Der Bestseller von 1982 endlich wieder auf Vinyl erhältlich! Der Titelsong "Big Ship" gehört zu den bekanntesten Liedern des renommierten Sängers, u.a. hat er sein eigenes Studio und Label danach benannt, und der Longplayer wurde im Harry J und Channel One Studio mit den Roots Radics aufgenommen, von Scientist abgemischt, und als Produzent fungierte Linval Thompson. Weitere Top-Tunes des Albums sind "Roots Man Skanking", "Stop Loving You", "Peaceful Man", das auch als 2009-CD Remaster erhältlich ist: Katalog-Nr. GREWCD39
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- A1: The Time We Faced Doom (Skit)
- A2: Doomsday
- A3: Rhymes Like Dimes (Feat. Dj Cucumber Slice)
- A4: The Finest (Feat. Tommy Gunn)
- A5: Back In The Days (Skit)
- B1: Go With The Flow
- B2: Tick, Tick... (Feat. Mf Grimm)
- B3: Red & Gold (Feat. King Geedorah)
- B4: The Hands Of Doom (Produced By Dj Subroc)
- C1: Who You Think I Am? (Feat. M.i.c.)
- C2: Doom, Are You Awake? (Skit)
- C3: Hey!
- C4: Greenbacks (Feat. Megalon & King Geedorah)
- C5: The M.i.c. C6. The Mystery Of Doom (Skit)
- D1: Dead Bent
- D2: Gas Drawls
- D3: ? (Feat. Kurious Jorge)
- D4: Hero Vs. Villain (Epilogue)
Repress!
Silver Sleeve 2012 Version
This special edition 2LP package comes housed in an a silver jacket featuring DOOM’s infamous metal mask icon embossed on it.
Each record is pressed on black vinyl. An absolute must have for the DOOM completist. The long awaited reissue of DOOM's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as "Side Zero". Side B is "Side One". And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation Doomsday’s left-of-center beats and rhymes are the perfect remedy.
Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure.
His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and an strong vocal presence, both synthetic and authentic, sparkle.
'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely.
In Pépe’s own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".
- 1: Sea Breeze
- 2: Hercules
- 3: Heat Haze
- 4: Bicycle Ballet
- 5: The Downs
- 6: Ramblers' Dance
- 7: Greyfriars
- 8: Blackfriars
- 9: St Nicholas
- 10: St Katherine
- 11: St Leonard
Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).
Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.
Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.
Oliver says:-
“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.
It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.
There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”
Voice Notes 002 – and this time , in time honoured memorial of our sister label London housing Trust (that we finished a few years ago after 10 releases ) . we present a 5 track Various Artist ep – featuring 5 artists – and introducing Dance , Rodney Bennet and Pyramids of Space to the label .
The A side begins with a track from label boss Toby / Alphonse – called Rujac – a deep bleepy( Roland Juno 60 for the nerds ) breakbeat trip that had a very early outing from Truly Madly in his Dimensions mix and picked up a few ID requests… followed by another Voice Notes behind the scenes facilitator… Rodney Bennet – with some straight up - old fashioned deep house goodness – rolling bass and just wait for that floating hook .
On the B side a track we ve been sitting on a long time finally sees the light of day – from Toby Tobias – Streets of Gold – with an Alphonse remix – a looping , hypnotic breakbeat acid builder with a huge bass line and a pleasant surprise at the end – this track features a hand from former LHT man Façade as well …
Next up is Pyramids of Space first outing on the label , watch out for much more of them on the next release , some early ambient techno pioneers from Cornwall – if you are one of the holders of the rare Green Tape then lucky you – also might know them from Mordant Music – anyway I digress – this track Quantis perfectly sums them up – deep and dark , soothing techno to transport you to another place .This unreleased gem comes from 1999, but a future version of 1999…
And finally friend of the label – head man of Blank Mind records and all round DON – Dance ( Sam Purcell ) –we managed to prise a favourite from his sick Blowing up the Workshop mix .. and gave it a slight extension – a wonderful way to finish off the ep , slow bassline orientated ambient house of the highest order .
