Cerca:a morgan

VERY VERY LTD DELUXE CLOTH BOUND GATEFOLD SLEEVE RED VINYL EDTION, 2LP W/ DLC! "The first three songs alone are like love at first hearing." - Deluxe 2xLP clothbound sleeve edition of 'Car Button Cloth', featuring Lemonheads classics 'If I Could Talk I'd Tell You' and 'The Outdoor Type'. This reissue includes the original record alongside a whole extra LP of rarities and unreleased cuts, continuing Fire Records in-depth series of reissues from the legendary band. 'Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning "the most beautiful piano-led mourning in the history of the broken heart" that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic 'The Outdoor Type', penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard 'Knoxville Girl' and 'If I Could Talk I'd Tell You' co-written with The Vaselines' Eugene Kelly. All bases are covered. To further unravel where Evan's head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan's thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released 'Arise', originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album 'Baby I'm Bored'. "One of the most distinctive voices of the '90s" The New York Times

"Flowerdust" is a very classic gothic rock album with all its gothic rock attributes, yet with
a very dynamic sound. Catherines Cathedral managed to combine very aggressive rock
(hardcore punk almost) hand in hand with piano and acoustic guitar ballads. Because of the
sometimes massive use of keyboards there is also a New Age feel and the urge to make
intelligent and thoughtful music, almost poetry is ever present.
Catherines Cathedral was formed by M. Valley, S. Morgana and D. Hansevi in 1992 with the
plan to play gothic rock. They almost immediately recorded what would later become
"Flowerdust", the album that Preachers Cath Records would release in 1993 and then again
digitally in 2015. The album impressed many others and they moved to House Of Kicks
Records and Noxious Records.

Enigmatic Melbourne instrumental groupThe Pro-Teenspay tribute to late great rapper MF DOOM, reimagining 14 iconic cuts through a cinematic soul lens.

The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions ofPeachfuzz b/w One BeerandDoomsday b/w Curls.

BBC 6 Music - Gilles Peterson

BBC 6 Music - Huey Morgan

BBC 6 Music - New Music Fix

WNXP Nashville - Dan Digs

Enigmatic Melbourne instrumental groupThe Pro-Teenspay tribute to late great rapper MF DOOM, reimagining 14 iconic cuts through a cinematic soul lens.

The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions ofPeachfuzz b/w One BeerandDoomsday b/w Curls.

BBC 6 Music - Gilles Peterson

BBC 6 Music - Huey Morgan

BBC 6 Music - New Music Fix

WNXP Nashville - Dan Digs

The 1960 edition of the Art Blakey & The Jazz Messengers was one of the band’s greatest line-ups with the drummer joined by trumpeter Lee Morgan, saxophonist Wayne Shorter, pianist Bobby Timmons and bassist Jymie Merritt. Opening with a sublimely swinging version of the title track, the rest of Like Someone In Love presented originals by Morgan and Shorter. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Andrew Hill’s 1968 album Grass Roots stands as one of the most immediately accessible albums in the pianist’s beguiling Blue Note discography. Featuring Lee Morgan, Booker Ervin, Ron Carter, and Freddie Waits, this set of five Hill originals is imbued with a deep sense of feeling, groove, and lyricism. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Sourcing rare records to reissue can involve meticulous research and years of digging, but then occasionally, Lady Luck smiles upon you. We probably would have never heard of the Medium Wave Band if Gary from Mr Bongo hadn't known Wolverhampton-based record dealer, Steve Ward. Whilst offering Gary some records for sale, he remembered he had a spare copy of an old 7" single that he thought Gary might like. Steve didn't know much about the release, and it had never sold on Discogs. Looking at the record itself, it was minimalist in appearance and information, there wasn't much to go on other than that it was from the Birmingham area. The mystery drew us in…

The A-side, 'So Tender’, is a late-night, jazzy slow-jam, with beautifully sultry, soulful female vocals which sounded vaguely familiar. On listening to the B side, 'Games (Instrumental)’, you are rewarded with a superb example of Britfunk / independent UK jazz-funk. The pulsating, bass-led dancefloor groove and sensibility is a sound reminiscent of productions usually found on labels such as Elite, but the 7” was not released on a label, it was a private press by the band themselves. So who are the enigmatic The Medium Wave Band?

