. Two 7” EPs of original Cree language compositions were laid down first and later compiled into the Northland, My Land album, which was released to the public in 1981. Accompanied by percussion and flute, Loon taps into a spiritual place with this material, achieving a transcendent quality rarely heard in music. “NDoheeno,” which translates to “The Hunter” reflects the hunting and gathering traditions of Loons people and region. If you close your eyes and absorb the musics pulse (even without knowledge of Cree), its easy to visualize the subject of this mesmerizing song. In this quote from the original Northland, My Land liner notes, we learn more:
The call of the loon—haunting, evocative, across northern lakes and rivers, has been chosen as a signature effect by Morley Loon in his first recorded appearance. Morley and his people are close to the land and to the wildlife as part of the dominant theme of nature itself. The people have great respect for the wild creatures which they hunt, but on which they also depend. This closeness to the natural world is reflected in sentiments expressed in Cree about the traditional pursuits of the Indian. Though a strict traditionalist who wore his hair and clothes in accordant fashion, Loon was also a seasoned road warrior, performing across Canada, the United States, and Europe. He approached things with a special joy, celebrating and promoting his Cree culture to all. Loon was active as a musician until his untimely cancer-related death in 1986. We are honored to help share Morleys music with the world." - Future Days.

Artist: PEACOCK, ANNETTE
Title: Im The One
Format: LP
Label: Future Days
Country: USA
Price: $26.00
"Im The One, you dont have to look any further. Im The One. Im here, right here for you, oozes jazz, rock, and electronic music pioneer Annette Peacock on the leadoff title track of her solo debut LP. The albums wide range of vocal emotions and diverse sonic palette (featuring Robert Moogs early modular synthesizers, which the singer actually transmitted her voice through to wild effect) places it firmly at the forefront of the pop avant-garde. Originally released by RCA Victor in 1972 to widespread critical acclaim, Im The One found itself amongst good company. Both Lou Reed and David Bowie had recently signed to the label--Bowie in particular was enamored with Annette--and artists ranging from ex-husband and jazz great Paul Bley, along with notable Brazilian percussionists Airto Moreira and Dom Um Romao, guested on the album itself. Writing and arranging Im The Ones nine passionate tracks--bar a unique cover of Elvis Presleys Love Me Tender-- the disc grooves easily from free jazz freak-outs and rough and rugged blues-funk to gently pulsing synthesized bliss. The second release on our Future Days Recordings imprint, Im The One is returning to better record shops on CD and LP formats, re-mastered from the original tapes with an insert containing beautiful unseen photos from the vaults of Sony Music and extensive liner notes from NYC-based writer and musician, Mikey IQ Jones. An extension of Annettes late 1960s work with her Bley-Peacock Synthesizer Show combo, Im The One is filled with strength and power, as well as a tender, sensual, and seductive side, born of a life surrounded with music and culture. Composing by age four, Peacocks mother was a professional violinist. By the early 1960s, Annette had also collaborated with first husband, jazz bassist Gary Peacock and toured with legendary saxophone player Albert Ayler. Studying under Zen macrobiotics educator Michio Kushi and a confidant to Timothy Leary at the Millbrook psychedelic center, Peacock later worked, post-Im The One, with rock stalwarts like guitarists Mick Ronson and Chris Spedding, Yes/King Crimson drummer Bill Bruford, as well as surrealist artist Salvador Dali. Light years ahead of her early 1970s contemporaries in terms of individuality and uncompromising vision, the album makes todays major label computer generated fabrications an embarrassment to listeners worldwide. Still to this day, Annette remains a passionate advocate, an enigma caught between the peace and love vibrations of a hippy counterculture and the more worldly intelligence of the modern age. Her records continue to influence and inspire, and with Im The One finally back on the shelves, countless new jacks on the scene can scope its liner notes and bear witness to its brilliance. Hand-numbered edition of 1000 copies. Gatefold LP version with 18"x24" poster." -Future Days.

Artist: THRASHER, WILLIE
Title: Spirit Child
Format: LP
Label: Future Days
Country: USA
Price: $22.00
"Spirit Child is the debut LP from Inuk singer-songwriter Willie Thrasher. Thrasher was born in Aklavik, a hamlet located in the Inuvik region of the Northwest Territories, Canada, in 1948. At five years of age, Thrasher was taken from his family and sent to a residential school where he was forbidden to practice his Inuvialuit culture, a shameful initiative by the Canadian government to assimilate Indigenous people into mainstream society. Music was a way for Thrasher to escape the pain and longing. In the mid-1960s, Thrasher drummed for The Cordells, one of the first Inuit rock bands. One evening, a stranger recommended that the group tap into their Aboriginal roots instead of the charts for inspiration. This prompted Thrasher to take up the guitar and write songs about his life, people, and the environment. Despite losing a portion of his left middle finger in a work accident, Thrasher became a musical vagabond, travelling across Canada and the United States throughout the 1970s and well into the 1980s meeting many other First Nations, Métis, and Inuit musicians. Spirit Child was released by the Canadian Broadcasting Corporation (CBC) in 1981 and provided a further opportunity for Thrasher to reconnect with his Native heritage and share this love and understanding with people from other cultures. Silent Inuit became a northern hit for Thrasher, but with limited commercial support and little promotion outside of northern communities, the album eventually fell to the wayside. Today, Thrasher lives in the town of Nanaimo, B.C., where he performs as a city sanctioned busker with his partner Linda Saddleback. The global attention garnered by Light In The Attics Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 has led to recent performances at the Austin Psych Fest and Levitation Vancouver. Wherever he may be, Willie Thrasher is a trailblazing troubadour with an Indigenous heartbeat sound. Let Spirit Child open your ears, heart, and mind to a new folk-rock reality." - Future Days.

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label