Check your Voice Notes …
- 1: Margaret Murie 02 46
- 2: Crux 04 07
- 3: Nameless 0 6
- 4: Eidetic 01 36
- 5: Thursday Night 03 09
- 6: Halve 03 12
- 7: Osco Drug 01 19
- 8: Lillian Isola 02 3
- 9: Safn 01 10
- 10: Maple Seed 02 21
- 11: Viridiana 03 29
- 12: Tet 01 51
- 13: God Innocent Controller 01 36
- 14: The Void 03 17
- 15: Alces 01 06
- 16: Pastel Dust 03 30
- 17: Where To 04 02
Black Vinyl[24,33 €]
Dark Green Vinyl
American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.
Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.
To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.
»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.
Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.
At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.
- 1: Margaret Murie 02 46
- 2: Crux 04 07
- 3: Nameless 0 6
- 4: Eidetic 01 36
- 5: Thursday Night 03 09
- 6: Halve 03 12
- 7: Osco Drug 01 19
- 8: Lillian Isola 02 3
- 9: Safn 01 10
- 10: Maple Seed 02 21
- 11: Viridiana 03 29
- 12: Tet 01 51
- 13: God Innocent Controller 01 36
- 14: The Void 03 17
- 15: Alces 01 06
- 16: Pastel Dust 03 30
- 17: Where To 04 02
Dark Green Vinyl[24,33 €]
American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.
Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.
To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.
»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.
Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.
At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.
Over the last half decade, the music collective Constant Smiles has produced a prolific output of acclaimed music, culminating in their forthcoming record Kenneth Anger, masterfully brought to life by engineer Jonathan Schenke (Parquet Courts, Liars, Dougie Pool). The group is known most recently for their much-praised debut album for Sacred Bones records, Paragons, an emotionally resonant offering of indie folk masterpieces that all confront the internal ways we process our struggles with intimacies, addiction and humanity produced by Ben Greenberg. Constant Smiles' primary singer/songwriter Ben Jones uses the creative process as a tool for working through deeply transformative periods in his life. The band's indie folk music lays bare this internal process, but on Kenneth Anger, the music shifts to synth pop and looks externally, examining creativity, community, ritual, and their place in the healing process. Ritual takes a primary role in the eponymous Kenneth Anger. Not only is auteur Kenneth Anger himself known for his sensorial depictions of ritual, Jones often used the films as a silent visual back drop during his song writing sessions, a ritual that grounded the creation of the album. And while the director's use of saturated color inspired the warm `80s synth style production, the director's trailblazing spirit of authenticity also pushed Jones through his most vulnerable expression to date. While the narrative undertones of the songs deal with fear and isolation and anxiety, the songs themselves were created through the healing process of ritual, and enriched with collaboration, community and trust. The resulting music produces a balm that can genuinely recalibrate the nervous system. The listener journeys through the depths of every track while being lifted and guided by the music's transformative, hypnotic power and this illustrates one of the foundational accomplishments of the album. Just as a Kenneth Anger film explores the underbelly of the unconscious through often soothing visuals, Kenneth Anger the album conjures the underworld into a series of synth pop classics.
- 1: Rita Lee & Tutti Frutti - Agora E Moda
- 1: 2 Jorge Ben & Toquinho - Carolina Carol Bela
- 1: 3 Rosa Maria - Deixa Nao Deixa
- 1: 4 Trio Mocoto - Swinga Sambaby
- 1: 5 Sandra De Sa - Trem Da Central
- 1: 6 Os Brazoes - Volks-Volkswagen Blue
- 1: 7 Myriam Makeba - Xica Da Silva
- 1: 8 Lalo Schifrin - Bossa Nova Em Nova York
- 1: 9 Tenorio Jr - Nebulosa
- 1: 0 Grant Green - Brazil
- 1: Tom Zé - Jimmy, Renda Zedisc
- 2: 1 Noriel Vilela - 16 Toneladas (16 Tons)
- 2: Marisa Rossi - Deixa Eu Te Amar
- 2: 3 Sandra De Sa - Vale Tudo
- 2: 4 Lemos E Debétio - Morro Do Barraco Sem Agua
- 2: 5 Marcos Valle - Naturalmente
- 2: 6 Antônio Carlos Jobim & Roberto Paiva - Eu E O Meu Amor
- 2: 7 Salinas - Tenha Fé, Pois Amanha Um Lindo Dia Vai Nascer
- 2: 8 Osmar Milito - Morre O Burro, Fica O Homem
- 2: 9 Nico Gomez And His Afro Percussion Inc. - Lupita
- 2: 10 Ze Roberto - Lotus 7D
- 2: 11 Rosa Maria - Avenida Atlantica
- 2: 1 Super Som Ta - Agora Chega
Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Brazilian RARE GROOVE Discover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.