After some fruitful internet digging and correspondence, we got the answers. The band lineup featured Elliot Browne on guitar (lead & rhythm), Ron Lyseight on guitar (rhythm), Andrew Proverbs on keyboards, Tony Peart on drums, Paul Snook on bass, Linton Levy on saxophone, and surprisingly, the beautiful vocals we had been enjoying were those of Jackie Graham, aka the hugely successful UK vocalist, Jaki Graham. Maybe best known for her pop hit with David Grant, 'Could It Be I'm Falling In Love', but also featuring on the cult classic track 'Fire In My Heart' by Escape From New York.

Influenced by artists and bands including George Benson, Ronnie Laws, Weather Report, George Duke, Azimuth and Chick Corea to name a few, the guys booked into a studio near the Botanical Gardens in Birmingham and recorded the two tracks that make up this 7”. Only 200 copies of the original 7" were ever pressed and were sold mostly in Birmingham at Summit Records by the band’s friend DJ Frenchi, as well as at live shows. Despite its limited distribution channels, the record received solid support from fans and those in the music industry, including Morgan Khan of the influential record label, Street Sounds. DJ and journalist, Lindsay Wesker, reviewed the release and this led to the band travelling to London for several radio interviews. They played live shows across the country, including at the prestigious Ronnie Scott's in London, and supported both Shakatak and Weapon of Peace in Birmingham.

Thanks to all those involved bringing this release into fruition and for solving the mystery behind a wonderful Britfunk and UK soul record that could have otherwise been lost in the mists of time.

In the crowded field of contemporary jazz AuB stands out on first listen. Reinventing the classic twin-tenor line up for the 21st century is a tough proposition, but top-flight UK virtuosi Alex Hitchcock and Tom Barford are more than equal to the task, not so much reviving the format as turning it inside out and upside down. For their brand new collection "Folk Devils" the two horns dance and dialogue over the scintillating team of Danish bassist Jasper Hoiby and French drummer Marc Michel in a series of compositions that perfectly balance complexity with powerful melody, drama with intimacy, angular post-funk with sombre, spacey beauty.

Hank Mobley was inspired by Birth of the Cool on his 1966 album A Slice of the Topfeaturing Duke Pearson’s arrangements for an octet that added euphonium and tuba to a group with James Spaulding on alto sax, Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

The Kings of Northern Hyperblast wear the crown once more with pride: “In The Arms Of Devastation” is a monster of an album that strongly reaffirms KATAKLYSM´s pole position in the world of extreme Metal. Produced by the man himself, KATAKLYSM guitarist J-F Dagenais, “In The Arms Of Devastation” received its accolade through the mixing of mastermind Tue Madsen at the Danish Antfarm Studios. Their 8th album shows the band at its best after a long journey of evolution through the folds of all things brutal, technical, extreme and, most of all, heavy! All the trademarks we love so much about KATAKLYSM bare their teeth in the indeed devastating nine tracks of “In The Arms Of Devastation”. “Like Angels Weeping The Dark” is a killer of an opener and guaranteed to tear the whole place to pieces, whilst the slow, grinding and almost doomy “Crippled And Broken” is the tank that will flatten the remains of the wreckage. “It Turns To Rust” is a first in the band’s history: the first time vocalist Maurizio Iacono has ever recorded a duet for KATAKLYSM. Together with KITTIE singer Morgan Lander he turns the track into a fierce duel loaded with screams and growls from hell. A lesson in violence – just like the whole album, so prepare for total devastation, prepare for the return of the mighty KATAKLYSM!

1993 progressive acid house produced by the prolific and elusive Will Brunner. To date the only release from Shimmer records and almost impossible to find second hand. Features four diverse mixes which have been remastered by ManMade.

John Prine's 2016 album, For Better, Or Worse, available on vinyl from Oh Boy Records.

Featured artists include Miranda Lambert, Amanda Shires, Kacey Musgraves, and Susan Tedeschi.

Am 19. November 1984 wurde „Unter falscher Flagge“, das zweite Album der Toten Hosen, veröffentlicht. Um diesen 40. Geburtstag gebührend zu feiern, erscheint am 15.11.2024 „Unter falscher Flagge 1984 – 2024: Die 40 Jahre-Jubiläumsedition“ in opulenter Ausstattung mit 16 Bonustracks, drei davon bislang unveröffentlicht!

