Bantam Books second paperback printing, 1971.

Cop by Jack Karney. Cover art by Stanley Zuckerberg. 1952.

In titanic brawls, on historic benders, in roaring pursuit of good-looking dames, it was Machi vs. Hannegan—two lusty giants born to battle, mostly each other.
This time the stakes were a rich mine—and a coy, lush blonde named Lela.
Machi, the fabulous Finn, wanted both. And so did Hannegan, the crafty Irishman.
On a grand scale they connived and they plotted—and when they met, swinging fists and wrenches, the state of Montana shook with the echoes!

Cover art by Ron Walotsky.

Sabbath Assembly is a project put together by Dave Nuss of The No-Neck Blues Band and Jex Thoth of Wooden Wand & The Vanishing Voice et al in order to re-process the Gnostic hymns of The Process Church Of The Final Judgement. The Process were active in the late 60s and early 70s, with radical re-programming techniques that found their roots in Scientology, magickal thought, theosophy and psychedelic politics. Their theology was based around a reconciliation of Christ and Satan alongside the figures of Jehovah and Lucifer but they’re best remembered for their presence on the fringes of 60s psychedelic culture, their black robes and Alsatians, the appearance of their texts on a bunch of Funkadelic albums and their influence on Psychic TV, Coil et al.

According to Wikipedia, The Process were originally a splinter client cult offshoot of scientology. The couple that founded the group (Robert DeGrimston/Moor, known as “The Teacher” and Mary Ann MacLean, “The Oracle”) were divorced in the 70’s, at which point Mary Ann and others started The Foundation Church of the Millennium, which later became The Foundation Faith of the Millennium, and even later morphed into The Best Friends Animal Shelter. For further reading, here’s a full timeline of The Process in PDF form.

The Sabbath Assembly LP is available directly from the label.

Cover for the new (Penguin Classics)RED edition of Conrad’s The Secret Agent, designed by Coralie Bickford-Smith.

Cover by Adrian Chesterman.

Remarkably still available here.

Lo-ball retardo sludge with “found” vocals on top. Or something.