Der Anti-Folk-Hero/Indie-Crooner Adam Green ("Friends Of
Mine", "Jessica Simpson", "Emily", Moldy Peaches etc.)
veröffentlicht seine letzten witzig-bissigen Songs "That Fucking
Feeling" nun nochmal über Capitane Records und erstmals auf
LP. Es ist eine rasante und auf den Punkt gebrachte Platte
geworden. Wie auch schon der Vorgänger ENGINE OF PARADISE
überschreitet die LP kaum die 20-Minuten-Marke, aber die die
zehn Songs - nur wenige länger als zwei Minuten - sind ein
Ausbund an hochnervöser, verspielter Kreativität zwischen
Leonard Cohen, Scott Walker und Ben Lee. Mal bis auf Stimme
und Gesang runtergebrochen, mal opulent mit Streichern
arrangiert können die Songs es locker mit den Großtaten der
älteren und jüngeren Vergangenheit Greens aufnehmen. "Ich
wollte etwas veröffentlichen, das zu Hause aufgenommen
wurde. In den guten, alten ,Moldy Peaches"-Tagen habe ich
alles am Küchentisch meiner Eltern aufgenommen. Aber es ist
jetzt auch schon 20 Jahre her, dass ich so einen Song
veröffentlicht habe. Ich habe ein paar Songs in Quarantäne
aufgenommen, die ich direkt in den Laptop eingesungen habe
und ich mag, wie direkt sich das anfühlt." Die CD-Version wurde
limitiert im Mai 2022 über das Künstlereigene Label
veröffentlicht, jetzt gibt es zur Neuauflage der CD auch Viny
Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.
Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.
Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.
The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.
An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.
Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."
Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."
Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
Ben E. Kings (1938-2015) kommerziell erfolgreichster Song ist das weltberühmte Stück "Stand By Me" von 1961. Insofern passt es sehr gut, nach diesem eine Hitkompilation zu benennen. Die Karriere des US-amerikanischen R&B- und Soulsängers startete 1955, als er zur Vokalgruppe Five Crowns stieß und dort James Clark ersetzte. Die Band setzte sich neben King, der als Leadsänger fungierte, aus Charlie Thomas (Tenor), Doc Green (Bariton) und Elsbeary Hobbs (Bass) zusammen. Ab 1958 trat die Formation unter dem Namen The Drifters auf. Von da an stellten sich größere Erfolge ein. So feierten die Drifters zum Beispiel mit dem von Leiber/Stoller produzierten "There Goes My Baby" einen ersten Rang in den R&B-Charts und einem zweiten Platz in der Pophitparade. Nach weniger als einem Jahr verließ King die Drifters und trieb seine Solokarriere voran. Dennoch nahm er noch einige Titel mit der Gruppe auf, darunter die Millionseller "Save The Last Dance For Me" und "Nobody But Me", die jeweils den ersten Platz der Charts erreichten. Nach seinen Soloaufnahmen "Spanish Harlem" (1960) und "Stand By Me" hatte er bis zum Ende der 1960er noch etliche Hits. 1975 gelang ihm mit "Supernatural Thing" ein stattliches Comeback, danach war Kings große Zeit vorbei.