Nachdem die Band mit ihrer gerade mal ein Jahr zuvor rausgekommenen Debüt-LP 1983 in erster Linie in der Punkszenen für Aufsehen sorgte, wurde die zweite Scheibe auch erstmals von der sich seriös gebenden Musikpresse wahrgenommen. Für viele, die gehofft hatten, dass sich der Spuk mit der Düsseldorfer Radautruppe schnell wieder von selbst erledigen würde, gab es ein bitteres Erwachen. Die Hosen hatten hörbar die immer noch rudimentären Kenntnisse ihrer Instrumente erweitert, kaschierten das mit aggressiver Spielfreude und deutlich mehr durchgetretenem Gaspedal als noch auf dem Erstlingswerk.

Dadurch und unzählige wilde Konzerte in immer voller werdenden Clubs zementierten sie allmählich ihren Ruf als chaotische aber ernstzunehmende Band.

„Unter falscher Flagge 1984 – 2024: Die 40 Jahre-Jubiläumsedition“ erscheint in einer aufwendigen, auf 7.000 Exemplare limitierten und nummerierten Auflage. Das Hardcover-Gatefold-Deluxe-Book enthält das Album als 180g-Vinylschallplatte und CD sowie eine Bonus-CD mit 16 Bonustracks, die rund um die Original-Veröffentlichung auf Singles, Maxis und diversen Demos erschienen. Die Demoversionen von „Shake Hands“, „Betrunken im Dienst“ und „Der Mord an Vicky Morgan“ wurden erstmals aus den Untiefen des DTH-Archives exklusiv für diese Jubiläums-Edition ausgegraben!

Das aufwendig gestaltete Booklet im LP-Format enthält auf satten 32 Seiten eine Vielzahl bislang unveröffentlichter Fotos, historisch wertvoller Presseartikel und weitere Schmuckstücke aus der Sammlung der beteiligten Musiker. Darüber hinaus steht die Band Kolja Podkowik, einem der weltweit renommiertesten Tote Hosen-Sachverständigen, in einem langen, intensiven und ungeschminkten Interview Rede und Antwort über die Geschehnisse rund um den langsamen Aufstieg der fünf Düsseldorfer Glücksritter.

CD1
1. Spiel mir das Lied vom Tod
2. Liebesspieler
3. Letzte Wache
4. Der Abt von Andex
5. Der Mord an Vicky Morgan
6. Im Hafen ist Endstation
7. Unter falscher Flagge
8. Sekt oder Selters
9. Der Schandfleck
10. Betrunken im Dienst
11. Shake Hands
12. Warten auf Dich
13. Im Hafen ist Endstation 2

CD2
1. Spiel mir das Lied vom Tod
2. Es ist vorbei
3. Till To The Bitter End
4. Seafever
5. Hofgarten
6. Hip Hop Bommi Bop
7. Faust in der Tasche
8. Head Over Heels
9. La Historia Del Pescador Pepe
10. Schöne Bescherung
11. Vom Surfen und vom Saufen
12. Der Schandfleck - Demo
13. Unter falscher Flagge - Demo
14. Shake Hands - Demo
15. Betrunken im Dienst - Demo
16. Der Mord an Vicky Morgan - Demo

- 140G schwarzes Vinyl inklusive Einleger und Downloadkarte

Nach der Veröffentlichung von 'POPtical Illusion' Anfang des Jahres kündigt John Cale die Wiederveröffentlichung seines Album-Klassikers 'The Academy in Peril' für den 15.11.2024 an!

Das Album wurde von Heba Kadry neu gemastert und es ist die erste von Cale Künstler autorisierte Neuauflage des beliebten Albums. "The Academy in Peril" enthält enthält den Bonustrack "Temper" und wird auf CD, Vinyl und digital erhältlich sein.

"Das Wiederaufgreifen von Werken aus der Vergangenheit ist für mich ein zweischneidiges Schwert. Natürlich ist das unvermeidlich, wenn man seit 60 Jahren oder so Musik macht. Das Besondere an diesem Prozess bei Domino ist, dass sie es richtig machen wollen. Es geht nicht darum, etwas nur wegen eines Jubiläums neu aufzulegen oder einen Katalogfavoriten zu sammeln, sondern darum, neue Schätze zu finden und das hervorzuheben, was sie ursprünglich besonders gemacht hat. Nachdem ich die Testpressungen gehört hatte, kam mir der Gedanke, dass das neue Mastering einen wesentlichen Teil der Präsentation dieser Werke ausmacht, anstatt sie einfach nur zu konservieren. Es gibt Momente der Klarheit und sogar den einen oder anderen Lacher, wenn man nicht nur die Musik, sondern auch die Sessions (und Possen) Revue passieren lässt, aus denen diese beiden Aufnahmen entstanden sind. Es ist mir eine Freude, diese mit Ihnen zu teilen . . wieder." - John Cale, September 2024

Paquito D’Rivera's - NEA Jazz Master, multiple Gramm winner, Downbeat Hall of Fame Inductee - gained worldwide attention as member of the Grammy Award winning Cuban group Irakere, a revolutionary ensemble co-founded with Chucho Valdés in the early 1970s. Blending Afro-Cuban rhythms and jazz, the band was a seminal force and marked a new era in Cuban music. His defection to the United States in 1980 was a turning point, as he became an ambassador of Latin jazz around the world, fusing cultures and genres effortlessly.

A decade into his new status, D’Rivera entered a New York studio to record an homage to Bebop.

He enlisted Grammy award winner and Dizzy Gillespie alum James Moody, distinguished straight ahead jazzers Mark Morganelli, Harvey Swartz and Al Foster, and major Latin-jazz players of the day Claudio Roditi, Danilo Perez, and Pedrito Lopez. While his intentions may have been to make an album like “Monk, Bird, and Dizzy” as he states in the liner notes, the results here are undeniably in D’Rivera’s signature style.

The album features a mix of original compositions from featured players, alongside the ensembles take on Coltrane’s “Giant Steps”, and Monks “I Mean You,” all delivered with D’Rivera’s unique perspective and deep understanding of traditional jazz and Latin music traditions.

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)

The two separate double vinyl sets are now available that correlate to the triple CD released earlier this year. TMTCH stumbled into existence onstage at the Alternative Country Festival, Electric Ballroom, Camden on Easter Sunday in 1984; after a long afternoon busking and drinking in a Hammersmith subway. They knew three chords and a hundred songs all of which sounded a bit the same, a frenzied skiffle that was exciting to jump around and drink snakebite to. If they thought about longevity at all, a lifespan of 40 days seemed most likely. It's forty years later and they are still running. Since those early days, and without much of a game plan other than always stepping onward, TMTCH have released around 20 albums plus many side projects, bootlegs, curios and an unknown number of T shirts. They've toured constantly, whether in dingy pub backrooms or Grand Ballrooms and Festival Stages. From Cairo to Reykjavik and all points in between, the TMTCH roadshow has shambled and thrilled through the decades, always passionate, always literate, occasionally dishevelled. Forty years of recording has spawned a vast back catalogue, well represented here by songs from each album, style and era; a tapestry of human stories and vibrant characters. So there are the fast sprints like early folk hoedown 'Ironmasters', the frantic shanty 'Raising Hell' and the amphetamine punk blues of 'Going Back to Coventry'. Then there are the waltzing folk ballads, from their impassioned version of the anti war standard 'Green Fields Of France' to the bitter regret of 'The Bells' and the righteous testimony of 'Our Day'. Elsewhere there are anthems galore; 'The Crest' a swirling gaelic chant, 'Rosettes', a fast marching assault of drums, fiddles and mandolins; historical epics such as 'Ghosts Of Cable Street', 'Shirt of Blue' and 'The Colours'; romantic ballads like the wistful 'Parted From You' and 'Island in The Rain'. All the eras are here; from the wiry lo fi of the first album, through the eighties into full blown MTV ready multi trackers with vast charging drums; the initial simplicity of their recipe deepening and darkening. And then on through the nineties, noughties and tens; always the double pronged vocals drifting between harmony and unison, always the celtic, folk and country tones vying for attention, the emotive fiddle, the top end mandolin above the thundering rhythm section. On through bouffant hair, spiky hair, dyed hair, thin hair and hats; on through Grunge, Baggy, Madchester, Rave, Britpop. On through the Miner's Strike, Poll Tax, New Labour, Iraq and Brexit. On through marriage, children, loss and revival. Forty years at the working end of rock and roll is a feat achieved by very few bands. It requires tremendous chemistry, a deep catalogue; both panoramic and miniature, a vital and irrepressible energy, all of which is on resplendent display in this sprawling 3 disc compilation. But most of all it requires an intense resilience, something that TMTCH possess in spades. Forty years on the run; was ever a band so aptly named?