- 1: Marvin Gaye & The Vandellas - Stubborn Kind Of Fellow
- 1: 2 Etta James - I Just Want To Make Love To You
- 1: 3 The Isley Brothers - Twist And Shout
- 1: 4 Chubby Checker - Let's Twist Again
- 1: 5 James Brown & The Famous Flames - Think
- 1: 6 Quincy Jones & His Orchestra - Soul Bossa Nova
- 1: 7 Stevie Wonder - Contract On Love
- 1: 8 Ike & Tina Turner - A Fool In Love
- 1: 9 Otis Redding - These Arms Of Mine
- 1: 0 Ben E. King - Stand By Me
- 1: Ray Charles - Unchain My Heart
- 1: 2 Nina Simone - Work Song
- 1: 3 Dionne Warwick - Don't Make Me Over
- 1: 4 The Impressions With Curtis Mayfield - Gipsy Woman
- 1: 5 Sam Cooke - (What A) Wonderful World
- 1: 6 Aretha Franklin - Try A Little Tenderness
- 2: 1 The Beach Boys - Surfin' Safari
- 2: Booker T. & The M.g.'s - Green Onions
- 2: 3 Galt Macdermot - Coffee Cold
- 2: 4 The Seeds - Can't Seem To Make You Mine
- 2: 5 The John Barry Seven & Orchestra - The James Bond Theme
- 2: 6 Del Shannon - Runaway
- 2: 7 Gene Vincent & His Blue Caps - Be-Bop-A-Lula
- 2: 8 Dick Dale & His Del-Tones - Miserlou
- 2: 9 Joan Baez - Donna Donna
- 2: 10 Donovan - Catch The Wind
- 2: 11 The Everly Brothers - When Will I Be Loved
- 2: 1 The Beatles - Love Me Do
- 2: 13 Lee Hazlewood With Duane Eddy & His Orchestra - The Gir
- 2: 14 The Shadows - Apache
- 2: 15 Bob Dylan - House Of The Risin' Sun
- A1: Alan Fitzpatrick & Reset Robot - Alpha
- A2: Red Axes - First Look
- A3: Ak Sports - Accept That All Things End And Your Life Will Improve In These Five Ways
- B1: Lis Sarroca - Oasis Floor
- B2: Laurence Guy & Miller Blue - My Heart Still Leans On You
- B3: Marc Brauner & Tender Games - Iss
- C1: Main Phase - All The Girls
- C2: Soul Mass Transit System - Take Me To Xtc
- C3: Borai - Seafoam Green
- D1: Coldpast & Tuff Trax - Wilder
- D2: Killjoy & Kwam - Active
- D3: Peaky Beats - Cats From The Back
- E1: Testpress - On My Own
- E2: Ams - Rue Du Transvaal
- E3: Kassian - Burst Mode
- F1: Module One & Soela - If I Only Knew
- F2: Kaysoul - Woodward Avenue
- F3: Alex Virgo & Benjamin Groove - Relie
blue + red + pink vinyl
It's a huge link-up. We proudly present our fifth compilation, celebrating seven years of service. Over the course of the 18 tracks, divided across 3 discs, a whopping 25 individual artists show us what they can do, repping the distinct sound they bring to the label.
On the first disc, techno giant Alan Fitzpatrick teams up with Drumcode affiliate Reset Robot on a big-room techno slammer before Israeli duo Red Axes take us into the big room of our mind with a transcendental techno cut. Laurence Guy guides us in a different direction completely, joining Lis Sarroca, Marc Brauner and Tender Games in creating a groove that you can sit back into, losing yourself amongst Lis' syrup-smooth house, Miller Blue's soul-stroking vocals and MB & TG's piano tickles.
Before you get too comfortable, the Time Is Now lot come through with a suitable dose of ruffage, from Main Phase and Soul Mass Transit System's giddy UKG and speed garage, to the '90s-inspired atmospheric garage house of Borai and Coldpast & Tufftrax.
Closing proceedings are SNF's melody specialists. Ams, Kassian and Kaysoul each offer their take on blissed-out deep house whilst Module One & Soela and Alex Virgo & Benjamin Groove infuse stripped-back garage and breaks instrumentals with contemplative atmosphere.
Order SNFLP013 now
Gotts Street Park are a proud bunch of throwbacks. The Leeds-based trio - Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) - met through various music studies and friendship networks. Individually their tastes are diverse: from North Indian classical to experimental jazz, soul to alternative hip hop but their vision is united: “The idea of doing things live in one room has always been important,” remarks Josh. “That’s how they used to do it. Our identity evolved from that.”
The inception of the collective goes back to around 2012. There have been minor line up tweaks - they currently record with a rotating list of drummers - but the philosophy has stayed the same: an ongoing pursuit to capture the raw, unparalleled vibe that comes from recording music together, usually as one take, sometimes to analogue tape.
That approach is a deliberate call back to the methods made famous by legendary studios like Sun and Stax in Memphis, or FAME and Muscle Shoals in Alabama and their in-house bands. That’s why for years, GSP set up their own studio in a shared house in a tough (but, crucially, affordable) corner of west Leeds, Armley. Gotts Park (historically the home of industrialist Benjamin Gott) was close by - the group’s name was a nod to their local geography but also the fact it sounded like an area plucked straight out of some of their favourite East Coast hip hop releases.
Their work was quickly noticed, and it was from that base where they began working with an eye catching list of collaborators: Rejjie Snow, Kali Uchis, Cosima, Yellow Days, Chester Watson, Greentea Peng and Benny Mails. Tom also played keys in Mabel’s band. Early on, while performing as a band for hire for those artists, they were simultaneously honing their own sound; a deliberately retro “heavy, saturated” atmosphere that married the languid vibe of traditional soul with the pin sharp clarity of contemporary hip hop. Old leanings, sure, but upcycled with their own modern twist. “We’re constantly trying to build a catalogue,” says Tom. “Writing new stuff and sending it out to people.” That’s why after the release of their debut EP, ‘Volume One’, in 2017 the invitations kept coming; most notably from Brits Rising Star award winner Celeste, with whom they recorded two tracks on her debut EP ‘Lately’.
‘Volume Two’ once again features an impressive raft of vocalists - all female - from established names to fresh talent. This time, musically, the overall tone is lighter; less gritty, more optimistic. “It’s definitely not as gloomy,” says Josh. “Still though, there is this kind of dark, mysterious thing that we do a lot that works,” he continues. “Like the song we’ve done with Grand Pax, for example - it’s got that kind of witchy darkness to it. I think if you do a really straight male soul voice, it can be a bit cheesy and sound like you’ve heard it a million times before.”
Their collaborations might be some of the freshest of 2020 but make no mistake: Gotts Street Park are out there looking to create something timeless.
- A1: Smokin' Cheeba - Cheeba (Feat George Benson/Buddy Pop Lucus/Dave Baby Cortez/Earl Williams/Ann Winley)
- A2: Fed Up (Vocal - Feat George Benson/Willis Jackson/Dave Baby Cortez/Sterling Mcgee/Earl Williams/Ann Winley)
- B1: Finger In It (Feat Ann Winley)
- B2: Ain't No Sunshine (Feat Willis Jackson)
- B3: Fed Up (Feat George Benson/Willis Jackson/Dave Baby Cortez/Sterling Mcgee/Earl Williams)
Featuring a young George Benson, Willis Jackson and Ann Winley the Harlem Underground Band’s first album was released on Paul Winley’s respected label Winley Records in 1976 Legendary street funk record that’s highly sampled by hip-hop artists such as Eric B and Rakim, Genius, Medina Green, Smif-N-Wessun and of course Tone-Loc – listen to the track ‘Smokin' Cheeba-cheeba’ Reissued on 140g black vinyl with original artwork and printed inner sleeve
Robyn Hitchcock stands among the most energized and ambitious
recordings of the iconic troubadour's four-decade career
The album sees Hitchcock casting familiar shapes into surprising new forms, the
sci-fi fueled sounds and visions that first stimulated his work now ribboned with
experience and hard- earned wisdom. The album, Hitchcock's 21st studio
recording, was recorded in Nashville, TN, with producer Brendan Benson (The
Raconteurs) and backing by fellow Music City players that include guitarist Annie
McCue, bassist Jon Estes, and drummer Jon Radford. Harmony vocal
contributions include Emma Swift, Grant Lee Phillips, Gillian Welch, and Wilco's
Pat Sansone.This 5th anniversary edition is pressed on neon green vinyl.
Brainwave research center is a new project from NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).
Conceived together over two years as musical thought experiments, brainwave research center’s debut album, figure 1, contains a genre-bending distillation of influences from experimental music (Steve Reich, Laurie Spiegel, Black Dice), 1990s ambient techno (The Orb, Pete Namlook/Fax Records), and Motorik/Kosmiche/Krautrock (Kraftwerk, Suicide, Manual Gottsching).
The songs embrace a raw, naive approach to sound design, instrumentation, and technical production to capture the feeling of experimentation of the works they are inspired by. Described by listeners as a mixture of Electronic, ambient, and kosmische/krautrock.
Recorded and produced in Greenpoint, Brooklyn in the back of Smith’s synthesizer/electronic repair shop, Specs Sales & Repair, Figure 1 is the first in a sequence of 4 works to be released.
Made primarily with TR-606, OB8, SH-101, MS-20, Fizmo, H3000, SDE-3000
Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)
Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.
It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.




