Keshavara tragen prächtige Schnurrbärte, verwegene Kopfbedeckungen und sprechen ein abenteuerliches Patois aus Englisch, Hindi, Deutsch und Gibberish. Auf ihrem neuen Album "III" kreieren die Kölner um den deutsch-indischen Musiker Keshav Purushotham Klänge, wie andere Leute Drinks mixen, nachdem sie schon drei genossen haben: Verwaschener Kraut-Pop und diasporische Dub-not-Dub-Exkursionen werden nach Augenmaß miteinander kombiniert und wild geschüttelt. Zuckersüß mäandernde Melodien, entlehnt einem fantastischen Niemandsland in der Grenzregion zwischen exotischen Library-Kompositionen und psychedelischen Soundtracks, verschmelzen mit den Grooves einer Rhythmusgruppe, die sich auch in den Tonstudios des funky Beirut der Mittsiebziger Zuhause gefühlt hätte. Das Ergebnis sind mit surrealistischem Zuckerrand gekrönte Cocktails mit der Wirkung einer halluzinogenen Götterspeise. Musik, die schillert und flirrt, wie eine Fata Morgana in der Wüste. Keshavara klingen in einem Moment, als hätte Ennio Morricone einen Bollywood-Film vertont, und im nächsten wie ein von Curt Boettcher produzierter Eden-Ahbez-Song, oder - nicht ganz so spinös aber nichts desto weniger fantastisch - als hätten Khruangbin und Sven Wunder endlich ein gemeinsames Album aufgenommen. In den glanzvollsten Momenten fügt sich das alles wie von magischer Hand zusammen und kulminiert dann in Songs wie "Spiegelmann" und "Tableau Vivant" - fantasmorgiastischen Partys voller transkultureller Clashes, die uns Hörer dazu einladen, sie in farbenprächtige Gruppenchoreografien zu überführen.
War das Debüt von Keshavara noch ein Solo- und der Nachfolger "Kabinett der Fantasie" im Kern ein Duo-Album, so sind Keshav Purushotham, Niklas Schneider, Benedikt Filleböck und Christopher Martin mit ihrem selbstproduzierten, schlicht "III" betitelten dritten Album endgültig zu einer vierköpfigen Band zusammengewachsen … und zwar um eine alte Farfisa-Orgel herum, die eines Tages als Geschenk im Proberaum gelandet ist: Ein, auf sämtlichen Songs mal mehr, mal weniger präsentes UFO aus einer Zeit der Slow-Jams, Live-Takes und des exzessiven Space-Echo-Einsatzes. Sein analoges Blubbern und sein wabernder Funk rollt dem warmen, organischen Bandsound den roten Teppich aus, und verpasst ihm einen zärtlichen Schubs Richtung 70er. Erfrischenderweise kommt er dort niemals so richtig an, sondern bleibt immer im Fluss. Denn das eigentliche Ziel der halldurchtränkten Korridore dieses Albums ist stets der Weg, genau genommen der kunstvoll gezimmerte Holzweg, der phantastische Irrpfad. "III" ist eine Reise, auf der Zeiten und Orte keine Fixpunkte sind, sondern austauschbare Koordinaten eines augenzwinkernden Vexierspiels. Da ist es nur folgerichtig über "Indische Götter im Sauerland" zu singen. Dass ungeachtet der Nostalgie, die alle neun Songs durchweht wie ein warmer Mittelmeerwind, niemals Sentimentalität aufkommt, ist nicht zuletzt diesem Humor geschuldet.
Die ätherischen Drones, sanft nuschelnden Akkorde und geisterhaft seufzenden Soundschwaden, die Keyboarder Benedikt Filleböck seiner altersschwachen Farfisa bevorzugt in den ruhigeren Momenten und den Instrumentalnummern des Albums entlockt, bilden einen stimmungsvollen Kontrast zu den beiden anderen Säulen des Keshavara-Sounds: Christopher Martins leichtfüßig hüpfenden Bass-Dreiecken und Keshavs sonnendurchfluteten Gitarren-Ornamenten. Im Zusammenspiel mit Niklas Schneiders crispen Drumbeats entsteht ein Fundament, mit dem die kaleidoskopischen Texturen und Melodien vollständig verschmelzen.
Das Ergebnis ist das bisher homogenste Album des Quartetts. Mit "III" erweisen sich Keshavara als gewiefte Soundalchemisten und Weltenwanderer, als eine softe Macht, deren Stärke sich aus ihrer enormen Musikalität, ihrer Fabulierlust und ihrem surrealistischen Witz speist.

Finally back on vinyl, this 2011 release was the first proper full-length showcase for the Grammy Award-winning superproducer. The signature soulful style of 9th’s beats was a sensation in hip hop and R&B--for underground fans and in the mainstream--and he played a leading role in bringing North Carolina to the forefront of American music culture in the 21st century.